Arganam
Lord Brandt von Eisner
Thank you! I one day hope to be as good as the person in that video, if I did not know that was a painting, I might of thought it was a photo.
Art Critics Thread
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Thank you! I one day hope to be as good as the person in that video, if I did not know that was a painting, I might of thought it was a photo.
Gartono
The Blood Banker
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The longer hair lacks any sort of flow, the eyelashes and earlobes are flat, the whole piece mainly lacks depth. Otherwise you've done fine on the balance and intended focus of the painting. I enjoy the soft texture in the shaved portion of his hair. Beards aren't as smooth as the one you've depicted. The ponytail he has should not be visible. Also the proportions of his face are balanced aside from his eyes being misaligned. His ear is not attached to his head and it too lacks depth. On a side note, his ponytail wouldn't be very thick, considering he has red hair(naturally thinner) and it only uses the hair of a small portion of his head.
See, it can't be on the side of his head like that.
I did a few changes, is this better?
Arganam
Lord Brandt von Eisner
because of the lighting, the nose seems to be at an awkward angle.
Please, please help/criticize me. Something's absurdly wrong with the anatomy and I can't figure out what.
It's good, I absolutely love the shading on the dress. I think you should make the body larger, broader and taller or make the head slightly smaller. The proportions seems tad off, and the right pinky/thumb/i don't want to do that math is a little awkward.Where would I go from here? More detail to the clothes with patterns? New background? More shading? My friend says I need to fix her left hand, it's too humanoid while the right is lizard-y.
Edit: Okay, seriously, how'd you do that dress texture, it's fabulous.
Enkiduu
Looming
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Most noticeable thing is that the head is too big. Usually an adult body is three heads high from the bottom of the pelvis/groin to the bottom of the head (a total of four heads high if you include the head itself). The head is also a bit too forward, usually the abdomen/stomach area sticks out in front more than the face does.
How 'bout now?Most noticeable thing is that the head is too big. Usually an adult body is three heads high from the bottom of the pelvis/groin to the bottom of the head (a total of four heads high if you include the head itself). The head is also a bit too forward, usually the abdomen/stomach area sticks out in front more than the face does.
Enkiduu
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Gabauchi
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sounds to me like you're working backward here
Gartono
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Last edited:
Gartono
The Blood Banker
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Yeah I see that now, my aim was to give her a thin upper lip, just like in my last piece. Thanks for the critique!@Gartono First off I'll say I love Aeslings character for her unique skin. For some reason however, this looks strange to me but done at a novel-art level coloring job which I enjoy! That's no exaggeration. You could be the color-guy for a comic series. Fantasy art has those lovely high contrasts and vibrant greens. So I'm gonna do what I did last time with the black and white thing. I shouldn't be editing your stuff like this but I'm so curious as to what they'd look like.
So the weird thing I think is that there's a high-key contrast on the jacket and hard natural light on the face. So just a little bit less contrast on the clothes would do wonders to bring the attention to her face instead of her buttons. However, I do enjoy the way you've shaded it.
Her hair is an unrealistic shade of red but I do realize you're using the characters color scheme, which was good to commit to. I wanted to find something wrong with the coloring but I couldn't. You even remembered that girl short hair has a bump at the back.
You have improved a lot since I last harshly critiqued you, but there's something I noticed you forgot to do since the first time. The spot from the lips to the nose is too long. And you could use more definition on the moustache area so she doesn't look like she's pursing her lips. Remember that? Also lips kinda flare out when relaxed, but that's perfectly fine for an art style.
:0 not really a big deal, maybe she's just doing the duck face.
Tip, you can use the liquefy tool to morph parts like that. It really helps me, personally. Your coloring is still top notch for going at this without any hard step-by-step procedure filters.
Motherland
The forgotten ancient
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Motherland
The forgotten ancient
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that's a woman believe it or not. ik she looks a little awks, soon im gonna try to take enough adderall to sit down and re-make it.I just made a diagram because there's way too many words for these little changes.
First off I like how you added the background it gives a nice stormy impression. I'm not sure if that's a man or a woman from the intense murder face but if it is a man those are some amazing lips. Because this is a "Style" type of art there's nothing I can really point out incase it's part of the style, but I will say her skin looks really blotchy and I'm not sure if you're trying to make it that way. To fix the blotchy skin I would stop blending things out by smearing outwards with the grey and red and limes everywhere and start using the natural skin pigmentation map for Caucasians and make new colors for each spot. Using the grey like that is giving a cold light, which fits because of how cold she looks with the red nose and ears. Overall if you're trying to make her look like she's in a cold place you succeeded. Also the ears are really small and angled too forward, but otherwise the proportions are fine for your style. There's a problem with the lighting: how she's outside but there's only one bright light source coming from her right. Maybe it's the sun coming over the hill but then why would the sky be darker on the left side. Also you forgot to give the irises the right perspective, (discs, when turned to the left or right, are thinner) Also you can make blue veins for any skin color by desaturating it.
You could probably just play spot the difference.
Every good illustration starts with solid fundamentals. That means getting the basic proportions down before worrying about details. Nailing your perspective before worrying about lighting. Making sure your values are where they need to be before worrying about your color pallet.
A common belief many artists share is that you should be able to stop working on an illustration at any point and it will look good, even if unfinished. The idea stems from the good fundamentals principle. If you start sketching out a pose and stop, it should look good as just a gesture pose. If you get to the proportions but lack details like clothes and stop, it should still look good.
Now, obviously there are a ton of great artists who ignore this and just get their rough sketches "good enough" and clean it up when they actually start laying down final lines and produce amazing images, you really have to start somewhere. Usually the artists who throw down super rough sketches that don't look totally great and end up with amazing pieces are just experienced enough to know how to do what they want and are just using those rough sketches to get ideas, rather than as true construction lines like most artists.
If you find yourself not producing images that you enjoy or things that are comparable to the style you're going for, try stopping at each step, poses, construction lines, shapes, etc and figure out where the divergence happens. You'd be surprised how easy it is to spot just where your illustration went wrong.
Unfortunately, given how critical the first steps and the fundamentals are, when you discover your illustration is looking a bit weird, likely the culprit of your problems happened close to the start, which makes it extremely exhausting to backtrack and fix those mistakes and instead usually leads to you giving up on a piece.
Which isn't a bad thing. Giving up on a piece when you know it's not the way you like is a healthy way to keep you motivated in art. It's exhausting and emotionally draining to keep working on an illustration that you think isn't coming out as well as you had hoped.
A common belief many artists share is that you should be able to stop working on an illustration at any point and it will look good, even if unfinished. The idea stems from the good fundamentals principle. If you start sketching out a pose and stop, it should look good as just a gesture pose. If you get to the proportions but lack details like clothes and stop, it should still look good.
Now, obviously there are a ton of great artists who ignore this and just get their rough sketches "good enough" and clean it up when they actually start laying down final lines and produce amazing images, you really have to start somewhere. Usually the artists who throw down super rough sketches that don't look totally great and end up with amazing pieces are just experienced enough to know how to do what they want and are just using those rough sketches to get ideas, rather than as true construction lines like most artists.
If you find yourself not producing images that you enjoy or things that are comparable to the style you're going for, try stopping at each step, poses, construction lines, shapes, etc and figure out where the divergence happens. You'd be surprised how easy it is to spot just where your illustration went wrong.
Unfortunately, given how critical the first steps and the fundamentals are, when you discover your illustration is looking a bit weird, likely the culprit of your problems happened close to the start, which makes it extremely exhausting to backtrack and fix those mistakes and instead usually leads to you giving up on a piece.
Which isn't a bad thing. Giving up on a piece when you know it's not the way you like is a healthy way to keep you motivated in art. It's exhausting and emotionally draining to keep working on an illustration that you think isn't coming out as well as you had hoped.
With that spiel out of the way, here's my piece. It's unfinished yet and I'm still working on it, but I wanted to get some feedback to know that I was going in the right direction for this piece. You can clearly see the unfinished sketchy parts that I paint from and how bad my initial sketches really look before I clean them up. Lol.
PresentMediator
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PresentMediator
You betcha
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This is exactly what I need! Thanks!
Gabauchi
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SpoopMelon
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Gabauchi
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dude thanks a million
and yeah, the character being seen is a big issue. i might change the values before I color, but the character's gonna be a high-contrast color against the environment so I guess i'll just see where the night takes me
and i used to use krita, but these days it's mostloy photoshop
PresentMediator
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DragonQueen23
Certified dumbass
Heya yall,y I just made my first finishes Digital Picture and I have been wanting to know how to improve by color choice or even perhaps brush choice on Corel paint! Anyways here ya go.
Please criticalize my avatar. I use a mouse so have mercy. I just need a basic understanding of where I should go and what I should focus on first as I've only been actively trying to better my art for about a year. I mainly wanna try making comics as a hobby and do little requests for friends so I don't put a lot of emphasis on anatomy all the time. Thanks!~
https://i.imgur.com/T9PiIEA.png
Actually, when doing this pose, since it's so unique and from an angle that I'm not even remotely familiar with, I decided to load up Design Doll studio and build the form out before starting work on the construction sketch. The link above is the exact screenshot that I worked from. I use Design Doll a lot with weird poses because of how it helps me with perspective, proportions and body manipulation.
Since the form is mostly copied from the pose I created in DD, I trust it to have mostly correct proportions and foreshortening. Not sure where the breakdown is other than that the pose itself doesn't make as much sense in the illustration as it does in the reference. It very well could be that just the difficult way the pose is laid out makes it hard to understand from just the painting. I honestly don't believe any of the proportions are misaligned, so I'm not sure how else to respond.
Altalar
has Rabies
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Been experimenting with an app called Sprinter on my laptop, Most of the program requires you to buy packs or the pro version, but considering how new I am to the program I think these came out very well, My next step would be to create large scale scenes with multiple characters involved.
No, it's 100% fine. I was just confused what you were talking about for a second. Lol. Had I not used a reference, I definitely would have been second guessing my proportions there.
Design Doll has been a god send in my artwork, though and I super recommend it for artists who are struggling with proportions and poses or even experienced artists who maybe can't find reference for a non-traditional pose like the one I'm using in this illustration.
Sprongo
Shboop (finners4444)
I don't know where to go from here in terms of skin detail!
Always remember to get your highlights and shadows the right value before trying to work on textures.
A common mistake of artists who are learning to paint is not using dark enough darks. Try pushing down the values of the shadows way more to really define the topography of her face.
https://orig00.deviantart.net/d337/f/2018/149/4/7/m__e__wolfram_by_vixikats-dccxp8h.png
Here's the portrait of my character that I drew. Here you can see just how dark I push my shadows around the face and hair and just what it does for the detail of the piece.
Gabauchi
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taintedly
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y'all got any critiques for this art? anything i could improve upon?
Motherland
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Motherland
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i think this is my favorite piece of yours i've seen to date!, my critique would be to not be so afraid of colors. Adding more contrasts to what you have, and darker colors where the face etchings/whateVER slizzar have, would be pretty neat to look at.
Salier
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Sprongo
Shboop (finners4444)
The shading for this one is a WIP, as are the finer details, but I mainly need help with the facial features! I really don't like them but I can't tell what's wrong with them. I also don't know how to make slitted blue eyes look good. Any general notes too would be great, though again it's a WIP!
does anyone know how to draw and shade hair?
pls help.
and how do you draw and shade
in general. cries.
pls help.
and how do you draw and shade
in general. cries.
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The first thing that caught my eye was the fact that what I assume is a form of chain mail (around the fore-arm region) is not affecting the silhouette at all which causes that portion to stand out compared to the detailed linework of the rest of the piece. Secondly, the center line of the torso seems to be angled to the character's right whereas the legs seem to be facing completely forwardI'll baptise this thread with my latest sketch. I've been toying with detail and proportions for a while now but I'd like to get some fresh eyes to look at it before I start doing the line inking. Do provide critics for the following sketch:
(I know I am probably a little late to the party but I thought I'd put some feedback in before posting my own stuff)
