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Thread: } Pepokish!
January 26th, 2010 #1
Hey there! Thanks for stopping by to take a look at my sketchbook.
I'm a 20-year-old freelance illustrator living in Holland. I absolutely love drawing, and can't go a day without doing some form of drawing or painting. (:
I'll update this post with recent finished works, once I have some to post.
I am in desperate need of some critique.
I joined CA specifically to get feedback on my work and grow as an artist -- I can handle it. Please, please let me know what you think of my work -- whether new or old, three words or three paragraphs, I don't care! I love feedback, I thrive on it. Just reference the post number (top right corner of each post) if you want to critique something older, and I'll find it!
Thank you so much. (:
FYI: Some of the art posted in this thread may be found elsewhere on the internet under a different name. I typically go by the name Pepokish, but I am also sometimes known as Eske.
Last edited by pepokish; April 3rd, 2011 at 08:51 AM.
Hide this ad by registering as a memberJanuary 26th, 2010 #2Tattoo Artist
- Join Date
- Mar 2008
- Thanked 227 Times in 224 Posts
Very good so far, I see nothing to rip to shreds yet. you're portrait work is very good.
January 26th, 2010 #3
I'd need to see more of your drawings to leave a helpful critique but I can give you some advice on improvement. (Your drawings are looking good to me so far).
There's a point to sketching and there is also a point to doing finished detailed work. It just sort of depends on what you want to do as an artist. However, it could only help you if became proficient at both. If you want to improve at anything, it's crucial that you understand the point behind doing it so that you know what it is that you are trying to accomplish. Sketching for instance, is generally used for compositional planning or for quick studies (in which the point is to learn, not to make something beautiful). Examples of the former would be compositional sketches by the artists of the Renaissance in which they planned out their paintings before hand (usually in pen and wash). Examples of the latter would basically be anatomical structure studies, tone studies, etc... It is only necessary to spend enough time doing them to learn what there is to learn by doing them, and no more (hence why they are quick studies).
This logic applies to anything that you want to improve in (even things outside of drawing). It may seem like common sense but trust me, it's not. I can't tell you how many artists I've come across who don't understand that if they are missing the point, they will not improve. Perhaps they are unable to recognize when they are missing the point. I'm not saying that you're doing that, it's just advice like I said.
Last edited by Sir Cam; January 28th, 2010 at 06:33 PM."Argue for your limitations and sure enough, they're yours." -Richard Bach
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January 26th, 2010 #4
i love your sketches! they are really cool and i really like your style, the more you do the better you get *cheers*
January 27th, 2010 #5
Sir Cam, thank you so much for the informative reply! This is exactly why I joined Conceptart. I had already sort of had that idea in my head, but you really helped to clarify a lot, and I absolutely appreciate that. Keeping your words in mind as I continue to work on studying and sketching will really help.
Icedeath and sleepkit, thank you both for the comments! I really appreciate feedback of all types.
Here I've done an initial gesture sketch of a Bengal Tiger and a longer study of the values. I wanted to see if I could take a colored, highly patterned object (a striped orange Tiger, in this case) and understand the underlying values without confusing markings for light. It's something I've always struggled with.
January 27th, 2010 #6
Good start soo far,
Liking the tiger sketch. Keep posting!
January 27th, 2010 #7
great start keepitup girl!!
January 27th, 2010 #8
A very nice start indeed! The delicacy in the tiger is wonderful.
On the other hand, if it were a value study, you would be perfectly justified to push the values as much as possible. If you give yourself a wider range of tones it allows you to put in the finer nuances of where the muscles and bones appear and give the tiger its form. From this picture I am unable to tell how the skin of the ribcage area interacts with where the elbow and knee joints push into it. If you work this out, it gives you a further ability to paint/draw a similar animal from your head. I do realize some of this is probably cause by ridding the poor fellow of his stripes.
I will be watching for more work! Keep it up.
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January 27th, 2010 #9
Hey, you're very talented. We really need to see more stuff to judge right.
As for crits, do something for me; take the second portrait in PS and flip the canvas horizontally, then look at the eyes (the flipping -as you probably know- let's you see how the rest of the world see the picture). I think that there is some mistake with the placement.
I really love the tigger, it's comming alone nicely, overall, you seem to be doing a great job for your age, and are wise enough not to hide behind that wall.
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January 28th, 2010 #10
Thanks for the comments, everyone! It's quite encouraging.
Pixie Trick: Thank you! I see exactly what you mean about the values with the Tiger. I do have a problem with lack of contrast in a lot of things I do, so that's definitely something to work on...
Lennon: Wow, thanks! Ironically, I was actually just looking through your sketchbook and admiring some of your sketches. Thank you for pointing out the eye misalignment in the second portrait. I do flip my work regularly, and I had known that there was something off about the portrait, but I wasn't sure exactly what. Now it's quite a glaring mistake.
I'm really glad to have started this sketchbook, as I've already learned so much about studying and learning to see the basic shapes within a complex object. Yesterday was very unproductive, but I'm hoping that today will be a bit better.
Here are a few sketches I did this morning.
January 29th, 2010 #11
Decided to do some creature concepts. I started with a page full of scribbles and blobs, refined each scribble into a concept for a creature, and then refined even further.
Here are two of my successful attempts so far. I included the original scribble as well as the "refined" scribble along with the final concept.
January 29th, 2010 #12
This is a painting which I "finished" (I hate using that word) a week or two ago. I am still looking for constructive feedback, as I hadn't received quite as much as I would have hoped for, during the process of painting it.
January 30th, 2010 #13
A few portrait practices, including a stab at Dani Filth. Obviously having issues with likeness and symmetry.