03-18-2014, 05:26 PM
It has been fun stalking this thread. Some feedback for a few of you.
@Madzia, you really nailed the colours and feel of a 50s diner and ad poster. I love how you have painted everything, as well as the pallette and I think your concept would fit nicely with a Douglas Adams or (if a bit darker) Gaiman adaptation of Hebe as a character...so kudos on thinking outside the square! My crit is more on the fleshing out of the design and concept. There is almost nothing to suggest the divine link, and I think this is where your piece fails in nailing the brief. If there was something special to the hand, the coffee, her pendant, basically anything that linked to and implied the otherworld it would shoot this piece into folio territory. Right now it is an extremely well painted illustration of a 50s diner waitress.
@Pablo, I like the beautiful colour variation you are building into the work. To be honest I think you lost some of the power of the figure and owl by extending the canvas. This is why thumns are so important...the moment you diverge, you have to constantly evaluate the direction you are going as opposed to just rendering up. I also think the owl looks a lot smaller than in your thumbs. I would suggest to lighten its value and scale up to separate in distance and scale from Athena more. Also be sure to determine your light sources from now on. It's a little undetermined atm. The bg is ok, maybe think about consolidating some of the cloud shapes to create a bit less "noise" and density to the bg so the focus is up front where it should be.
@Vansty. Couple of points. I think you jumped to details way too early. It shows in the stiffness of your character and the flatness and collage-y aspect of your forms. I highly recommend you approach your workflow by going from basic and simple to detailed and complex. I have only rarely seen extremely seasoned master draftsmen able to pull off detailed right from the start,( examples are Alan Lee and Kim Jung Gi) and that only comes from ridiculous amounts of practice. Your piece is sufferring from too much detail and texture density in areas that don't need it. In this case most of your attention and detail should have been on the face and maybe Medusa's head, yet you have done the opposite by focusing on rendering armour. The armour rendering as a result looks very "piecemeal" and obviously approached and rendered as individual objects...but there has to be consistency across all you rendering wrt to light and shadow or things get that collage-y look. I love the study you did of the helmet and sword, but I thunk you didnt really focus on applying these to your piece (and this is where the magic happens). Also where is his face? As the most critical focal point this needs love from the start. Hope that helps.
@Devan, i think that foreshortening on the front and rear arms is a bit over the top....almost cartoony but nice job on the figure.
Carry on everone else push it to the end!
@Madzia, you really nailed the colours and feel of a 50s diner and ad poster. I love how you have painted everything, as well as the pallette and I think your concept would fit nicely with a Douglas Adams or (if a bit darker) Gaiman adaptation of Hebe as a character...so kudos on thinking outside the square! My crit is more on the fleshing out of the design and concept. There is almost nothing to suggest the divine link, and I think this is where your piece fails in nailing the brief. If there was something special to the hand, the coffee, her pendant, basically anything that linked to and implied the otherworld it would shoot this piece into folio territory. Right now it is an extremely well painted illustration of a 50s diner waitress.
@Pablo, I like the beautiful colour variation you are building into the work. To be honest I think you lost some of the power of the figure and owl by extending the canvas. This is why thumns are so important...the moment you diverge, you have to constantly evaluate the direction you are going as opposed to just rendering up. I also think the owl looks a lot smaller than in your thumbs. I would suggest to lighten its value and scale up to separate in distance and scale from Athena more. Also be sure to determine your light sources from now on. It's a little undetermined atm. The bg is ok, maybe think about consolidating some of the cloud shapes to create a bit less "noise" and density to the bg so the focus is up front where it should be.
@Vansty. Couple of points. I think you jumped to details way too early. It shows in the stiffness of your character and the flatness and collage-y aspect of your forms. I highly recommend you approach your workflow by going from basic and simple to detailed and complex. I have only rarely seen extremely seasoned master draftsmen able to pull off detailed right from the start,( examples are Alan Lee and Kim Jung Gi) and that only comes from ridiculous amounts of practice. Your piece is sufferring from too much detail and texture density in areas that don't need it. In this case most of your attention and detail should have been on the face and maybe Medusa's head, yet you have done the opposite by focusing on rendering armour. The armour rendering as a result looks very "piecemeal" and obviously approached and rendered as individual objects...but there has to be consistency across all you rendering wrt to light and shadow or things get that collage-y look. I love the study you did of the helmet and sword, but I thunk you didnt really focus on applying these to your piece (and this is where the magic happens). Also where is his face? As the most critical focal point this needs love from the start. Hope that helps.
@Devan, i think that foreshortening on the front and rear arms is a bit over the top....almost cartoony but nice job on the figure.
Carry on everone else push it to the end!