Hi everyone, I’ve learnt a lot again this slowvember but it’s time to post as the rest of the month is taken up with other commitments. I wanted an excuse to play around with textures and a less polished looking drawing style. Hope you’re all having a great slowvember, can’t wait to see everyone’s work 
I just wanted to thank the tutors and the forums. I managed to get my work published in a kids magazine.
I honestly would never have got to that point without svslearn.
It’s still a tiny victory, but it feels like a big step to me.
I always use notes from a checklist I made based on Will, Jake and Lee’s tutorials. It really helps me to think back on their lessons and keep on improving.
I’ve got soOooo much to learn from SVS yet, but I think that’s a good thing, like a huge adventure.
Hi all I’m just after some feedback on this. I’ve got it to a point I’m reasonably happy with, but I’d really appreciate some fresh eyes and opinions on it.
I thought I’d start a bad art lesson bin. Just a fun way to share the frustrations of bad art lessons we’ve had in the past and get them off our chest once and for all.
I can’t believe how much I’ve learnt with svs and how much more I have to learn with them, I’m very grateful. (I’ve just discovered the @davidhohn ‘s lessons too). So I guess this is a bit like gratitude by contrast, showing just how crazy some art lessons have been elsewhere.
My Personal favourite bad art lesson that was inflicted on us was:
DRAW THE TASTE OF COTTON WOOL 
Not perspective, lighting or characters no. Cotton flipping wool.
Please share your own (or feel free to argue the toss about this cotton freakin wool lesson)
Help Do you have any feedback for this sketch.
Does the boy at the front read well?
Does it illustrate “shocked” (while keeping it kid friendly
Any suggestions, feedback and crit at all are welcome.
Thank you
Nice work.
I hope you don’t mind, I did a quick draw over. Alice and Martin Provensons illustration show lots of lines which direct you to the main focus of the image, the keyhole.
At the moment the focus in your image isn’t as directed. It might help to draw up some rough thumbnails so you can work out your composition.
Hope this helps
@Perrij sometimes unrecognisable scribbles I suppose like loosening off before excercise or sometimes more like abstract line work. Sometimes I end up with a character that I can use in the future
@LauraA I’m guessing Will’s big, little, huge rule that you mentioned, might work really well here, depending what you’re trying to show.
(Also I didn’t draw over any of your perspective lines and this might have given it more order.)
It is a really fresh looking sketch and I think the way you’ve drawn it quickly really captures the action and chaos.
I’m just wondering did you try any thumbnail versions for another way of looking at it?
I did a quick abstract draw over of shapes and lines of action.
I don’t know if it helps in anyway at all, but it gives you another abstract viewpoint.
@LauraA I like the chaos. It looks like our kids going crazy just 10 minutes before bedtime 
Thank you so much everyone.
I really wouldn’t have made this little step without SVS. 
@Laurel-Aylesworth thank you Laurel, your work is cool though I’ve got so much to learn from artists like you.
It’s out now in storytime June issue.
I just wanted to thank the tutors and the forums. I managed to get my work published in a kids magazine.
I honestly would never have got to that point without svslearn.
It’s still a tiny victory, but it feels like a big step to me.
I always use notes from a checklist I made based on Will, Jake and Lee’s tutorials. It really helps me to think back on their lessons and keep on improving.
I’ve got soOooo much to learn from SVS yet, but I think that’s a good thing, like a huge adventure.
I really hope you get your money. The same thing happened to me years ago and I’m afraid to say it put me off being an illustrator for a long time.
I managed to speak to agent who gave me free legal advice. I sent an email twenty years after the event and his response was clearly a panic and full of excuses.
I doubt I’ll ever see any money as it would cost more at the moment to take him to court. However I learnt that staying polite and professional can still be in your favour.
If it ever goes to court, they take into account the behaviour of both parties.
@carolinedrawing
I agree as a reader you hardly notice it.
Thanks for mentioning the gestalt laws, I had to look it up. Its interesting how your mind fills in the blanks as if there was no break.
@idid said in That gutter problem!.....where do you draw the line?:
from my experience with editors, the only time they asked me to revise when something crosses gutter is for characters' face/head. No problem with body of character crossing lines so far. I also found sometimes illustrators put body of main characters on this on purpose, to guide the readers. Are you working with editors/book designers? if so, don't worry about gutter too much
because when you send them your drafts, they will pick out such issues or tell you any of their concerns immediately.
Thank you for your insights, you’ve put my mind at ease a bit, maybe it’s not the massive issue I thought it was. Yes I’m working on spreads and they have book designers.
So as long as faces and heads are away from the gutter it should be fine.
I’ve started to discover the problem of the dreaded gutter more and more.
I just wondered what everyone’s thoughts were on it.
What is acceptable when crossing that line?
Characters and main characters seem a big no.
Background elements see fine.
Also the effect it can have on composition, as it halves your image instead of our neat compositional thirds and fifths.
(Sorry I’ve not posted in ages I’ve had a few tight deadlines)
I hope you’re all doing well and managing to stay safe.
