gingerbread boy critique

[Katie W]

I think it looks great! A big improvement on the original if I remember correctly. I especially love the woman's expression and the richer colours you used. No critique from me, just appreciation!

Great work

[Lee White]

Very fun!

One thing I would work on is your drawing. Right now it's right in the middle between accurate drawing/perspective and an intentional wonky kind of drawing. If you want to go the design route, you need to make it much more intentional in all the shapes (both big and small).

Love the color and value is working well too!

[Russ Van Dine]

I think the color on your walls could be switched. The darker one for the lighter one and the lighter one for the darker... I would also work her hand a bit more. nice job.

[Joy Heyer]

@Lee-White I guess I have spent so long trying to understand and master perspective that I'm having a hard time letting it go. My process is to draw in perspective then change the lines so that they are wonky. Is that a hinder to the design route? Should I drop the perspective step or keep it and just work more on altering it to be more design-like? I worry about having the drawing look amateurish instead of skillfully wonky. Thanks for the advice!

[Joy Heyer]

Thank you @Katie-W!

@Russ-Van-Dine Thanks for your input! I worry about switching the wall colors as it may mess up the value, but will give it a try. And I agree about that hand. It has given me great trouble. Still trying to get it right!

[Lee White]

@Joy-Heyer If you are going for a more designed approach, I recommend losing the correct "perspective" step. There is no need for it, and it can actually hinder the process. Once you decide to go for the wonky look, you need to make sure that lines aren't converging to a vanishing point and that all the details are "off" by the same amount. It's actually much harder than people think!

The important thing is shape design. For this look to work, everything needs to be re-designed in the new style. Make sure big, medium, and small shapes are all working together. Design is the most important step in making an image like this work. I often tell illustrators to go study graphic design. I think that training is often lacking in illustration study because we, as illustrators, are so worried about being able to draw well (at the expense of design!). I think good design beats good drawing any day.

Keep it up! I can't wait to see more from you!

[Joy Heyer]

Thank you @Lee-White! That is very helpful counsel. I will study graphic design right away! I do have a related question: would it be inadvisable (for me) to have both accurate drawing and wonky illustrations in a portfolio?

[Lee White]

@Joy-Heyer That's a good (and tough) question. It really depends on your market and what your approach is going to be. Sorry if that sounds vague, but it really is a question that needs to be looked at in depth with each artist.

BTW, I'm doing a live portfolio class starting in january where that kind of thing could be worked out

[Joy Heyer]

@Lee-White Yeah, I'm having a hard time answering that question for myself. Many editors/agents/art directors say "stick with one style" but I've also read a lot from other editors/agents/art directors that say not to do that--so that doesn't help. For that reason I have been saving up for your live portfolio class--even foregoing a SCBWI conference last weekend to keep saving! I've also been working on my portfolio to get it to a place that such a class would be most beneficial. I know the demand will be high so I'm crossing my fingers I get a spot! Thanks for your input. It is extremely valuable!

[Lee White]

You should be able to get in there I'm sure. it's the first time the class is running, so we will see how high demand is.