@BichonBistro Oh no, I was really hoping for your sake that she was moving on. I’m not even sure what to say. Regardless of how you choose to approach this, deadlines and boundaries need to be communicated. The truth is, that this can get a whole lot worse and become even more time consuming than it has already. Of course it can go the other way as well - you may be able to finalize the design, convert to vector, and send it to print and embroidery with little issue. It just doesn’t seem realistic. Know your limits and communicate them as thoroughly as possible. I would suggest staying out of the printing and embroidery process if you get to that point - do not get roped into sending the files directly to print /embroidery companies or providing prepared files, because you will become the problem solver and point of contact. Honestly, if you have not told her that you would convert it to vector, than I would avoid that as well. Print and embroidery companies have prepress departments, let them convert it. She is lucky to be getting this much of your time for free.
Thanks for the comment, I think I may go back and try and flesh out some of the drawings such as the baby dinosaur one to give it more of a story/background etc. With limiting myself to an hour a day to finish each drawing I just wanted to try and get as much finished as I could. Funny though, I never know what I’m going to draw before I start and so it’s always fun to see what actually ends up coming out once I start scribbling away.
@Sean_H The color and light course at svs is very useful and so is the one over at schoolism by Dice Tsutsumi. I would say it's always useful to look at the colors other artists use too and see what works along with learning about values and color theory. 2 of my favorite artists for their color work are Ty Carter and Sam Nielson. I think Ty has a course on svs and Sam has a very intensive one over at schoolism too.
@Jon-Anderson Thanks Jon! My thumbnails come from even smaller thumbnails just to test out concepts and shapes. Non of the above arose instantly and I doubt they will remain that way in the later stages, but as long as I start with basic shapes I have less of a chance of losing way my in the painting.
I love it. Great gestures, appealing characters, and a pleasing composition. My one critique is that it's suffering from a slight blurry quality that often plagues digital line work. I think it needs to be ever so slightly sharpened up.
I think I may have answered my own question from the previous comment. I think I am trying to do too much and really not succeeding at anything. I need to think it through a little better. I do want to stick with this general layout, I had a vision for a straight on scene from the beginning. I realized in the last post that the person being caught in the spotlight is usually looking right at the camera, so I tried a version with one of the kids doing that. I also tried another version with him smiling not knowing they are caught yet. I enlarged the teacher in all of them in hopes he would read better. Any preferences for 1,2, or 3? I would also appreciate any suggestions on how I might make the straight on angle read better. I know other people have managed to be successful with it, I just feel like I am missing something.
@juliepeelart good thoughts on the bear. After reviewing, I think I got the perspective on the bear incorrect. It should look taller, the base should be wider and the head smaller. I will clean that up.
@Gary-Wilkinson I like where you are going with the the thumbnails. I did a few thumbs and picked this one (the value study is a thumbnail blown up.) I partially wanted the challenge of the perspective. I think that the perspective is correct for most of image though as @juliepeelart pointed out the bear is not adhering to the perspective and I would get a greater impact if it did. I am using some reference photos as well.
Thank you both for your feedback, I will update as I move on.
Sooooo, last night, I figured out my scheduling for what all I need to have done before my dummy book deadline. (Aug 31st). Just over a month left. Ugh! I have to get at least two spreads drawn out a week! This is going to be an interesting 6 weeks.
Below is one of the spreads I plan to work on this week (Spread 5). I'm leaning towards 7 & 8. How about you all?
I'm going to be turning the Picnic Croc into a portfolio piece. So I've decided to make an accompanying piece for the art above. Its all the characters marching to the lake for the picnic. Hopefully I will finish it tonight
suggestions and tips welcome
(Oh, also I'm going to be redoing a few more things in the Picnic Croc art. I'm resizing Miss Rabbit and Miss Weasel before hitting the next step, they are just too small in comparison to the other animals).
@Nyrryl-Cadiz @Marsha-Kay-Ottum-Owen @sarahlawrence Thank you everyone for the awesome feedback. Feels like #3 and #1 are about 50/50. It's always interesting and educational sharing artwork. I'll do my best to return the favor!
Well originally I had come up with concepts that I wanted to execute and the nighttime sheep illustration happened as a spur of the moment thing, so I wanted to tie that piece to the rest of the work by maintaining a night/day theme. But I think you're right that it doesn't keep the series as consistent, so next time around I think I'll start a series with one character and have them present in the 4 illustrations. I'm thinking of going small and doing some tiny characters so we'll see what happens! Thanks Heather!
Hi @Branden-Brushett First of all I would advise you to try and thumbnail the concept and composition a bit more before you start adding the details to save on time and to see what works and what doesn't,
At the moment I feel that your piece is too bottom heavy as in that there is a lot of action going on the the bottom half of the image and not a lot in the top area creating an uncomfortable balance. The painting also lacks energy for such an energy focused concept, to correct this I would try avoid hard flat lines such as the horizon of the sea and the clouds and try add a bit more horizontals in.
The depth of the objects in the scene also could be improved upon by overlapping objects to show their comparison in space. Try to identify your background, middle ground and foreground a bit better to get a better sense of the objects size and position. The right lighting will also help this later on too.
I hope you don't mind but I have done a quick sketch to illustrate some of what I mean, it might not be your style of painting or how you want to illustrate your piece, but hopefully it gives you another look into how it could be done. I've adjusted the horizon to give the piece more movement and pushed the picnic basket to the front to add depth with the water bucket and other small objects from the basket flying off into the background. The beach is now quite far down down to create a nice background scene with the sky and sea.
I hope that all helps in some way.
I'm thinking this is almost done, I am going to take a break and come back to it tomorrow with fresh eyes for a final pass. I've mocked in some text but the trees behind it are rendered so I can turn it off If I want to present it without.