01-29-2024, 05:07 AM
Remember that only a portion of what you have in mind make it into the picture. Mostly i would argue it the setting, the lighting and the facial expression aswell as there body language that carry the weight of what you are trying to say.
For example you say that the paladin is humble how does that translate does that need to be translate visually? How does the viewer understand that the paladin made a mistake.
I would thumbnail further only if you feel like you have more to explore.
Personally i feel that atleast here there is a sense of a domininant vs dominated which is necessary to avoid a static composition.
But i don't like that the character is showing is back unless they are secondary to the story.You generally see character facing away from us more commonly in concept art of environment they help establish the scale and they often serve to populate the word which otherwise would be empty.
What i would do is instead of the character moving up i would have the character be align in perspective with the naga.
I would have him go down as if he arriving from the surface world and it almost as if he almost pass the naga without seeing him but he slightly glance back at the naga as it was intented .Right now i feel the context look more like a formal meeting there isn't that dimension of ''admiration'' or forbidden affair.It important to have somewhat part of the face visible if you want to correctly describe how the character feel.
By having the paladin show is back you introduce a level of vulnerability and by having the eye look up you imply admiration.
I use renaissance painting to help illustrate my idea it certainly isn't as punchy as a POV but i think sometime it more helpful to give room for the person you critic because otherwise you compare your skill with the pov and it not the intention and it can get in the way.By using someone else work i give you a window do see the general idea. Nothing wrong about being inspired by master.
What is great about those impressive painting is they remind us to tell a story.
I suggest you try some color test next and see what you like.
For example you say that the paladin is humble how does that translate does that need to be translate visually? How does the viewer understand that the paladin made a mistake.
I would thumbnail further only if you feel like you have more to explore.
Personally i feel that atleast here there is a sense of a domininant vs dominated which is necessary to avoid a static composition.
But i don't like that the character is showing is back unless they are secondary to the story.You generally see character facing away from us more commonly in concept art of environment they help establish the scale and they often serve to populate the word which otherwise would be empty.
What i would do is instead of the character moving up i would have the character be align in perspective with the naga.
I would have him go down as if he arriving from the surface world and it almost as if he almost pass the naga without seeing him but he slightly glance back at the naga as it was intented .Right now i feel the context look more like a formal meeting there isn't that dimension of ''admiration'' or forbidden affair.It important to have somewhat part of the face visible if you want to correctly describe how the character feel.
By having the paladin show is back you introduce a level of vulnerability and by having the eye look up you imply admiration.
I use renaissance painting to help illustrate my idea it certainly isn't as punchy as a POV but i think sometime it more helpful to give room for the person you critic because otherwise you compare your skill with the pov and it not the intention and it can get in the way.By using someone else work i give you a window do see the general idea. Nothing wrong about being inspired by master.
What is great about those impressive painting is they remind us to tell a story.
I suggest you try some color test next and see what you like.