Hey guys,
Just wanted to announce that I'm finished with my Fancy Animal card game project.

I do have it for sale at The Game Crafter https://www.thegamecrafter.com/games/fancy-animals
but it's pretty over-priced ($31.99 plus shipping). I have it set at something like 10 cents over the cost of the game (so I make 6 cents and TGC makes 4). That's the problem with print on demand--no bulk discounts.

I had Panda Manufacturer give me a quote and I can get the game for just over $4 per unit but that's at 1500 units. Maybe kickstarter some day...I don't know.

Also, I've got the free print & play files up here: https://www.boardgamegeek.com/article/25556930#25556930

It's lower res and you have to do all the work of printing and cutting out the cards but it's probably the cheapest route (depending on what your time is worth to you!).

I plan on putting out a game play video soon. Right now I just have this one that I used for a contest:
https://www.youtube.com/watch?v=lmIvLZSOY3Y
But I need to update it with the final cards and go into more detail on how to play, etc.

Anyway, just trying to keep my self accountable to myself and actually finish projects--one incentive for me is that I get to post that I'm FINISHED!

Just announcing that a light and fun trick taking/press your luck card game I did art for is up for sale at The Game Crafter
https://www.thegamecrafter.com/games/8-arms-to-hold-you#.WLxaVNRyUDc.twitter

It's called 8 Arms to Hold You and it's designed by Rob Couch (designer of Saloon Tycoon and several other games)

We have it priced so that it is at cost (meaning neither the designer nor I make any money from people buying it). We did that because until we get it sold to a publisher (if that happens) we just want people to be able to enjoy it and let us know what they think.

Here are some images:

I went with PrintNinja for a book I recently illustrated (thank you @Lee-White for mentioning them, they've been great to work with) and they sent me some of the photos they snapped of one of the physical copies--the other ones are being shipped.

I did not select the hard copy proof option but they are sending me one anyway which is really nice (technically it is not a "proof" since I had previously signed off on the electronic proof and they've already been printed).

The cover does seem to be much more blown-out/high contrast than I wanted but I'm hoping that is due to the angle/quality of the photo. We will see.

I'm excited to finally get this in my hands. It's been over a year project!

If you have any questions on the process of working with PrintNinja just let me know!

So here is the last fancy animal portrait I needed to do for my card game. Now I just have 16 pieces of clothing and some graphic design to do!

So I'm still working on the final logo but in the meantime, here is the fancy parrot. I just have the fancy pig left and then all of the clothing cards...and the logo....and the rule book layout...ugh.

This is an updated design for the box (different sized box). I am actually really happy with it:

Here it is in action on my shelf:

Hi guys,

Not really sure what I'm looking for but maybe if you have any comments, suggestions, or notice anything way off in the sketch. Landscapes really aren't my specialty.

It's for an board game for 2 - 5 players where people take the role of one of the shop keepers (blacksmith, trader, inn keeper, alchemist, farmer) and they try to create goods and then sell them to the wandering adventurers that roam through the town. Think of every adventure game ever but instead of the adventurer you are playing the NPC shop character.
The game has a bunch of really unique features (for example: each player board operates in a completely different way; the blacksmith is all about using a card deck to craft weapons/armor, the farmer has a worker placement mechanism, the alchemist uses dice to build potions that have various effects on the game, etc.). It's being designed by Carl Van Ostrand (it's still in the development phase but I was able to play a prototype).

I'm going for a very Hearthstone (World of Warcraft) feel. I plan on doing a version that has the different shop keepers standing in front of their respective shops.

This could possibly end up fitting the "Draw 50 things" challenge (or come close). I don't have a lot of the detailed elements in yet. NOTE: That "thing" in the foreground on the right side is supposed to be the Trader's caravan.

One of the problems I have is that I actually don't know the final size of the box so I might end up re-painting parts of this (or cropping, which would be easier). Another problem is that I'm not 100% sure where the title "Town Square" will go but I THINK it will go over the "empty" cobblestone space. The other option would be to increase the sky and put it up there.

Here is the updated (pretty much finished) picture:

Might be a weird tangent on the upper left (tree branch/building) so I'll probably adjust it. The other thing is that the edges of the image will be wrapped around the box top. Probably 1-2" of it.

@Lee-White said in I don't like my work.:

So maybe pick a few images you like from other artists and copy them.

@papermoon Definitely this.

I would also say 2 things:

1. Constantly browsing other artist's images is a double-edged sword. On the one hand, doing so can give you tons of inspiration and ideas. On the other, at some point, maybe around image 46 or 135 or even 666, depression starts to really set in. It's a common enough experience that I've heard (and read) artists talk about it all the time.
   A
   t some point you are just sitting there consuming other people's work, not creating your own, not growing, etc.

2. Consider the alternative to feeling bad about your art. What if you were tremendously happy with your work--everything you did was just so glorious. Where would the growth be? What if, like every beginning to mid-level artist, your work ISN'T that great? Would you really want to be deluded?
   Personally, whenever I feel really really good about a piece there is a little part in my brain that says something like: Ok, I'm thinking this is so awesome...what am I missing here because it probably isn't THAT good.

On the flip side, when I create something that I think is awful I try and say: Am I just being too critical? What specifically, isn't working, how can I improve.

Almost by definition, a beginning artist will not know what to improve or maybe more accurately: they won't know how to improve it.

That's why @Lee-White 's advice is so dead on. Do copies of others work and get involved in this community for feedback and to bounce ideas/problems off of us.

You will grow leaps and bounds.

Just thought I would throw out this update.

I've been working on doing art for an upcoming card game by Rob Couch (designer of the board game Saloon Tycoon).

Here is the original sketch:

Here is the final box art--the logo will probably be moved around some and some final tweaks will be made I'm sure. This will be a "tuck box" so this image will actually wrap around the sides of the box.

It's a light, trick-taking press your luck card game for 3 - 5 players. Hopefully out soon-ish (the art is all done anyway).

I really tried to mimic traditional children's books--rather than the "digital" look. I feel like I was fairly successful in that regard.
My main tool was the PS mixer brush. I used it exclusively for about 90% of this.

The interesting thing was how it simultaneously saved time and created "happy accidents" while also greatly increasing the time it took to get some elements right.
For example: I often found myself painting a tentacle and in just a few flourishes I was able to achieve exactly what I was wanting. At other times, I'd re-paint the same area over and over because the brush load or wetness or whatever was just making a total mess of things.

Anyway, if you've never tried the mixer brush setting I'd recommend it. (I should also say that the actual brush I used was a "chalky" brush from a set I got from the artist "Tamplier" and then I put in on the mixer brush setting).

@holleywilliamson That's not a bad question. The bad answer is: I am not sure.

I will have 5 characters to put into the town so I'm guess that the main focal point will be the Trader (she will be standing in front of that cart). Then the eye will swirl around to the blacksmith, farmer, inn keeper and alchemist. Maybe.

And of course, the title of the game will be on the box (lower left) as well.

Here is the updated (pretty much finished) picture:

Might be a weird tangent on the upper left (tree branch/building) so I'll probably adjust it. The other thing is that the edges of the image will be wrapped around the box top. Probably 1-2" of it.

Hmmm...not sure if it's the fact that the bunny's head is mounted that is making it creepy.

In fact, I'd say it is the fact that the animals are "sorta" looking at the viewer or boy...it is kinda ambiguous where they are looking honestly.

It would possibly be less creepy if you just had the animals staring ahead (to the left of the frame).

However, even then, I can't decide if the boy is looking up with tears welling up in his eyes or is like "hey...wait a sec..." which is kinda funny--but still kinda sad.

It could be that the overall color pallet lends itself to a melancholy feel.

Personally, I think the ottoman is good as is. In fact, I think you've mastered form, lighting and material on 90% of this piece. It's just incredibly good.

The one crit I would have is that the animals themselves are coming across a little "fake"--not sure if that's the right word. For example, the deer neck (which comes across as very long, imo--maybe shorten a tad?) appears to be made of a smooth material rather than short fur.

But this is just so great overall. Portfolio piece for sure.

PS (or any thing with layers) it can make the "transparent" liquid process (or smoke, or ghosts, or magic, etc) a LOT easier.

With the liquid on one layer, add a layer mask to it (for non-destructive editing--if your program doesn't do layer masks use a low opacity eraser), take a brush with low opacity, and "paint out" sections of the liquid. That way, the layer behind it will show through.

This will get you a certain percentage of the way there but then you'll obviously still have to paint in specular highlights, shadows and whatnot. For that a reference is invaluable.

@christine-garner I'm very interested in this process--I'd love to know more! I looked at asset forge a bit and I'm not sure I completely understand it.
Do you use Asset forge and blender in tandem? Or was this scene (trees and house) just asset forge?

How easy/difficult was it to make?

Did you create it "head on view" and then rotate?

I have a lot of difficulty with scenery/landscapes (particularly dwellings) and for a long time I've thought that I should learn some kind of 3D modeling program just to get some the basic shapes and perspectives down. Once I have the framework I'm fine, but I spend hours and hours trying to draw stuff that I sometimes end up completely scrapping.

As far as this piece: I am liking this early stage--I definitely get a sense of being closed in.

really great!

big time red flags.

these are all really great!

I think on the first one it would be worth it to spend more time on the lighting of the little girl--you've got so many gorgeous things going on that the sunlight is coming across as a little "generic"* on her. Also, I think that the lizard is a little too bright and a little flat.

*I think it needs some banding effects, for example.

@Jason-Bowen interested in your series on painting a master piece. I know those videos can take a reeeealy long time to make (not to mention the actual the painting!).

Can't wait to see the progress

@collector Perfect---you're doing it man!

I think this tells us a lot and will help everyone help you. In some sense you are right: it is a "simple" drawing. Therefore, 8 tries at almost an hour each simply tells me that you are still solidly in the practice stage--which, obviously, is where everyone starts!

The good news is that if you continue doing things like this you will move out of the practice stage and into the next.

The GREAT news is that in order to do that you simply have to keep drawing things--which is great because we love doing art right?

Feel free to do a color version but honestly, if it's overwhelming for you then at this point I'd say stick to working on studying drawings.

Will Terry has a ton more "reference" material out there on the web and, of course, there are others.

Maybe start a sketch thread and post your studies with the original on one side and your copy on the other. Do a bunch of those. Like a lot.

And then a few more. Everyone is different but it'd be good to get it down to where you could sketch that frog in...I don't know...5 - 10 min*?

*I'd like to hear from others here if that's a reasonable time for that piece of art. Obviously, if you are coming up with that type of drawing from your head it might take a lot longer. Sometimes I think my sketch phase is as long as my painting phase--I'm constantly erasing and starting over. I can spend hours on an initial sketch. Again, that's when I'm creating the scene/character from scratch.