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Thread: red riding hood.
May 15th, 2008 #1
red riding hood.
Okay, here is another piece ( or approach) to my college project for illustrating red riding hood. This time I've had Emanuel Malin images in the back of my mind as my main frame of referance, style wise.
It's painted with acrylic on woodblock and upon getting it home and cross referencing with Malin's work I've noticed it still needs a lot of time spent on it. I think this will end up sort of being the under painting at this point.
any pointers or critiques to steer this image into something closer to what Malin achieves? I'm thinking some more saturated colour and imported textures?
Hide this ad by registering as a memberMay 15th, 2008 #2
I don't understand the space.
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May 15th, 2008 #3
I think I have to agree with Elwell, I don't understand what you are doing with the landscape, is there a sky or more trees? My first suggestion would be identifying our parameters a little better. Make the sky more like a sky (if there is one) and set the viewer with an idea of a horizon. After that you can go in and start working on red riding hood.
My work: [link]
May 15th, 2008 #4
it's very phallic. VERY. seriously.
(i know i know.... i'm a perv... i didn't use to be like this, honestly. i'm hanging with the wronge croud - and luvin every minute of it!)
befor crit your work, i think it would help to know what is your main goal in this. is it redisgning red-riding-hhod, illustrating, or mimicking an artist's style as a study? if it is the last one, pls post the artist's work you're taking your inspiration from so it'll be easier to relate to it.
i agree with elwell. it's hard to understand the logic of the enviornment. i understand there's a tunnel of trees leading to - what? a cave? the deep forest? - and it's very hard to read the upper half of the pic. is it a mountain?
i think you should get some refernce and sketch a little in pencil so YOU would understand what you want your world to contain.
i'm thinking how to aproach the "Emanuel Malin style" subject... hmm..
what drew you to use his style as a reference? this is an important question, since by answering it will help you understand what you want to achieve.
at the moment i don't know how close you want the style to be to Emanuel Malin work, so it's a bit hard for me to critique.
in general, i think thiece piece is a bit messy... but as you said, this only the fisrt layer, right? if you want to go at Malin's style you got to be much more accurate, in all espects - composition, colour, design, and clean-up. ( have a feeling this is such a complete and useless phrase, so help me gawd)
i hate that white line, really. i think i understand y u put it there but it just clashes with everything. (by the way, y does R.R.H has a transparent head? i can see the hood, i can see the white line that is supposed to be around her head - but not her head... eek! a ghost!)
it's very hard to get another artist style, so don't discourage, and if that's your goal i recommend you to get a whole lot of reference and try to understand how he works. and draw a lot of tests until you get it.
i hope i helped maybe a little!
Last edited by Noa K; May 15th, 2008 at 01:28 PM. Reason: words can change the whole meaning a phrase..
May 15th, 2008 #5
just read my own post. i think i'm an arse..
May 15th, 2008 #6Registered User
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I'm afraid this isn't at all constructive, but I'd just like to say that I love this piece, as it is, even. I'm sure you'll make it all glossy and gorgeous but as it stands I would be all over a children's book with this sort of stuttered look of perspective. What I mean to say is that while at the moment, what some might consider a problem, the confused sense of depth (or lack thereof) is jarring, it is so in a really effective way. It makes things seem immediate and wrong, like when Dorothy is tornado-ed into Oz. I find it appropriate for Little Red's creepy journey.
As it stands the look reminds me wonderfully of Bemelmans's Madeline books.
May 15th, 2008 #7
Thanks for the replies guys:
@Elwell and Blue; valid point, I've lowered the horizon and made the trees a little more like trees and not some sort of weird tunnel, its a start. The house and mountain in the BG has been rearranged a bit to make the perspective work better (I Hope!)
@NoaK; Firstly, thnaks for such a good crit The phalic'ness has been a little worked out i think when i fixed the horizon placement issue, Its a little more horizontal. Looking back on my first image, yes it was very! The white line has gone as well.
When I first did the painting it was i college studio so i had no Malin referance with me at the time which is where half of my problems lie. Now i have it back home I've been looking back over his stuff and your right i need a more solid foundation to work from.
As for more details on my college project, its a re-illustrating of RRH, but we have to link contextually with other owrking professionals and show a visible influence. This piece will not be my end product but a 'so this is how i think emanuel malin works'
@hanae; thank you
May 15th, 2008 #8
now you're talking!
this is much better.
i looked around a little at emanuel malin's site http://www.emmanuelmalin.com/
and through his works. what a cool dude!
the things that you should take notice, in my opinion:
lhis line art is vey clean,sometimes even graphic. it reminds sometims old-school cartoons with a tint of japanese art and pop culture. not sure though, it's just a guess. he works with a lot of texture. the colour he uses is usually "fade"-ie (i have no other word for this) but most of the times there is also some strong colour present to make a contrast. he also works with a lot of contrast between "free space" and very-detailed work. from what i saw yet, the background are atmospheric, implied, as the main subject is with more detail and colour value.
also, in some of his works u can actully imagine him jiggling to himself as he works...bunnies.
anyway, i think u should start by understang his line and use of colour.
your enviornment should be more detaild in the front and atmospheric at the back. personally, i think u can lose the tree and house if it's not too important. if this is grandma house and RRH is standing at the edge of the forest - mmm... it's too short of a way. not intimidating enough of a distance to go. so i think granny's house not necessarilly needs to be seen.by the way - right now, the tree is too proportionlly big anyway it's bigger and more detailed from the trees that are near the viewer... not logical...
also, i would recommend u to start working on the charchter seperatly, with a lot of sketching, on paper befor applying her to the enviornment.
if you're going to make it emanuel malin style -the charcter design and stlylisation is most important for u.
good luck and keep on working!
May 20th, 2008 #9
here we go again. started introducing lots of textures, some linework and whacked up the shift in hues.
Thanks NoaK, a lot of valid points again, I tried to start addressing some of them. Mostly the colour, but also the difference in detail from impressionistic to meticulous. Unfortunately, I kept the house in, i'm limited too 3 illustrations for the whole story. So.... I'm trying to ram in as much relevant info as possible for each piece.
May 20th, 2008 #10
i love this composition. think about making some contrast between little red riding hood and the background. perhaps make the path in the woods the darkest dark so it has the most contrast. also create some more depth in the sky i feel like its too flat compared to the mid and foreground. this is a fun piece.
May 21st, 2008 #11
May 21st, 2008 #12
I like the idea and composition in this one. 2nd piece seems work better for me, I think the black lines of the trees and clouds should be removed and replaced with area of shades / colors though.
May 21st, 2008 #13
i really think you overdid the colors in the last one, its to saturated, all way around, and i really liked the 4ground in the third one.
other then that its great improvements.