This is nuts!
If you want a traditional style, Photoshop is a little bloated & counterintuitive. I've used Painter in the past and love it. I'm working on oils in Artrage for iPad Pro at the moment and am enjoying it. The tool doesn't matter if you're having fun and are efficient. Photoshop, Painter, Artrage, Procreate, Illustrator, Medibang, Manga Studio, Paintstorm... whatever you are enjoying is fine if you can get the result you want.
Brilliant class @lee-white!
I'm addicted to Shark Tank now haha. It's like a show we used to have over here in the UK called Dragon's Den.
Do you broadly know what you have planned for the next lessons yet and also when the Editorial class is going live? I'm stoked to see a different style like that.
Take care Buddy!
@Durrell-Odom Maybe you just need to keep taking things to a full image more often? I remember seeing this image on here like 6-8 weeks ago and if that was your last final image, maybe therein lies the problem?
Take care, I love your drawing style.
Honestly, dot eyes freak me out haha
@bharris Only 2 weeks ago I had a client I knew was going to be a nightmare client off the mark because of his constant emailing back and forth. I quoted him a high price and told him that if he wants art to my standard then it's going to cost him x and that if x was too high for him, then I can point him to a Facebook group with local art students who'd be able to do it cheap but that it wouldn't be done in my style or to my standard in quality. He thanked me and told me I was too expensive. 3 hours later, he called me and said that he wants me to do the job for the full price.
You are a business and your talent is worth money. Don't compromise for deadbeat clients who are just going to give you the run around and ask for endless revisions, etc. I place all the things about revisions and costs in my contract. If they don't like it my way, I don't want them as a client, it's as simple as that. It may sound harsh, but we're on the planet for not a lot of time, so I'm not going to spend time doing things I don't want for people who don't respect me.
Respect yourself and the client will get your best work anyway.
@Sarah-LuAnn I've never read that book. I'll put it on my iPad and give it a read tonight. Thanks
I'm picky about clients. I'm not a puppet and they aren't my master. My contract is watertight, I always get upfront payment and I'm completely up-front about my work, what I can do for them and what will incur more charges on their end.
Personally... I wouldn't take on this client. If I did, I'd quote him double what I would normally because I know I'm going to get extra hassle and don't particularly want the job for a normal fee if it's a pain. If he wants me, he'll pay... if not, I didn't want him either.
Andrew Loomis - Creative Illustration
Molly Bang - Picture This
Marcos Mateu-Mestre - Framed Ink
Donald W. Graham - Composing Pictures
Hope that helps.
It'd probably be something along these lines
My daughter's 4. She's awesome
For composition, you can't go wrong with:
In no particular order. The SVS class is pretty thorough too!
@Marsha-Kay-Ottum-Owen The clock in the bath is off a little. In two point perspective the verticals should be going straight down but they seem to be tilting to the right and I'd just add a bit more form to it to make it really feel like it's attached to the wall instead of painted on. If you want me to do a clock draw-over to show you what I mean, just let me know and I will
Thumbnailish Thoughts (by page):
1 The mouse has a lovely gesture and is drawn well, you'll just need to be careful of the right hand side - it's a little close to the gutter and his nose will be all bent into where the pages join. He'll need to be pulled back. If you divide the page into thirds, then place his eyes on the right third line, that'll probably sort the gutter issue out and will make for a more appealing composition.
2 Again, with bleeds and the variation of image placement when they cut the pages, I'd just bring the mouse into the shot a bit more.
My daughter's just woke up, so I can't do any more at the moment, but the rest are looking good. Just when you take them from thubnailish to final sketches, just watch the perspective and be conscious of the gutter/bleed and bring your action in a little to compensate for it
It's all a process and it's slow at the start, but it'll be totally worth it when you draw over. The two most important things in an image are the composition and the construction and all of that is done at the sketch phase. The final image will totally be worth it in the end... I have faith in you - it's very, very nice work, I'm just pushing you hard haha
Unless you use extreme perspective distortion (which is a valid compositional technique, but will look very distorted), there's no way of getting the full faces of the flags all in view unless they were all of different heights - whether that fits in with the lore of not, I don't know. You could do it like your plan, but most of the faces of the flags would be hidden. A lot of the time with composition, it's about making compromises with positioning to make it work as an appealing image.