Update! Let's just pretend that seahorses arent territorial and that they live in groups.
Not sure if I should draw every strand of seagrass or not
Cute concept! Beyond what others have said so far, I think one issue is the elephants. The right elephant's back left leg is on the same plane as the front right leg, perspective things as such. The elephant's body language could be more dynamic, e.g., trunks could look bent in a way to show stress. As far as lighting go, I think the idea that the two mice having their own natural spot light effect made between the elephant's shadows, could be cool. Looking forward to how this piece turns out!
@inkandspatter For both, Id say push the size differences. I love the idea of the second one, so Ill talk about that one. In Finding Nemo, when Nemo looks over to the unknown area where the diver's boat's are, it shows a huge expanse of ocean. I think your composition could also include the size of the water as well as its creatures. I think 2 could benefit from a landscape position, without the border. In the background, the groups of wildlife could be spread.
For 1, I think bringing the kid closer to the machines, or drawing out the shadows to overlap over the child, could emphasize the size. Or perhaps, just focus on having the one machine, of the one the child's toy is based off, and make that machine larger-than-life with some details. , or neck breaking awe by the child.
@theprairiefox As is, the body language of the squirrel looks like they are meeting an old friend. The tail is curved and relaxed, the smiling like expression, the perked casual listening ears, so on. Since you have noted that the squirrel is antagonistic toward the bear, the body language may, for example, be with ears down, tense guarding pose over the pinecones, either hugging some cones or spreading her arms over them, body lowered and sharply bent tail.
I think the side profile of the squirrel sticks out compared to the rest of the composition. As the bear is facing the squirrel looking down, I think it would make sense for the squirrel to to facing the bear head on as well, looking upward.
The trees appear to end in rounded off, cylinder like shapes. Perhaps its because this is just the sketch phase, as the trees would probably need to recede into the sky some more and the lines that make the trunk need to converge closer as the perspective goes higher. I think the trees don't have to bend inward toward the middle of the art piece, unless there is a threatening aura given toward the squirrel, like she is "trapped".
Those my my critical thoughts on the idea so far. Overall I think this is a cute piece with a cute story!
@theprairiefox So after watching some of Will Terry's Composition 2.0 Class. I haven't gotten to the Balance part, but regardless, I went and changed some of the layout of this piece.
I wanted to make perspective happen in the piece to make it more dynamic to recede into the top right corner where the Dragon's Gate is. I also wanted to make it look like the waves are acting like the larger figure's fins to push the carp off the cliff.
Im not sure if its better to cut the picture off at the "1" line or add the rest of the background. Im biased to create the whole image, backgrounds in all, but what do you think?
I always bounce from idea to idea so heres three ideas.
One project (?) that I have been working on for the longest time is just my retelling of transformers in the form of random short stories with illustrations or doodles to play with ideas.
I am also working on a short comic story idea. Roughly though.
Also, my art for the BIG art contest : D
For the wolf idea, I think it would work better from a change of angle, in where we see Red Riding Hood walking toward the viewer, and the wolf is a looming figure.
My vote goes to the Thumbelina one. There's always a sense of fear I have of pets somehow growing larger than life, especially cats. Plus, I love the cat's face.
So I was playing around with the concept of perspective here and I was wondering...would this piece look better at a different angle?
I decided to go with the idea that the focus is being the largeness of the other figure, and to make more threatening features on him. However I am wondering how to pose him?
By far the piece I am already working on would be the easiest for me to complete coloring wise I think, not sure if it is the best choice.
Im also think maybe adding the Dragon Gate may help, as it shows how far the carp is from his goal, compared to the large dragonfish and the waves of the river itself.
@aaron-pierce I think the second has stronger composition. For the first, I feel that the expression given by the man on the left needs more reason than that the other guy is big. Like, did the big man just got the promotion that he was supposed to? Is the big man a iron fist boss but for some reason had a change of heart? Did the big man just get fired by the small man, and the small man is suprised that the big man was all "I dont need your scrutiny or job I quit"? Is the big man absolutely loaded with money and it shows? Is the big man the lead of a ballerina troop? And so on.
Though I agree I'm not sure what going on in the second picture, but it's a sketch so that's fine, I like both ideas ....Is it a robot's leg?
I think this idea could incorporate age to the human character. I think this could best work either a child or an elderly person, as both age groups would be surprised by the weight of an overgrown puppy and would contrast from the big robust dog. You can show their age by hand detail (such as small and stubby for a child, wrinkly and veiny for an elderly person), and leg proportion, and maybe even in the environment design. Thats my thoughts on it, cute idea!
@theprairiefox So I went and took a better picture of this image and went into Photoshop to color correct for what this image actually looks like in real life. Sorry, I uploaded the original picture and didn't realize how dark it was. I need to get a quality scanner honestly.
As for the legs and tail, to keep in mind for another piece, should they be brighter or darker compared to the background?
@theprairiefox Thanks for the feedback! I understand what your saying, and I looked up the class, it sounds like something I definitely need. Im going to watch it now!
Good goals! I love how they all tie in together quite nicely.
Not waste my time in 2019. This is more of an overall life kind of goal, but totally affects illustration for me. For most of my 20 years, I have been heldback from art by others and my own self. Been going to college since 16 for a career path I did not want, and had various low points. Now I am in a better position, and have reoriented myself to allow myself to try art.
In my life, I am the only person who is going to encourage me. I have to be the one to push myself to do art, to just do me, and realize that progress isn't linear. That everyone has their own way of getting to their artistic goals. That a majority of art people I look up to have been doing their thing for years if not decades. I mean, I might suck but no one is going to stop me from posting, so why not just throw art into the void of the internet?
Make full illustrations. Full color, full backgrounds. Once a month! It was only the late bit of last year that I started to do all of that, mostly because Id get discouraged when things did not go right. I think I am more of an illustrator than a character designer, so I think its right that I do the whole deal than just make characters on a white background.
Incorporate my art goals in graphic design. I go to college for Graphic Design because that it the closest program to illustration that is in my city. I am the kind of person who needs someone to teach me programs like Photoshop in person, as well as have some social interaction with people. While Graphic Design is not ultimately my goal, I think its a good perspective to know how to communicate ideas clearly in a variety of visual ways. I know that if I think a little deeper, I'll find a way to broaden my visual art skills.
Do more studies. I just recently subscribed to SVS, as it seems like the perfect resource to learn how to illustrate better. I will try to login three times a week, which seems easy enough now, definitely a bit challenging when school gets going. I feel that I don't lack ideas, I can make ideas out of even the most mundane things, I just lack technical skill and art fundamentals.
Focus. I have a lot of story ideas but they don't have a depth to them. it could be paradoxical, do I not have full ideas because I jump from topic to topic, or do I jump from topic to topic because I don't have full ideas?
Dont make infodumps. Make stories. As you can tell, I can say a lot. I just want to get my ideas out there but making long posts about scattered concepts makes no sense to read. No one is going to get invested in a slew of worldbuilding building that have no emotional/visual value to them.
Experiment. With different mediums and styles. I don't have a business presence, so theres no reason to stick to one way of doing things. I have prismacolor pencils, gouache, watercolor, charcoal, pencils, which some I tend to use less than others. Im also trying to get myself into using the digital art tablets and programs that school offers for free. As well, experiment with different ways of storytelling, such as with animatics or 4+piece illustrations that don't need words to tell a story.
Start my comic story. I have a sci-fi children's story idea that I want to see through. Compared to my other works, it will have simplified, round styles for my own drawing ease. It will be in ink and watercolor. I am planning to make one page a week, probably going to end up doing one page every two in honesty.
((Better quality image posted later in chat))
This was my first time using gouache! The quality of the image is.....eehh but my phone camera is like that a lot. So as far as critiques go, I am aware of the image quality.
The concept of this character is of a design from someone on instagram. On IG, there is an accompanying short story.
I was sort of in a time crunch, but I think for what this is, which was a test trial of gouache, I think this turned out quite well.
@reddprime I think my favorite designs here are the most left and most right. The octopus just speaks of all kinds of potential with dynamic expressions and poses like a cartoon villain, which I think sounds fun. The character to the right seems like a chill laid back kind comedic of character. Plus, I like the color schemes of both, they pop out.
Traditionally done watercolor art done of two dragon characters! This is the first piece I tried to work on backgrounds that said something about a character on this piece. Looking at it now, this doesn't have the best art fundamentals in place, but Id like to hear what other people could see that maybe Im not.
The scene is in the workshop of the larger dragon Ghiacoco, who is an old jack-of-all-trade scholar. He's an eccentric scholar, and it seems like those kinds of people have random items from different places in the world and maps and globes, so I tried to emulate that here. The smaller dragon is Kiruin, a young snarky trouble maker. Ghiacoco is just basically giving Kiruin boring tasks to prevent Kiruin from getting himself killed.
This originally was to have a short story, but the effort needed to make the story hindered me from posting this online, so I went without it.
Fun fact! Ghiacoco is actually me because I use dip pens and also have bad posture.
For this concept, I wanted to go with an illustration. The basic gist of the story is based on the Chinese folklore of the Dragon Gate of the Yellow River. It is said that if a carp was to swim upstream and jump the gate, they would become a dragon.
So, the large figure I am not sure what he is, either a spiritual guardian of the gate, or an unsuccessful carp stuck in spiritual realm magic limbo. I am leaning on the last idea. Either way, the character questions the small carp for his reasons for crossing the gate and assesses whether he would make it. I wanted to have the idea that the concept of BIG isn't necessarily in the large figure's size, but of the large question he poses. Does the small carp took the perilous journey to become a dragon to misuse the new form, to act as a god, for protection, to help others, to prove others wrong, etc.
The first picture is the new WIP.
The second picture is the original sketch idea I made months ago. The plant sketches were to symbolize that the large figure was a deceased spirit of warning whose physical body was now full of growing plants, to show how long ago all that was, the plants making up what would have been dragon parts.
In the new WIP I incorporated more "draconic" features on the large figure. It reflects the second idea, as somehow he almost became a dragon but something happened, either whether he was physically stopped by reasons beyond his control, or due to some gods antics/magic/"not worthy enough" aspect that prevented a full transformation. He isn't accepted by the world of fish or of dragons or of the gods, but definitely hunted by the world of man. He's probably spiteful and bitter.I also wanted to incorporate more "traditional Chinese style art style".
The small carp is just a young 2 foot carp.
I am planning to make an accompanying short story with the elements described! Thanks for your time and consideration!