Today, I began designing characters for a picture book. My thought process was that rounder and softer shapes would be more suitable for a picture book. I would greatly appreciate any advice about the character design, or how to make characters seem like they come from the same universe (which is quite specific indeed...). I hope that your days are as enjoyable as when you are drawing!
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?
Something I've read about postcards and whether to write your name/website in front: it was mentioned that art directors might just pin them on a board (wall), so when they glance at them, it might be good that you name/website is something they can immediately see. I remember seeing this in one article, and it seemed like an interesting point to me .
@kimmypie oh yeah you are absolutely right! Hehe looks like I have a problem with toes locations, Thanks! However I really like the idea of the mom grabbing the table to not fall, so I think I will switch legs and just make this leg her left leg. As for the daughter’s hand I will definitely adjust it like you said !! Thanks again that was so helpful
@Nyrryl-Cadiz said in Critique my style (periodic checkin):
However, in graphic novels, you are going to make a lot of images. Your style needs to be something you can churn out fast and efficiently. If the line-less backgrounds are something you can produce quickly, then go with it. I wish you all the best!
Very true! I'd be interested to hear from people how long one should spend on a graphic novel page. I find those lineless background incredibly cheap and easy (for the moment) to do so I can get out 1-1.5 pages a day (if nose is to grindstone).
That's some good advice, thank you!
It does make a lot of sense to restrict the range of values one uses in each specific area of an artwork. The whole work should represent the whole range of values, but each area should be limited, in some capacity, to a smaller range of values within all the values that are possible.
And thank you for pointing out the specific issue of all the trees having (more or less) all the range of values. It definitely limits the effectiveness of the highlights, I think, because of the smaller amount of contrast in the piece as a whole.
That's similar to an example my painting professor gave me; she said to distribute like colors throughout all the areas of the piece, rather than limiting them to only a few specific zones/shapes.
It's definitely something I'll try to keep in mind, the relationship between each section of a work and the piece as a whole, that is.
II like this. Thanks for posting it. Actually, while I agree with the comments about tangents and focal point, I really like the composition in general. You've obviously worked hard in that area and I think you've done well getting all the elements into the picture, establishing distance, and creating a chaotic marketplace vibe. Maybe attention to hierarchy of shapes, color temperature and value are techniques that could emphasize your main character and help the details read in order. And you may want to take another look at the awkward angle of the kid's right hand. A really fun bit of storytelling!
So I love the textural areas and the pattern like the green stripe wall behind the child. I can't wait to see how pattern and texture continue to figure into your style. I think the strength of these pieces is how the kittens show movement and emotion, while the weakness is that the kids are static and quiet (though about half of them do have a storytelling aspect). In fact, I think except for the profile of the little girl, the eyes are all closed. So maybe challenge yourself to work at adding some of that emotional range and movement into your children pieces? Congratulations on all your hard work and progress.