@vanilja It looks more expressionist than realism (seen by the use of his strong brush strokes and harsh use of outlining). You saying he was "going for" a realistic approach, is already wrong.
Technique leads to style, you know that. If everyone had the same technique, everyone would have similar styles, so no. Let him do his own technique, it makes him produce great pieces. I've mentored for fine arts before, and the first thing before giving "constructing criticism" is knowing the artist's intentions. (and neither do I know his intentions, but I think all his pieces are all well done) I know you're only "suggesting" what could be helpful, but next time, instead of regurgitating everything YOU find "could be improved", you should suggest things HE want's to improve.
Bottom line: Be respective to every individual's capabilities in art. Even to children. Art is 100% subjective. Some may find areas they think the artist could improve on; Whilst others may love the artwork, and tell them it's a masterpiece
@vanilja You're misunderstanding the diversity in art. Sure enough, you can do the traditional, realism, practice in art, like Loomis. But that is YOUR intention.
Even famous contemporary and traditional artists have/had strayed away from the "basics" in portraiture and traditional positioning,artists such as Shaun Tan, early portraits of Lucian Freud, many cubist artists and even Frida Kahlo or Vincent van Gogh himself.
I say, keep it unique, the rigidity of the clothes, and body posture I find are aesthetically pleasing (not to you obviously). and the unique structure of the subject's face is nice too. The background, is perspectively morphed, I like it. The foreshortening is fine, makes the subject seem like he's loosely holding the bow, nothing wrong.
@vanilja there's not much point being a critic to an artwork, without knowing the artist's intentions
You can however, say what you dislike and like about it, since art is subjective. Other than this, this piece is completed, rightfully done in dollface's eyes
[quote=vanilja]@dollface: I've thought about your picture for a while and here are some thoughts that got in my head. If you're not sure what I mean just please ask. If you haven't checked out sycra on YT, ctrlpaint or Loomis books, please look into them it maybe will make more sense if you do!
- Perspective. Keep it consistent. Am I looking at one-point perspective or four-point perspective here? Portraits often are put of people and people only. When you add a background, it stops being a portrait and becomes an illustration with an idea. You get that, right? But to keep the illustration as believable as possible, keep it consistent. How tall is the character compared to the doorway? Why is the doorway pictured from downward, yet the character pictured from sort of upwards?
The key here is foreshortening. I understand that you wanted to make this character sort of "sneaky" and taking the arrow just to shoot and foreshortening is going to help to improve that depth. The lack of foreshortening here can be seen on this left arm, around the wrist and elbow. It can be also seen on his skull. The eye sockets sway back, where the nose is illustrated from the different perspective.
One other thing is fabric. You can make fabric seem soft with trad (I guess), but it's really really hard. So I'm not going to go there. But one thing I'd note about the clothing is seams. How clothes are sown together, you know how. These are somewhat important factors on how and [i]where[/i] you start your folding and shading.
Of course you want to know where to look for info Here are some things to look into: armor references, foreshortening techniques, life drawing with foreshortening, muscle structure and thumbnailing. Thumbnailing is the act of making a miniature sketch or doodle of your idea in order to get the positioning and perspective right. You could also look into the Loomis-method of making faces. By Googling you can also find his books as pdf's for free! Loomis is a genius I'm sorry if I can't give you definitive answers but I sort of tried to understand why you felt like 'bleh'![/quote]
but you never made any drawings here so you dont have the right to teach people lessons :O
Dont say bleh this is beautiful! I really thought this was water colors but wow Acrylic~ Its such a harsh medium but you made it all soft and light~ Really awesome work! And the style is A +~
22 Comments • Newest first
the colors on the skin <3 <3
Looks even better irl, B ur awesome, thx.
@vanilja It looks more expressionist than realism (seen by the use of his strong brush strokes and harsh use of outlining). You saying he was "going for" a realistic approach, is already wrong.
Technique leads to style, you know that. If everyone had the same technique, everyone would have similar styles, so no. Let him do his own technique, it makes him produce great pieces.
I've mentored for fine arts before, and the first thing before giving "constructing criticism" is knowing the artist's intentions. (and neither do I know his intentions, but I think all his pieces are all well done) I know you're only "suggesting" what could be helpful, but next time, instead of regurgitating everything YOU find "could be improved", you should suggest things HE want's to improve.
Bottom line:
Be respective to every individual's capabilities in art. Even to children. Art is 100% subjective.
Some may find areas they think the artist could improve on;
Whilst others may love the artwork, and tell them it's a masterpiece
@vanilja You're misunderstanding the diversity in art. Sure enough, you can do the traditional, realism, practice in art, like Loomis. But that is YOUR intention.
Even famous contemporary and traditional artists have/had strayed away from the "basics" in portraiture and traditional positioning,artists such as Shaun Tan, early portraits of Lucian Freud, many cubist artists and even Frida Kahlo or Vincent van Gogh himself.
I say, keep it unique, the rigidity of the clothes, and body posture I find are aesthetically pleasing (not to you obviously). and the unique structure of the subject's face is nice too. The background, is perspectively morphed, I like it. The foreshortening is fine, makes the subject seem like he's loosely holding the bow, nothing wrong.
keep it unique
@vanilja there's not much point being a critic to an artwork, without knowing the artist's intentions
You can however, say what you dislike and like about it, since art is subjective. Other than this, this piece is completed, rightfully done in dollface's eyes
[quote=Business]but you never made any drawings here so you dont have the right to teach people lessons :O[/quote]
That's like saying you can't know if someone died unless you are a doctor.
Wow wow < 3 Endless details to stare at
Bow reminds me of Protoss. I love my VIP bow even more now.
My favorite artist is back! <3
The complexity of cold and warm colours on his skin are amazing! well done!
[quote=garchomps]Do I have to be a chef to know that something tastes bad?[/quote]
You don't have to be an artist to critique art
[quote=vanilja]@dollface: I've thought about your picture for a while and here are some thoughts that got in my head. If you're not sure what I mean just please ask. If you haven't checked out sycra on YT, ctrlpaint or Loomis books, please look into them it maybe will make more sense if you do!
- Perspective. Keep it consistent. Am I looking at one-point perspective or four-point perspective here?
Portraits often are put of people and people only. When you add a background, it stops being a portrait and becomes an illustration with an idea. You get that, right? But to keep the illustration as believable as possible, keep it consistent. How tall is the character compared to the doorway? Why is the doorway pictured from downward, yet the character pictured from sort of upwards?
The key here is foreshortening. I understand that you wanted to make this character sort of "sneaky" and taking the arrow just to shoot and foreshortening is going to help to improve that depth. The lack of foreshortening here can be seen on this left arm, around the wrist and elbow. It can be also seen on his skull. The eye sockets sway back, where the nose is illustrated from the different perspective.
One other thing is fabric. You can make fabric seem soft with trad (I guess), but it's really really hard. So I'm not going to go there. But one thing I'd note about the clothing is seams. How clothes are sown together, you know how. These are somewhat important factors on how and [i]where[/i] you start your folding and shading.
Of course you want to know where to look for info Here are some things to look into: armor references, foreshortening techniques, life drawing with foreshortening, muscle structure and thumbnailing. Thumbnailing is the act of making a miniature sketch or doodle of your idea in order to get the positioning and perspective right. You could also look into the Loomis-method of making faces. By Googling you can also find his books as pdf's for free! Loomis is a genius I'm sorry if I can't give you definitive answers but I sort of tried to understand why you felt like 'bleh'![/quote]
but you never made any drawings here so you dont have the right to teach people lessons :O
Bleh? This is so beautiful, improve still but be proud! <3
mother of ms paint
[quote=vanilja]Heya, do you want some in-depth comment on how to improve? [/quote]
yes please!
dude this is awesome I really like your style
Dont say bleh this is beautiful! I really thought this was water colors but wow Acrylic~ Its such a harsh medium but you made it all soft and light~ Really awesome work!
And the style is A +~
looks amazing! keep it coming!
y no front page basil :C
Reminds me of my days in the roman empire
The colour work is really nice. I like how you stylized the Red Arzuna
Bleh? WHY BLEH? This is great!