I decided to go with D, and I just launched into it. I'm hoping folks can tell me if things are pulling focus and interest. I"m worried there's too much texture in the tree, perhaps, and I need to do something a bit more substantial to the path he's standing on...
@aprilshin I decided to change the boy's facial expression a bit, and have him looking upward with a "sorta" grin... I think that was stronger than the "I'm lonely" vibe I think I was going for... Does that make things a bit clearer? Or at least less complicated?
@Frost-Drive While your friend's edit is certainly more atmospheric, it's also so dark it's hard to tell what's even going on. I'd take his advice in consideration but balance it out better to keep a clear illustration.
From the text, it's all about the woman and the dwarf (which we can't see in this picture at all)
IMagining myself as a kid, or reader, I'd want to see the woman and the dwarf. (the fantastical things)
I've already seen schoolboys lots and lots of times. I would flip the composition arouund, and have the woman and the whole chariot thing powerfully looming over him. With the camera behind the boy.
I think drawabox.com teaches perspective the right way.
When things teach you "1 point, 2 point, 3 point" I think it's more UNhelpful than helpful because those don't apply to most pictures.
If you do the draw 250 box challenge from drawabox.com
Then you'll get an intuitive feel for seeing the boxes on everything in pictures.
While going through Inktober memories, I thought that why not share something with you, though it's too late! It's really a very simple art from my Inktober collection, made with Bianyo Watercolor Marker set.
@Michael-Angelo-Go Well done on getting your shop up and running. Ness is right about watermarks needing to cover the whole image. It's easy to remove them. Here's an example from the pic you posted. I just used the lasso and content aware button and used healing tool on the back paw. So that was the computer doing all the work. Took under a minute.
I personally wouldn't bother with watermarks unless selling for stock images. They distract the eye from the image underneath. Signatures are best used on limited edition artwork or for selling originals (signed in pencil or paint). If it's an open edition I wouldn't sign it.
Plus a digital signature can be lifted off and then placed on other art to pretend its made by you.
For a digital signature, make sure it's not the same signature you sign cheques or credit cards with!
@Heather-Boyd Thanks a lot for your comment! Yes those where some of my faves too!
@Jacy13 Thanks Jacy!!Hope you like them!The bottom left is supposed to be a beast with many attributes (i think the owner had a chimera in mind when writing this one)
@K-Flagg Thanks a lot for your comment!!Yes it is really fun working on this!
In my oppinion I'll stick with the first one. I think is simpler and communicate the message perfectly and have better reading and body language that the other versions. I don't think your changes add nothing to the piece, at the contrary, over-complicate things and make more confuse the message.
For example, in the original I quickly go to the figures and say "oh, they are relaxing camping, great, everything is at peace!" Then my eyes go around and BAM! oh man, there's some danger here, I didn't notice before now the whole scene takes another direction. That it is story telling, that it is what's makes illustration great!
But in the last one my eyes go directly to the monster, everything is so obvious, the storytelling is broken, the painting don't let you participate and play, discover for yourself.
So the first one is perfect for me.
The things that can improve the first one are:
1- Cropping the scene, there's too much ambient around.
3- More light in the car around the figures, right now it looks like they are cut and paste. And desaturated the figures in the areas less expose to the light.
Less is more and not always the changes are an improvement. Every painting can be lead in millions of different directions, I always try to give feedback to improve the original painting, not to change it for another completely different. To recognize what it is right and works is as important as to recognize what can be improve.
Anyway is all subjective so take what you want and left the rest, is your painting.
Have a great day!
@emergingeden Hi so I like the back story but I don't read it so well, I was actauly surprised not seeing the 10-13 year old girl in the image. Are you making this piece solely as still life or will it also being accompanied by another illustration with the young girl in it? The first thought I have to include the girl would be to make her miniature to push the idea it's her big dream and she's working on her designs (maybe even carries some material or a part of the mini planetarium in her hand as she longingly looks into the helmet and dreams of space). I don't know if you want to push it in that sort of direction.
I do think the colours are unexpectedly delightful and the second image (close up) is more intimate.
@Griffin I know you didn't receive feedback before but I really like the style and the simplicity of the design. I don't remember your yeti sorry. I like the bareness, it's peaceful. I like the round edges on the largest window and I know you have already handed it in but I would round the corners of the other windows and also maybe round other corners (flag and on the chimney). I like the barren sky but not sure about the water colour texture, it distracts a bit. Maybe if you did it in the same brush as the house.
@donnamakesart Haha, that's a good psych out, drawing out two ideas! It's more work, but at some point one might be obviously more successful than the other.
@xin-li I like the distinction you make here between choosing an idea and making a more detailed sketch. I think making any detailed drawing takes a good bit of refining, especially if we try to use accurate perspective. And like you, I spend a long time in that stagel. But I have noticed that your finished pieces do make good thumbnails (i.e., the compositions are very legible), so you must be doing something right!
@carolinebautista I remember this piece from the critique arena! I do notice that, however rough your thumbnail, all the main components are already in place. My thumbnails sometimes change almost to the point of non-recognition once I start deciding on the details, because I realize either the perspective or the anatomy was unworkable. I think that's what's at the bottom of what's bothering me the most. If they change so much, what was the thumbnail stage for and what becomes of the feedback I got?
I also tend to make my thumbnails more legible so that I can post them here.
Okay, here's my take away:
I should probably distinguish between moments/ideas and camera angles/value choices, so that I'm sure what people are reacting to when they give feedback in the forums.
I rewatched @Lee-White's Draw 50 thumbnails video. According to his process, what I posted above is probably only stage 2, and he does 3 stages. He also sits on the first stage for a while. And he mentions that even in the latter stages, one might come up with a better idea.
I even think the answer might partly depend on the artist's style.
Also, regarding Lee's advice, maybe I should try not using preprinted boxes, though I do want to adhere to a format.
And last of all, I realized that part of the problem (this time) was that I had a lot of non-art things accumulating on my to do list, but I wasn't letting myself do them until I finished the thumbnails. The result was a vicious cycle!
Thanks again, guys! I remain slow, but I think this one is just going to take time. And thinking through your answers, I think I'm going to go with one of the last two ideas for the final piece, because they are more on point.