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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?
I don't understand the space.
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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]
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..
just read my own post. i think i'm an arse..
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.
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
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!
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.
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.
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.
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.
wow what a progress!
i strongly agree with what has been said about colour saturation... it's way too much. tone down everything. if you'r still working toward emmanuel malin's style, the the sky should be so delicate, almast white. right now i think the colour treatment is too rugh - although you're getting there nicely.
the forground, especially with the arsinic green and glowing violet - should take a warmer, and less saturated tone.
as for line, emmanuel mallin's line is very round and flowy. yours here is very edgy and "broken-down". i don't think you should completly make yourself mimick emmanuel mallin's style, but to find a way in-between. you started that with that bush on the left side, and i think u should take it even further. the clouds, for ex. can totaly take the line of E.M, to be totlly round and flowing.
little details - i don't think the light-green scribling as details/highlights on the bushes/tree-tops do you good. it's a bit messy, and just leaving a line over textured colour will work just fine. the blue-grey colour-outline (surrounding the forest) is not working either. lose it.
basically, i think you're coming along just great, but it seems like u got to much stuff going on here. decide which elememnts represant E.M's work for and incorporate them in your work. simplicity is your key word here i believe. sometimes too much is just too much (fortune-coockie!)...
R.R.H needs to be redesigned. and i think that if u could get her to be in E.M design style that would be your main attraction. for the moment, she starts to be very schematic - especially regarding to the changes the enviornment is going through. maybe now it's the time to spend more time on her then on your env. since, once she'll get her design i have the feeling you will probably want to change the env. as well. if you will look at E.M site, you will see that his characters are usually the dominating element of most of his works, and in your work the main character wich is also the reason for this work is almost unnoticable...
i have to say i have seen your other R.R.H thread and i think it's great you are trying all these things, and it's coming along great! keep on working!
"difference in detail from impressionistic to meticulous"... i think it's my english, but i didn't understand what you meant...
"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."
is the project requiers you to deliver the WHOLE storyline in three pieces? or to create three illustration for the story. that's 2 different things, and probably the second one is.
either way i really don't think you should "ram in as much relevant info s posiible". i think you should decide which three scene are the strongest for you in the story and built them relativly to each other. don't put something just because it's in the story. illustrations go along with the written story usually, so if we know it's R.R.H heading towards the forest, we don't have to see granny's house is at the other side, we allready know that. might as well just put a huge mailbox or glowing sign saying "grandmother's house" infront of it. just my opinion (i know i can be a prick sometimes so pls eccuse me if i am right now). u can put as much detail as you want as long as it's usefull for the illustration and not hurting it. i still think u can lose the house and tree since it's giving too much information. R.R.H is facing an advanture, the unknown, and if we see the house stand out like that we (viewers) know everything is going to be alright. it's too much of a comfort zone, and in my eyes it's "ruining" the drama. add to that, the viewers eyes are directed to the house rather to R.R.H facing the dreaded forest - making you totally miss the whole point of the illustration!! heck, you almost don't notice R.R.H standing there.
i will fight you for this.... ( i know it's your choise, but until you prove me otherwise, i will, by the name of squishieboo! lol. now i AM being a prick. sorry.)
anyway, if you have three illustration to do, you should work relativly. meaning do sketches for all them first, just to know what info and scene each illustration bring.