Hi Susan! Sure, we love podcast suggestions! : )
I'll mention this one to Jake and Will and see what we come up with.
BTW, I LOVE the forums! So I'm definitely here by choice.
This is a really nice piece! Your drawing skill shows and you have good control over the medium. So good work there!
But, I feel like you are working on it in the wrong order. You have painted the final and now are looking to change it, but your value, composition, and concept are already locked in. Which I feel is WAY too late to be making global adjustments.
I'd use this as a rough comp. Start sketching out some more value studies and compositions and see which one hits what you are trying to say.
The snag with this piece (for me) is figuring out what the actual focal point is and what is happening in that area. Right now my eye goes to that central elephant, but there isn't much payoff there. So staging the animals differently might be something to try out. The fire sort of looks like fire, but it also looks like a river going back in space, so that is a little problematic too.
So I'd suggest going back to the sketch stage and work this out before hand. Maybe present 4 or 5 different value studies and start there. The end result will be much better for it. : )
@Sarah-LuAnn I think all of us would say that both are important. We were stressing that craft is pushed so much in school without that balance of how to actually come up with good content. So maybe it sounded like we were saying that craft doesn't matter, but that was not what was intended.
Craft is EXTREMELY important. It Has to be focused on in a very deliberate way. One of the points I was making in the podcast is that knowing what kind of content you really want to make will dictate what kind of technique you will need to acquire.
I am very interested in technique. Which is why I'm teaching an interactive basic painting class now where we don't focus on any content. Just how to make paintings in an intentional and controlled way.
So you are right about concept and technique working hand in hand. That is exactly what we feel as well. : )
@Aleksey that is a good question. It seems ok to me, but I thought I'd ask a few people. I'll update as they respond:
David Hohn: "I don’t have an immediate reaction of “NO!!” so I’d say -- sure. It’s ok."
Jake: Waiting for response
WIll: Waiting for response
Hey guys! So glad to be back at it in 2019! This was a good month and everyone seems to be kicking some booty. Makes it harder and harder for me to judge this thing! Lot's of stellar entries with more of a variety in media than I've seen.
As always, there is three criteria that I look for in judging this:
1. Concept: how well does your concept fit the overall theme. Is it a unique solution? This is pretty big for me. There are so many cliches in illustration that I'll tend to pick something a little more unexpected. For example, I'll shy away from the ol' "monster in the closet" idea on an image because I've seen it so many times before.
2. Technique: How is the composition working? Good values and mark making, etc.? Does the technique compliment the concept?
3. x factor: This really comes down to my personal preferance and if I really like it or not. All judges use this criteria for the most part (they just don't admit it). The good thing (I hope) is that I have done realistic art and very stylized art and teach all of it So I can appreciate a very wide range of work. I am not looking for versions of what I do in my own work.
So with that in mind, I hope you realize how tough it is to even narrow it down, much less pick a winner. But it's a contest so let's get going!
1st Place: Laurel Aylesworth @Laurel-Aylesworth
Laurel really stopped me in my tracks with this goldfish image. Beautiful color and very unexpected reactions from our characters. They both seem so unsure of what is happening. Very dreamy. the technique looks very polished. If this isn't from a specific book that Laurel is writing, it needs to be!
2nd place: Braden Hallett
This technique of using something outside the picture window to imply something going on in the shot is something I LOVE. I use it whenever I can and even talk about it in the Visual Storytelling video (which you have all seen right?!). The narrative is the star here and everything supports it. Perfect choice to make the highest contrast and most saturation right in the focal point of the shadow. Sa-weeet!!!!!!!
3rd Place: Adrian Kuhn @Adrian-K
Look at those feathers! Dang! Beautifully rendered and very modern feeling with the white background (that's very hip in publishing right now!). So much energy in this piece!
Runners up (in no particular order):
Aleksey Nisenboym @swordofodin
it's friday afternoon/evening right now and that beer is lookin' pretty tasty right now! But I think those little guys are in over their head! Loved seeing this one develop on the forum!
Sometimes simple and sweet is the way to go. And this image hits that note perfectly. Lovely!
Kristin Wauson @Kristin-Wauson
That mouse aint messin' around and that cat knows it. I liked seeing the drawing here in the final paint. I'm not sure why most people paint over their loose and energetic drawing, but I always think that it adds something to it.
Nyrrl Cadiz @nyrrylcadiz
We just had a big mouse, now it's time for a big cat! This one is so cool and I love the drama happening between the characters here.
The concept behind this is so simple and funny. It takes a second to figure out what is going on and the payoff just makes me laugh. I want to see more of this type of subtle humor. If Julia has more like this in her portfolio, she could be very busy with pro work over the next few years.
That's gonna do it for now. Seriously, there were like 15 more I could have easily put in here. You guys did a great job and I want to encourage you to keep entering. Feel free to comment on which ones you think I left out or whatever. They are all SO GOOD!
Keep it up! : )
We have a whole big thread on this topic in the forums somewhere. Not quite sure how to find it. Can anyone help out with this?