Day 31: Harry. Congrats to everyone who hung in there and finished Inktober!
@LauraA I love these. You've nailed the characters. Drawing-wise, I see a couple things with Peter. He needs some more definition and value in his face and pants to better match the rendering on his siblings, and his right shoe is too boxy at the toe; it needs to come to move of a point like. But overall, again I think these are great. I'm a big fan of the books, and I would definitely be able to tell that these were the Pevensies without any support text.
@xin-li I think the first step is to consider which films or television shows speak to you on an emotional level. Then, examine the visuals for what is contributing to that emotional atmosphere. For example, and since it's almost halloween, I'm thinking about some of my favorite thrillers. Most of them are shot with low-key lighting, have desaturated colors, or may even be color graded into the cool color spectrum. But if I think about my favorite comedies, most of them are lit to be high-key and are in the warmer color spectrum. These choices help to reinforce the kind of mood that the filmmakers want.
Here's a link with some bite-sized info on how cinematographers/videographers/photographers approach choices in value and contrast in their work: https://www.adobe.com/creativecloud/video/discover/low-key-vs-high-key-lighting.html
Really good questions for a good topic.
The witch, however, is not improved in my opinion, and that's because....
It's kind of like what Lee White has said a few times - the value range needs to match the story and the desired effect. If we lose sight of that, it definitely can feel like we're stuck in a value and contrast routine, and to break that rut, my advice to illustrators would be to a) learn the principles and guidelines of value extremely well, so that you can then forget them, and b) approach our works more like cinematographers.