My interpretation. Tons of fun doing this and I love seeing everyone else’s take!
My interpretation. Tons of fun doing this and I love seeing everyone else’s take!
I’ve only been around here for about a month and this is my first time to enter the prompt contest. I’d love some honest feedback on this piece if you see any areas needing improvement or perhaps suggestions on how to approach future prompts. Going through this exercise is teaching me a lot about illustrating text and it’s also a lot of fun!
Hello everyone, it’s been a busy few months so I haven’t been around much but I did manage to color this piece from October. This is my first picture book portfolio piece and will probably get pulled as soon as I get a few more but could really use some honest criticism to improve this and point me in the right direction for the future. Thank you
Warm light/cool shadows or cool light/warm shadows is a principle but not the rule. Think of it like this- there are two light sources in your painting. The first is called the "direct light" and this is typically what we think of as the light area. The second light source is called the "fill light" and this gives the shadow it's color. If there were no fill light the shadows would be black.
So, if you go outside on a sunny, snowy afternoon you can see the direct light and fill light working in nature. Everything the sun's yellow warm light hits is in direct light. The shadows would be a blue because the fill light is the blue sky. So this setup is definately a warm light/cool light situation.
But... it's up to you. You can also have a warm/warm or a cool/cool and it helps to think of it as a direct light color/fill light color relationship.
To me this kung fu panda art looks like warm light/warm shadow. All that said, I am open to learn if anyone has something to add to this or if I've gotten it wrong. I'm also self taught and nowhere close to where I'd like to be as an artist
Hi, so my goal is to create a brand new portfolio starting next month (maybe I won't be joining in the inktober fun, after all) and I was wondering if you'd all be so kind to answer a few questions I have.
You don't have to answer all three and I'm mostly curious about question number 1 Thanks!
Hi, I'm Zach. I just started watching the SVS classes. I'm from the US but currently live in Korea with my wife and son.
I've been drawing for a few years now, and feel it's time to take my skills to the next level. I have a lot of musician friends but not many illustrator friends so I am happy to be here. I'm looking forward to taking part
I can't speak on contracts because I have worked with self publishers on book covers, album covers, and interiors for chapter books but always faith based. I was never screwed over so that's lucky and I'll definately use contracts from this point on.
Here's some things I learned that may be helpful.
~Get as much info about the kind of drawings, how much detail they want, agree on how far you're willing to take the art beforehand because you don't want to agree to a price and find out they want a lot more than they originally asked.
~Ask how much creative control you have. You want to get portfolio pieces from it as well as payment. Also probably want to make sure that there vision for the project is an art style that you'll enjoy making.
~I've heard some people set limits on the number of revisions. I had someone come back to me after 6 months for a revision. I did it without complaining because it was an easy fix but I wasn't excited about making the changes.
~If the budget is small, consider offerering simpler versions of what they want. Like black and white or simple spot illustrations. That's if you really want the job.
~I would ask what piece of yours they saw and liked so that you have an idea of what they are looking for.
~Negotiate for half up front if you feel that's right.
~Most of all, get all the details of the job first. I know I said that but a few projects turned out way bigger because I didn't know how to interview clients.
So this is a lot, and I am an amateur with little work experience but these are things I wish I had done when I worked with self publishers. Will Terry and Tyrus Goshay have a really good video on youtube about working with self published authors.
Still in progress. Can I have some feedback on the concept and composition? Everyone was really helpful in the sketch phase. Also, does this picture make sense outside of the context of the contest? I want to know if it is worth painting for a portfolio piece.
I've been thinking about this for a couple weeks and would like to hear some other artist's opinions on the subject. I know characters and things getting lost in the gutter is bad but what about when the focal point of the image purposefully crosses the gutter? When do you think this is okay, and when is it not okay?
I'm new to picture books, so I'd be thankful for any thoughts or opinions to help guide me as I start down this path.
A little confused about the story. It looks like there is a girl floating up while reading a book. She's on a stage with an audience watching her. There are broken tvs scattered in the back. I think the story means that she is reading and she's become a part of the water world that she is reading about. The broken tvs signify that we should turn off our tvs and devices sometimes.
That's my take on it and maybe things will become more clear once you begin to sketch this out a little more. I think the value structure, dark foreground, bright background looks good and I like the colors from the first one, as it looks magical.
I'd love to hear what you had in mind for the story, and my critique would be to figure out what you want to say and make it as clear as possible.
@Braden-Hallett - Libraries, caldecott winner lists online, other lists online, and looking at everyone's dream portfolio here. I don't yet know what will make the cut for my top 20 pieces, but I've been taking about 20 minutes each day to research new artists.
@Chip-Valecek I think if the pieces look different stylistically it's okay because our job is to steal little pieces from the artists we like and allow those combinations to form into our own unique style. That's my take at least. I am trying to stick to published childrens book illustrators at the moment though, but that's the only self imposed constraint.
Everyone else had great feedback so I'm just going to add a bit to that. My first thought was kind of along the lines as @Aleksey with it looking rather safe for a chase scene. If you are okay with wonky perspective, you could try playing, exaggerating, and pushing the perspective to create dynamism and a sense of shakiness and unease. You could also try falling rocks to go with the perspective stuff to indicate danger. You do great work, and this sketch looks awesome already, so go with what you like/have time for.
I spent way too long on this :smiling_face_with_open_mouth_cold_sweat:
So, I thought I knew myself better, but this turned out much different than I thought.
I am noticing a bunch of stuff that I've written down but it's a long list and you all don't have to point out any commonalities that you see. I thought instead I'd talk about how I came up with this grouping and would be interested in hearing how you picked yours.
I set 2 rules and I wonder what you guys think about them? The first rule was that I would only choose published picture book illustrators (admittedly, I don't know what Ilaria Zanellato does but she looks the part and I love her work).
The second rule was that I would only pick one piece from each artist. I did that so that I would be forced to choose only art that I really love and with a wider range of artists I thought it would be easier to find common themes and techniques that represent what I want to do.
Also, 1% doubt and it was out. I cut a lot of great stuff but my gut told me it didn't belong. (Wipes sweat from brow) I'm done now, right? Oh yeah, now the hard work begins
‘ Here’s a pencil draw over. It’s not perfectly accurate but I just wanted to give an example instead of just saying to check the perspective. You can rework it to whatever suits you and could go in and apply the principles of perspective to your characters as well. It’s good to fix these things in the pencil stage. I recently had to redo a painting because the perspective issues were killing me to look at. I hope this helps and forgive me if I over posted Let me know if you have any questions and I look forward to seeing more of this project!
It looks like the thumbnails would all probably work and you know what your vision is. On the top drawing, I'd try to sihouette your character a little better so that the body parts are separated out and your character would be recognizable at a moments glance. Here's an example I found online...
I've actually heard of people buying used paper and using the back but I think it would have to be special paper or real cheap.
I have the same problem, paper with failed art attempts on one side. Some ideas for how to use the paper...
-finished art pieces (who cares what the back looks like, right?)
-lining your ferret cage
-creating traditional textures for digital use
-give away the old art as gifts
-taping up on your windows to block light
-experimenting with mediums
-let a toddler draw on it
-make your own, new paper from it
At least this is how I used up my old paper, minus the ferret cage.
@Erin-Cortese This is awesome! One bit of feedback, if you follow the light from the moon (which looks to be your main light source) there would also be a cast shadow (from the wall with the two arch doors) on the bottom part of the clock tower (I hope I explained that in an understandable way). Also, it looks like there is a second light source that is casting the characters shadow on the wall. I would add some indication of the light source (maybe use a different light color). Just a few notes but overall, I think this looks really cool. I'm getting a mysterious, and potentially a fantastic or magical vibe from the piece. I really like how it's drawn as well, especially the brick details and the texture on the ground. What programs do you work in?
@Meta Your first portfolio looked very animation inspired, your second one looks more like the images belong on posters for bands and concerts. What jumps out to me is that each of these look like they could have been done in a sketchbook. They have a very traditional vibe, and it looks like the artists are showing their brush, pen, pencil strokes very confidently and purposefully.
@Elena-Marengoni We have some overlap in our dream portfolios. You have great taste
@neschof Colors- I am seeing a lot of desaturation overall, with a bright, saturated focal point. A lot of bright orange and pink set against blues, whites, and browns. Also, kind of goes without saying but the the mark making is super organic in all of these. Thanks for posting the artists names. A lot of great stuff in there.
@jthomas I stuck to published childrens book illustrators when creating my dream portfolio but I'm really inspired by all kinds of art. I am trying to develop a style to fit the market so its a good way to orient myself as I begin making a portfolio. Some thoughts on your dream portfolio, lines look like they are done with a pen not a brush. Really clean and accurate linework, with straightedges included. Accurate proportions and accurate perspective. Not a lot of cartoony stylization. A lot of long shots but with some interesting camera angles.