This sounds familiar. I think the SVS Holy Trinity has touched on this topic in the past. What I get from it is, that it takes a lifetime to become a master at something and to just keep churning out your art, that you will get there. Keep a positive outlook on this project so you don't get burned out and know that even if you slow down, that every little bit you do will get you one step closer to your goal(s). I say goal(s) because it seems as soon as we artists get to what we think of as our goal, we immediately see a new one on the horizon. Good luck. =)x
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?
I'd say the first pic would work better in a series of sequential images e.g. comic or illustrated book. It doesn't really work as a standalone image
The second pic... one of the first 'how to' books I read was 'How to Draw Comics the Marvel Way' and the following drawing is vividly embedded in my brain to this day...
If you are drawing an action either draw the very beginning of the movement or the very end, anything in-between lacks energy or impact, which is something other people have picked up on. So if you combine the first pic and the second pic you get something with a bit more movement...
I also made them them look at each other. It doesn't matter what composition you use if there's a face in the image your eye will go straight for it and then your eye will look at what the face is looking at. So when they look at each other it's makes more of a fluid composition
@christopherh After looking at your site, I had a question. The sloth in outer space and “Pigeon Pete” seem like much more confident and developed pieces with a definitive style that I’m not seeing in the other pieces you have in your portfolio. Are those pieces newer than the rest, or perhaps did you simply spend more time on them? If I were you I’d make those pieces the bar of comparison and make sure that each piece you post could be favorably compared to them, being as good or better than as you grow, and remove the less complex pieces as you can. To that same point, if I were looking to hire someone and saw your site, I would have difficulty knowing whether you’d give me texturey colorful sloth style or the more basic “grass is green, sky is blue” airbrushed style that others have already commented on in this thread. Thanks for sharing your site, hope this helps.
Hey there ^^ currently working on this forest lady. I am pretty okay with it so far, but I would like to know your opinion on it before I move to color and all that stuff. I am mostly concerned about the pose and shapes balance.
![0_1529524335254_1 version.jpg](Uploading 100%)
@TessaW Good point on exploring a concept with different thumbnails. I know I need to work on this, too!
@artbytra I agree with the other comments.
I was wondering why the traveler stopped there and why the bag is on the ground. I think having it slipping out of the hand or sliding off of the arm would convey the idea of it being dropped better. Also, it looks like they stopped at the mushroom, rather than being overwhelmed by the village. I think a crouching position would be confusing.
I'm not really getting the breaking down element--for example, there's a door built into the mushroom top on the right--so it looks like the mushroom was in that position when they decided to build a house in it. If the village is broken down, the structural elements should be breaking down along with the mushrooms. Another way to show that it's old could be to have faded colors and cracking / crumbling edges. I believe this happens to some real mushrooms as they age.
Another little thing--the steps aren't cut to the same scale as the ladders and doors of the village.
Tree on the right feels awkward to me--like someone chopped the top off. It could be nice to have branches hanging down, but it isn't balanced with the rest of the tree.
Here are some photos that can give you some ideas:
It's a nice concept, and I'm looking forward to seeing you work on it!
@tessaw thanks for the feedback! Makes sense with the ant-creature being confusing. My idea was that it should be misterious, but I think I might have gone too far. The size is definitely an issue as well! So: my attempt at fixing it is to make the ant-thing more defined and let it be a means of transportation for the actual villagers, who then can be better sized. So I tried putting a villager on the ants back. I can't tell if it's too far fetched or not.....
@w-coats So the mushroom hunter is colored so that it be somewhat camouflaged, although in this situation it's pretty much spotted after devouring most of the village. With the little guy on the path he will have a shocked pose after just seeing what is happening (poor guy even dropped his briefcase), as for the shower idea I will probably change that as it could be interpreted that it is looking at the one in the shower rather than at the homeowner on the path.
I took some of the comments and revised the illustration. Cleaned up some of the perspective and changed the size of the girl in relation to the car.
I was wondering if anyone has heard of Akira Toriyama (Dragon Ball)? I don't know if his style is what I want to emulate, but I do draw influence from his works. I am curious because he has what I call Super Deformed style such as Dr. Slump, and I like his mecha designs, the characters are really deformed but yet IMHO they work somehow. Is there anyone who has some insight to why his style works? Like am I not making my characters deformed enough so that people feel that it feels/looks wonky instead of intentional?
Another big influence I have is Masamune Shirow, he does serious cyber punk manga but every so often he makes a really cartoony illustration that emotes an idea or plays with humor, that some how he gets away with.
I was just wondering how they almost do things in a completely different style yet are able to pull it off? Is there something to it?
I did another illustration with more deformed features to show what I mean. I am not finished it yet but hopefully you get the idea.
@jon-anderson This is looking really great! His foot on the left is looking a little awkward, it feels like it would be really hard to sit with the foot so turned out. You did a great job on the perspective if only his body lined up with it. I think more of a profile view of the foot would look more comfotable
+1 for the 2nd scene. I think the composition looks great and the scene reads really well. If you are going to add another character one thought that came to mind is perhaps he is holding it out for the creature coming out of the house as though is it for a dear friend, or even a first date.
Be careful with the mushrooms in the back so that they don't cause the umbrella the frog is holding to blend in too much with them. I like their angles but you could probably do to vary them slightly.
Looks like it will develop into a lovely piece though
@heather-boyd From Jake Parker's tool recommendation page on his site:
Copic Gasenfude Nylon Brush Pen Black
This is the newest pen in drawing arsenal. It has a springy tip that can get some nice delicate lines. The inkflow is balanced. But the best thing about this brush pen is it's WATERPROOF. So markers don't smudge it, watercolors play well with it. It's a great pen for working with all kinds of wet media.
I know it's not a marker...but could be fun!