When I look at it my eyes are drawn to the spot between the clouds instead of the characters. Id try messing around with using the clouds to either frame the characters or guide the viewers eye to them like @Toby Aldridge did in his example
I like your painting. There's a lot of good stuff that works in this. I think Toby Aldridge has good ideas. My first thought too was the painting needed work on composition. A sky like this would work in animation or a comic but not a painting. The painting needs to imply a story in one image. I'm sure you want the sky to give a feeling of vastness but it doesn't. Its flat. If you want to focus on the vastness of the sky the clouds should give the feeling of starting far off in the distance and passing over the viewer's head. So you'll need to rework the clouds in perspective. Also shift the viewers eye line(horizon) down. Right now the horizon is in the middle of the image. The way the image is right now this is an easy fix, just take the land and drag it down till the person and bird are at the bottom of the screen. this gives you more room to make the clouds look like they're going over head. That's not the only way to give the picture a feeling of vastness. But you'll have to paint more of a background. Look at photos similar to your painting for ideas. You can keep the feeling of being way up in the sky, you wont have to put much of the ground level in the image to give the feel of being way up in the sky, but you will have to put some mountains in the distance or something else. Maybe ocean? You'll never find a spot on earth where you have this kind of cliff with nothing else around. even something far off in the distance would be visible. I suppose with some fancy photography work a photographer could make it happen but Id say that the angle of the photo would be different from your painting. It would be a 3 point perspective and if it was going to be like this image that would make the viewer at the grass on the cliff making the proportions of the grass huge compared to the person
THe basic idea and layout is great. I did a quick sketch myself to show you how I would approach the composition and colour sketch. Mostly I would shuffle things around so that they are working together instead of separate pieces that happen to be in the same image. Such as taking the butterflies in the corner and using them as a visual pathway across the image. Creating more space on the canvas to emphasise the vastness of the sky etc… even some colour contrast and warm hue in the light to make sure there is some drama.
Hi all. I'm currently working out this piece as far as composition and color, but im not sure im 100% sold. What am I missing to give it that oomf? Do i just need to go ahead and work on the final? Could it be it just looks off since its more of a preliminary sketch? Critiques and comments are very appreciated! Thanks!
Asked for help
Hey all! Question.. are multiple submissions allowed? I see some people posting multiple submissions. I'm just curious to know so I can decide on whether to post another or not. Thanks (:
Hey, @Elias Lemus, nice work! I like the story in this piece, and, as a personal choice, I’d certainly keep the second character (the one in green). The way you thought of him in the scene, sitting and grabbing for the stick on the ground while looking at the orcs definitely adds a very interesting layer of visual storytelling. Without him, it feels a bit more like a “staged” moment to me, a posed confrontation between the standing character and the dog against the orcs; but with him in the scene, it’s like “they were unaware, perhaps just hanging and talking, when suddenly the orcs appeared and they had to get ready however they could in order to defend themselves”. If you like that ideia too and want to power it up even more, maybe you could consider “dressing up the set”, add some stuff scattered across the ground near the people - backpacks, bottles, tools, a bone the dog might have been chewing, a little bonfire…? Maybe take Steve's consideration about the standing character's gesture to an even more extreme level: draw him as if he is not fully standing, but still in the middle of the motion of attempting to push himself up; or, who knows, he could be off-balance, as if he tried to get up so fast that he almost fell down? Maybe the dog should be alert, as Steve noted well, but also its pose could subtly hint that it's also a bit scared? Just a few possibilities. By the way, I totally agree with @Steve Lenze's observations concerning gesture and composition, I think he pointed out all the main stuff that I’d adjust too. As a complement to that, consider taking some more time to “sculpt” forms with more deliberacy. For example, think of these big boulders as 3D objects to be designed - model plane changes, consider shapes, angles, their size relationships in the scene as whole. Same goes for the tree trunk on the ground (as Steve properly pointed out already) and maybe even for trees and leaves. And even the ground might also have a bit more form and volume: little ups and downs, bumps, holes or carved out parts. And, as an additional note, I think I’d perhaps take a bit more time to consider colors too. Things certainly look harmonious the way they are, but I feel like it’s all a bit too warm overall. You can think of strategies as to where colors could change: it could be the aerial perspective on the farther objects, getting more faint and blue with distance; it could be a natural local color change on the rocks, the leaves, the soil or the orcs’s skin; or maybe it’s the shadows cast from the trees that cool down part of the environment. Whatever solution you prefer among these or other ideas, varying the hue temperatures across the painting could help add some more visual interest and even atmosphere to the composition. Hope you find these comments helpful somehow. And I’m curious to see what else you’ve been coming up with (or will come up with) for your portfolio! Best of luck! \o/
Hey Elias, let me begin by saying that I agree with what Jason Arizona said in his critique. I just want to add some compositional things that I think would help you. What I did was do a sketch over your painting to show you some of the things I think would help your piece. I hope it helps :)
Asked for help
First of all, The proportions and forms are A1 here. Prime construction, excellent folds, wonderful perspective, I think all my hangups with the piece come down to value. The painting is entirely readable, but it doesn't convey a mood as strongly as it could. The values seem somewhat light for this application, which I think might stem from the fact that three of the main subjects are in shadow, which compresses the value range. I would consider putting the three in a lit area, like a clearing, which would allow you to make the ogres/goblins/trolls/bad guys shaded more dramatically, and make them more threating and less "oh, there are some goblins there too" Secondly, what is the purpose of the person in the green shirt? Who are they? What is the relationship between them and the person in the red shirt? Or them and the dog? For reference, I painted over them with another rock to keep the composition balanced. Has anything really changed? Is the story any different? Overall, you have a good painting, but the framing and the mood could stand to be a bit clearer if you want to make it a GREAT painting.
I think there is an opportunity to increase the atmosphere perspective and sense of depth by lightening the mountains in the background, color shift them blue as the green wavelength is lost at that distance. Also soften the edges in the background. The figure in the foreground is the focus and should draw the attention. Consider increasing the saturation and contrast in the figures.
hey @Elias Lemus I love your playful idea, however as a viewer I feel like there's no enough value and contract with the colours. one suggestion I would say maybe use a pinky colour for the lady's dress, this would help her stand out in the piece. also if you are making this into a digital painting you can add a black and white layer to see if there's enough value and contrast with your colours. hope this helps :) can't wait to see the finish piece. p.s there are some great YouTube videos this is my favourite https://www.youtube.com/watch?v=QkCVrNoqcBU
Hello Elias Lemus,I really like the idea!It remind me of a peter de seve illustration (see below).I don't particulary have much to say since the illustration is still in it's preliminary phase.The only critisim I have is a bit subjective,so if it doesn't sit right with you please ignore it.But I think personally the composition focus too much on the black cat.This may change if you add the face since ussually our brains focus in on object that has human faces,but personally I would add a dark spot behind the woman face so we could focus in on her face more and maybe exaggarte the shadow on the cat so it doesn't meet the lightest light. Here's an overpainting if that helps,hopefully it look better,but if you don't like it,again please scrap this (Also I extended the branch so it would guide the eye to the woman) BUt yeah,this seemed like a good idea,please keep going,I'm interested in how the final product will look like :D
Looking for critique on current painting (preliminary phase)
Hi! I just started this painting not too long ago. It's in the sketch/preliminary work phase, so still solidifying the composition, color palette, value composition, etc. I just wanted to hear some thoughts and suggestions! The idea is a girl with her cat out in nature stumbling across a crocodile and she's kinda non-chalant about it. I find it humorous! If you think the idea sucks and can be improved please say so! Any comments and suggestions to make the piece better are welcome! FYI this is a sketch from imagination so perspective, scale, anatomy and some other things will be off. Lol thanks!
Great work, first of all. I agree with Liandro that overall, the drapery is convincing and it works! But I do have a suggestion. To me, it feels a tad overdone. You added more folds than the reference has, which isn't bad necessarily, but I feel like it is a little distracting and you would benefit from simplifying a bit. Rather than adding too many folds, try simplifying. Have a hierarchy. The most important, big folds and wrinkles should be present, but the smaller ones should be there as support and maybe some pazzaz! Hope that makes sense. Keep up the good work!
Great work! If you're looking for constructive criticism, I do have a suggestion. You didn't mention how much time you had, but I can see it is unfinished, so may I suggest that if you don't have time to do a full study, you can simplify more or focus on a certain part of it! That way you may be able to get more out of it. You did say it was for fun, so don't take it as a hard critique. Just something you may think about for future studies (:
Recently Finished Piece. Would Appreciate Any Feedback (:
This is a digital painting I did as a portfolio piece! Any and all feedback is welcome. Critique, comments, suggestions..thanks and I hope you enjoy (:
It sounds like you need better understanding of form, light and shadow. Direct from reference means you don't have to think about that, just copy the colours and tones present. For a scene, you pick where the light sources are and make sure the forms within it are lit correctly. Check out some of Marco Bucci's youtube vids (or his course here): https://www.youtube.com/channel/UCsDxB-CSMQ0Vu_hTag7-2UQ James Gurney is another great resource, also Scott Robertson's 'How to Render' book. Hope that helps.
I am looking for some advice. I'm having issues turning my painting ideas into actual work! When I want to do a portrait or something where the reference won't be drastically altered, I can do it no problem. The issue arises when I want to paint more complex/imaginary scenes. Say, for example, a girl running away from a crocodile or something. I can sketch up the idea pretty good, but then when I'm gathering reference, I hit a brick wall. It is very difficult to piece different references together. I may need one for the girl, then the crocodile, a few for the background maybe and let's not forget the lighting! Ahhh! This is where I get stuck. Turning all the reference plus my original idea into a cohesive, believable painting is where I get stumped. Any ideas on how I can overcome this? Do I just need better reference ? Better form manipulation skills?.. I can copy a picture no problem and even use a couple pictures as reference, but when it gets a little more complex I fail. Please help! Sorry for the rambling
Dynamic sketches come from the gesture. The energy, the flow, the rhythm. I suggest you watch Stan's YouTube video on gesture. It looks like you're drawing too tight and trying to get too precise. Listen to what he and other teachers say about gesture. Hope that helps.