Really awesome! Some of them feel like the eyes are a bit off from where they should be. Maybe you can spend a few more minutes in the beginning on the construction of the face. I saw in another comment that you like the distortaion so maybe push that even more in an artistic way so it will be clear its intentional. Could be very cool and stylized.
I like the colors and you did a really good job with the details of his gold armor and outfit. It looks like it could be an actual character in DND. I think the pose itself is a bit awkward. The area below his waist is good but the angle of his torso and arms don't seem natural. The arch of his back and level of his shoulders seems very tense but his arms are loose so I think you should have either straightened his back to make him look more relaxed or exaggerated his arms to make him look more excited. It's still an awesome drawing, if you hadn't asked for critiques I wouldn't have said anything so I don't think you should make these changes. Just spend more time on gesture at the start of your drawing before you commit to details :) Good luck with your project!
I'm gonna be too honest, this looks amazing at it feels too advanced for me to give feedback (especially because I'm just in the first stages of learning anatomy). The only thing that does catch my eye is that maybe the rendering of the metal of the hammer isn't reflecting some of the things close to it like the blue and white of the clothes, but I honestly think you can totally get away with that.
Hey Olga, This painting is really good! The face and all the armor is great. The only thing I noticed is that the proportions are a little off. It might be because of the downward perspective you chose, but it takes away from the heroic nature of this character. I did some drawing to show you what I mean. I hope you find some value in it, keep it up, your stuff is really good :)
I think it looks pretty good for the most part. The figure/pose is a little stiff but maybe that is justifiable in heavy armor. The main things I can think of (and these are minor): 1) Maybe the torso and especially the shoulders should follow the turn of the head a little bit more. His body is facing one direction and his head is strongly facing another direction with little rotation in the hips or torso. This is not necessarily unrealistic.... Again, maybe this works with heavy armor but then maybe the neck shouldn't be turned so much. 2) The beard feels a little bit too detached from its environment to me. Maybe you can add some cast shadow around the neck? Maybe the beard hair should be reacting to the hard collar of the armor and deforming? Right now the shape of the beard looks too stiff. Again, these are pretty minor points. I think overall this is quite good.
Hi everyone I worked on this for on and off for far too long and I can't see clearly anymore. I'm sure a lot of things are off but I guess I don't have enough knowledge to fix them. This is part of a personal project. He is a member of the Holy Legion who protect the city and kingdom. The Holy Legion are loved by the people. Edmund is a 33 year old commander who just came back from a patrol (where a battle took place) and is welcomed by the people with love. He waves at them as he enters the city. Any tips and thoughts are welcome! Thank you
Hi there! cool paintings! I suggest taking one of your drawing and breaking it into categories of fundamentals. For example - your second picture what fundamentals does it rely on? There is a character and a background A character can be described with: - Character design (shapes, style, exaggeration) - Gesture - Anatomy / construction - Clothes - Render (Materials, color and light) + style Background: - composition - perspective - Architecture design and probably more.. There are plenty of things we can explore in these paintings and we can study each of them separately what I like to do before diving into a new painting is breaking it down in the same way and then think what are my weaknesses and what should I study first. Maybe I'll prefer dedicating my time only for one category like construction (I recommend Peter Han - Dynamic sketching course and Drawbox for construction, also Fun with pencil by Andrew Loomis) For example: if I have a painting with clouds, sea and a creature, I like to separate my time and study clouds, color and light, sea and waves , creature anatomy and the animals they are based on. You can study from photos, masters and other resources. This way I know for sure that my results will be a lot better after doing these studies and that I improve no matter what. I hope it's helpful
It's important, I think, to understand portfolios in terms of what they are - a tool to get work. The type of portfolio, what goes in it, and what is okay to include (as well as in what form) all depends on the kind of work you're trying to get. I think as a rule of thumb, it's always important to show respect for the time of the person going through your portfolio. So, in that sense, WIPs could add clutter and become somewhat distracting, making it harder for that individual to gauge you at a glance. If we're talking about a digital portfolio - a website, a PDF, etc. - then there's always the opportunity to provide a deeper look at a given project, how it was iterated upon, etc. via a link that does not detract from or diminish the standalone portfolio itself. If that's the case, then I would still recommend making sure that your WIPs are not arbitrary. They should all serve a purpose, serve to communicate some aspect of how you solve problems, and how you thought through a given piece. If you did work for a client (for which you received permission to share), there *might* be some value, for some people, to see how you engaged with feedback, how you handled revisions, etc. But still, all of this is very much secondary to the main elements of the portfolio that a potential employer or client would want to be able to traverse as quickly and efficiently as possible.
Hi Siqi I work in the field and I feel the same way (kinda) I still need to work on my fundamentals and I have some personal projects I want to do but it's very time consuming after work I create art for slot games and it's very cool and looks more like casual gaming but I want to take a shot at a more realistic fantasy art. I just realized not too long ago, that I'm in this job for over 4 years, I improved a lot in cartoon and stylized art but not really at what I'd like to do so now I struggle with time management for personal work. I think there's no easy solution but to have specific time in a week you know you can sit down without any distraction and work for yourself. I know about myself that if I was more disciplined, I could have improved 3 times more faster... and now I need to analyze what things can I sacrifice in a day so I could have more time for my art. It's also hard to balance it with life and not to burn out. I don't get stressed as much as I used to so I'm able to enjoy other things without feeling guilty but I sure do have to work on scheduling and having a proper deadline. I know people usually rush to the result and want to able to produce art as fast as possible (I did... ) but we shouldn't skip steps and it's better to take the time to do things properly. Good luck to us all Just keep learning, creating and focus on the present. Enjoy the journey and you'll get there eventually, It takes a lot of patience and remember to have fun! if it isn't fun, what's the point right?
Hi my name is Olga I love dark fantasy, worlds such as Dark Souls and Diablo especially the art of Diablo 4. In the last 4 years I'm working for a more casual gaming industry and I create stylized cartoon characters and backgrounds and I find Hearthstone art very appealing and I use it as a source for reference and inspiration. Although I like a wide range of styles, my goal is to reach the level required for creating amazing cards such as Magic the Gathering, Hearthstone and Gwent. Thank you for taking the time to look at my work. As for the AMA, I wanted to ask how artists get an assignment both in Hearthstone and Magic. I saw an artist on Artstation who had mostly realistic human illustrations and after he started working for Magic the Gathering, he created creatures as cards and it made me curious how a task is given, if it depends on portfolio or something else. Thank you
Hi Olga :) Wow wonderful paintings :) I really like how you nailed the lights and darks. I know an artist who paints the objekt roughly in monochrome first to get the right lights and darks and than paint over with a little thined and translucant colour. Gives the painting a beautiful feeling of depth and looks super realistic. When I paint something in acrylig I tend to roughly paint the dakest colous and brightest highligts first. This gives me a good measurement for the middle-tones. I first try to nail the values, the detail I add later to the drawing.