These are very good, from the technical aspect. Your rendering is interesting and fairly consistant with regard to the lighting.
The pieces really don't catch my breath, though (don't feel bad, neither do mine). The characters seem listless, even the eagle rider with the bow. There is no emotion. She isn't even looking where she's shooting (the eagle even seems to be worried about getting hit with that arrow). The monster being repelled? He has sort of a "bummer, I wonder what's on the tube?" look on his face. And the angel is saying, "no, honey, men with dreadlocks usually expect you to go dutch on the first date; you didn't want any part of that".
There are also some compositional irregularities. While not horrid, the eye tends to jump about a bit.
You have the skill to do all of this. With your abilities, these pieces should just grab our socks and slap us with them (with the feet still in).
cheers for that...i actually find that a real decent crit focusing on the fundamentals and not on details.
i agree it needs to have an adrenalin rush to it....but alas i dont know if i could do that with the existing compositions....hmmm
It looks like the angel is copping a feel on the chick, oh yeah... hot. I also agree with dogfood it would make more sense if the woman with the bow (first pic) was looking at her taget, and showed more tension in her body when pulling back the bow. cheers, keep up the good work.
"Ever wonder if illiterate people get the full effect of alphabet soup?"
I really like the big petrified tree stump in the background.
As said above you really have to use a bit of melodrama in a painting to convey the feelings you need. Look at movie stills from the black and white era ( back when they still did acting ). Thats the kind of exagerated expression you should start with. It will tone itself down automatically as the painting progresses. I don't know why.
About the Toning itself down as the painting progresses I have had quite a few of my professors say the same thing, They all offered an explination along the lines of ..You subconsiously tone it down because your used to seeing faces in the more normal expressions (like the eagle rider) so you do what you know. Im paraphrasing of course.
funny how that works no? you really have to push the intial sketch to an extreme....for it to balance out once it is finished. Thats what i like about the really rough sketches as opposed to the more tightly finished stuff....
i would like to add that the illustrations do come with text which will explain the pictures more...
The girl looks weird. I mean, her face shows no expression at all.
Way to go on the images - nice work.
I've got to cast my agreement in with Dogfood. Note, I'm a newb at this stuff, but it's obvious to me that you've got the skill to pull off dogfood's suggestions.
I would love to see what would happen if you'd just loosen up, cut loose and get absolutely nuts on your sketches. It feels like you're holding back.
The reason you've gotten so many of these types of comments, of course, is because you deserve the comments and the recognition. Your work is in a good state of completion, but I want your pieces to grab me more too!
PLEASE! You can do it! Your ideas are excellent, but try re-thinking them a little at the outset to be more flamboyant and unashamed of it!
I really hope I'm not over-stepping the boundries, but your work intrigued me so (warning, Will Robinson: blatant sucking up), that I wanted to toss the concept around a little and popped out one of my ideas. Obviously there are a lot of things wrong, but I was hoping to convey at least the idea.
Am I a total asshole for following dogfood's lead? I also drew up a quick sketch. There's something about air battles with animals that's just so cool. I like dogfood's sketch a lot, but I thought the angles could be contrasted even more, and the image veered away from the square composition...
2byts: I think your images are well on their way... it's just a matter of, as you said already, pushing things more than you initially think is kosher. I would also push the atmospheric perspective in both the images. Put more atmosphere between each plane to really punch the illusion of depth. In the second one the values are too close on all the figures, so they're kind of blending with eachother. In the first one, the values on the far mountains are too dark so they start to look muddy or smoggy... if you lighten them up, and put less contrast on them, then they'll look farther away. But oh! These are all SO close... just a few things here and there in the initial sketches and you'd be right on! Nice work
Yeah, I like the two roughs posted by Phuzion and dogfood. Each has distinctive advantages. Dogfood allows more of a close-up of the female rider. However, just personally, I like Phuzion's direction. It's a real strong composition, because:
A. The overlapping of wings increases the depth or dimensionality of the piece
B. interesting top-down angle
c. The eagles head, the bow&arrow and the woman all point to the impending conflict. It creates good eye flow.
Just my 2cents.
I'd have to agree with Phuzion and Dogfood. You have the idea, but are at little bit lacking in your delivery. I think you need to push it further compositionally, just as they suggested a few examples. It really comes down to drama. How dramatic is it? Drama is the poetry of your composition. Your work would really sing with impact if it were more dramatic. You should be proud of your skillset, technically, as you have come very far. Keep painting and keep pushing your staging and your actors...remember, as an artist, YOU are the director of the shot! Cheers!
fall down 7 times, get up 8.
Phuzion, that is great! It is a much stronger composition and the cinematic approach really works. See, I didn't push enough (I should have gone vertical). Nortenyo and Helzer are spot on.
Here's an important distinction I hadn't thought of before: I interpretted the image as the archer attempting to get past the knight and he was attempting to keep her from getting somewhere (like the island-mountain). Phuzion has this as a dogfight (I love how imposing that dragon is!). We each saw the story a liitle different. That's a big reason to over-emphasize certain aspects. Man, this is a good thread.
It's easy to overlook the importance of how much story, mood, emotion, etc really are the big driving forces behind a narrative image. I'm sure we all do, when we don't mean to. But this is always correctable. (to a degree, let's not get philosophical just yet) Your image was very heavy on narrative intent, only thing was that we as the audience weren't getting your message as clear as could be. That's your goal as an artist. It's not just about rendering highlights, warm and cool, etc... I mean...what is the point of your piece? By identifying what you are trying to say, you will find that all the answers will be right in front of you. Not always, but you will have given yourself a very good guide to create your image. It's always a suprise when someone draws one thing, but means another. Or means one thing, but then draws another. We all do it to some degree, and it's the nature of being critical of all art that we each bring our own prejudices and experiences to the piece we view. BUT, we all are human and storytelling is in our bones. It goes way back. Visual storytelling is an old artform. It could be argued that one method is more sophisticated than the next, but regardless, there are things that will unite all narrative art. These things usually have to do with the fundamentals found in the piece, whether they are intentionally created by the artist or not. I really hope we have given you something you can use other that just "COOOOOOOOOOL!" You have much to look forward to and I hope to see you post again in the future.
fall down 7 times, get up 8.
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