not working on a book, but trying to learning to simplify and more cartoon type ....suggestions please.
@Cheri-Homaee i guess the image didn't upload
Peter Jarvis last edited by
Hi Cheri, I hope you are well.
Are you wanting critique on the concept, style and/or technique?
As most beginning artists/illustrators I have a problem critiquing someones work. I don't know enough yet.
But the one thing I have as a mantra as I am illustrating is "don't forget fundamental shapes" and learn anatomy of the subject matter. Will explains this in most of his videos. It really helped me progress.
Something I do as I am drawing is; squinting. It helps to make sure the image reads well.
I hope this helps.
Keep up the great work.
Have a great day
Maile McCarthy last edited by Maile McCarthy
Hi Cheri. I really like where you're going with this piece. From the way the characters are interacting, it's clear that you have a good understanding of 3d space. There's a sense of depth to the characters that reads well for me. Your composition and use of negative space also seem balanced and pleasing.
I also really like the subtle colors and texture of the background. It feels like a foggy evening to me, creating a sense of closeness and calm. Is that what you were intending? For some reason, I really find myself identifying with the mouse peeking out from behind the lily pad. I feel my own curiosity piqued, find myself asking: What is the relationship between the mouse and the frog? What adventure are they about to undertake?
I think this piece could be even better if you spend some time looking at your line work. I do think line variation can add interest, so I'm not suggesting you make everything the same. However, this can be done in a purposeful way. For example, why does the outline of the mouse's tail suddenly become lighter and softer at toward the tip? I notice that the reeds and the curious mouse drawn in thin scribbly strokes, the lamp is drawn thick and almost wet-looking, etc.
Same goes for texture. The bumps/wards on the frog's skin contrast so much with the smooth surfaces of everywhere else, they really grabbed my eye. This might be a good thing if the wards are supposed to be the focal point. Was this your intention? If not, you might try painting them in a less-rough manner.
Hope that helps! I'm very much still learning all of this myself, so take it with a grain of salt.
@Peter-Jarvis Thank you. As an artist I don't critique unless asked and since cartoon or non realistic drawing isn't my thing I do need help
@Maile-McCarthy Thanks so much for the critique I guess I should have paid attention to line work. The weird thing is when I am trying to accomplish one thing I don't think about other things. Need to create a check list. The texture was last min. and was trying to see how it fit in the picture maybe not so rough and standout. thanks a bunch.
Maile McCarthy last edited by
@Cheri-Homaee I love the check list idea. Will has mentioned that too, although I've yet to implement it. So hard to figure out just what to include.
I love the concept, I just think it needs a little structure. Some of your forms get a little wonky. @Maile-McCarthy has such a great critique that I don't think I could add to it without doing a drawover. So here you go. Pay close attention to the mouse skeletal structure. Understanding that kind of stuff really helps when you need to put the animal in different poses.