Here was my 3rd Thursday submission. Perspective modeled in Sketchup/Line Art, Color and Shading in Adobe Draw on iPad pro.
@Will-Terry Your anecdotal experience in your role as an instructor of artists is certainly a immensely valuable viewpoint--especially when you have personally dealt with seeing people actually give up after receiving what, from your side, seemed to be benign, constructive feedback. I suppose in every field, or walk of life, there are people of widely-varying psychological dispositions. Some more thick-skinned, others much closer to paper-thin. I can see why it's necessary to consider everyone as they are, rather than asking them all to be something they are not. Nonetheless, thanks so much for giving my idea some thought. I really appreciate it
I would put several layers of mountains in the background. The mountains closer would have a thicker outline and more vibrant color, whereas the mountains behind and in the distance would have thinner line art, and lighter color (see reference image I have included). Maybe have the only visible sky just above the owl and pilot. Soooo many ways to do this. You could use clouds to take up some of that negative space too. Especially if they were in the foreground with the owl. I do like the different groupings of trees as you have them. Too many trees could seem too busy. Anyway, these are just suggestions. I am not a stellar artist or anything
I kind of really like the witch on the ground next to the tall house that is doing all that damage. The contrast of her being so small by comparison, and so calmly next to the carnage, is really nice. I'm not sure I prefer any of these perspectives, however. I would suggest doing at least 10 more thumbnails of possibilities. Here is a simple illustration that I have always admired:
I think this type of perspective would work well for your concept. I say put Stanley more in the lower middle of the page, rather than all the way at the bottom, just like you see here. I find myself often borrowing the perspective of pieces that I really like.
I love the colors, and the concept. The trees look amazing. But, I'm curious... why is the wolf's hand clawing away from Red Riding Hood? Shouldn't the hand be facing the other way, as though the wolf is heading toward Red? To me, it looks as if the wolf will be coming toward the viewer. Granted, maybe I am seeing this wrong. If so, sorry!
@Rich-Green Yes, so surprising. I just recently happened upon SVS after searching for videos on YouTube regarding illustration, started watching Will Terry's stuff, came here, and was amazed to see somewhere near the Illini Valley referenced in maybe the third post I read. I grew up in Marseilles, but have lived lots of different places in IL. Charleston, Champaign, Chicago, DeKalb, Aurora. Haha. I've never lived in Joliet, but close
This is probably going to sound dumb, but when I look at this piece, it instinctively feels unfinished to me without the monster having a nose. I mean, I know it's a monster, and my imagination can correct me by saying, "Dude, it's a monster, not a person. He doesn't need a nose." Yet, my mind still wants to see one. Haha.
I liked the suggestion of @mattramsey about the fence in the hand, because at first glance, I couldn't tell what was in the monster's mouth. I had to search the image to see what he might be eating. Maybe that's because the chunk of the missing fence was so close to the body or something.
That said, I really like the old man character, and the straight on shot for the perspective really works. It's not always easy to achieve a sense of depth when you make this choice, but the repeating houses and fences in the background do wonders for that. Great job on those elements.
@gimmehummus makes some very good points about the legs. Also, consider this... the dragon is juuuuust coming up over top of that little hill. And yet, the body is angled as though he is already traversing parallel to the elevated ground. For him to be in the pose he is now, he'd really have to be much farther on that level already. Like, where the rabbit is, for example. Where he's at now, you probably wouldn't see much of his legs or tail at all. They'd still be out of sight behind the hill, and his body would be angled upward, not down parallel to the ground he's landing on. I think that's what catches my eye the most. It's almost like an imaginary hand is yanking the backside of the dragon upward--which is why I originally wondered if perhaps the dragon was flying and swooping in... just landing at the moment we see this. I love your style and rendering. It has a very appealing old-storybook-feel. But, the gesture of the dragon is still quite a bit off.
I actually like this composition. Maybe mountains in the background with a lot more trees, instead of sky? I like the inclusion of a structure of some kind, as it gives the owl-pilot a destination. There is currently a lot of negative space to the top left. Will a caption go there?
Damn, the sketch I am working on has a tree house too. Although it's a night scene in a pine tree forest. But, still...
I like cat forward. And maybe a little less look of glee on Stanley's face. He seems like a serial killer in the making by expressing such wonderment at bird murder in progress right before his eyes. Haha.