I did end up making some changes soon after but got to update. Thank you all for your help!
@robgale I thought about using a Gaussian blur on the Elder Dragon to make Spyro stand out, but I agree that it’s the wing placement that’s causing him to sit back more.
I was kind of going for a lineless picture, I’m inspired by Nicholas Koles work in terms of colour and values showing the variations in characters and adding depth.
Thanks very much Rob!
@carriecopa That’s great, thank you so much!
I agree with the wings, I took the reference for them from a plane, rather than a bird. I think that’s where I went wrong (as there’s no motion in a planes wings).
Love the references you’ve given, I’ve added them for later
I was hoping to get some feedback on a piece I've just finished.
Here is my piece for Spyro: Reignited Trilogy, featuring Spyro, and an Elder Dragon. I'd appreciate any and all feedback, but please feel free to share your work as well.
I just want to say thank you so much for all of these replies! It's really helped me see that its something I can always come back to. There are some great thoughts and I really appreciate that there is a forum where I can get this kind of help.
I was stuck in a place where I felt as if I couldn't progress unless I'd really focuses on realistic face, but after these comments and the information in 'How To Discover Your Style', I think I can finally move on and try something new.
Design, tone, and an underlying understanding of composition really sounds like parts of the puzzle when it comes to putting together an illustration. By studying these and trying out different subjects, this should hopefully bring me back in full circle where I understand realism a lot better, and I can apply my new found skills to create something great.
Thank you all again! Time to work on discovering my style before Inktober!
Here is my dream portfolio. I need to try and understand it a bit more before I find my style, but the exercise helped me focus on a vision of what I'm trying to do.
I have a question about practicing and what I could/should be doing. I love drawing animals, characters, and most recently landscapes, but I find I have struggled with human facial features (eyes, nose, ears, mouth).
I have been practicing realistic features, but wondered how important it really is? My goal is to be a childrens book illustrator, so a lot of the features will be more abstract/symbolic. With this in mind, do I really need to study every detail of the human face, or should I work more towards symplifying these features?
Looking into the works of Loish, Jake Parker, Will Terry, Lee White, Anthony Coffey, etc, I wondered if they had to first draw the perfect realistic head before symplifying.
I feel like I'm making it difficult for myself to move onto something else before I nail it down (realism), but do I really need to?
One of my favourite art books is 'the Art of Kubo and the Two Strings'. Pages filled with art with the artists name underneath, descriptions of characters and their characteristics.
They also have amazing spreads on thumbnail storyboards to really set scenes.
I also love (although not an art of book) The Skillful Huntsman. Really amazing ideas these guys had, and they show you so many techniques of character design and how to start simple e.g. Using the silhouette approach. There backgrounds and scenes as well are amongst the most amazing I've seen, the detail, mood, and tone are fascinating and help create so much atmosphere.
@Lee-White Thank you so much Lee!
I was watching the Creative Block webinar and it's what got me back into thinking 'Hey, maybe I can do this', but this was one issue I needed to tackle head on after the advice on dealing with the problem.
SVS learn has been such a huge resource and guidance for me, this was the best decision I've made yet in learning how to draw.
These comments are amazing, it's really given me a lot of thought and I'm so greatful to all of you.
I hadn't though that there were other people who had started their careers in art later in life, I had always assumed that everyone had mostly started at a young age.
It's harder when you're older, mostly because of outside influences telling you to 'settle down' and 'find a steady job'. When you're so passionate about something you believe is the key to the rest of your life, it's testing at times to start believing those people and put it to one side.
Thank you all again, this has really envigorated me to try harder and really start putting myself out there!
These replies really mean a lot to me. I'm so glad I'm not the only person who's had a later start and its encouraging to see. I live in a small town outside of London, UK, and don't have any artist connections, which is maybe why I worried so much.
You've all inspired me to try the Tree house June Challenge. Here goes nothing!
I'm 29 years old, I've only been learning to draw for the past year (since I was in High School), but I know that I want to be have a career as an illustrator. It's taken me a long time to find what I want to do with my life, but am I starting too late? I worry that I'm too old to start, and I won't be hireable in the future. I believe this is the reason why I may be 'creatively blocking' myself.