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Postby Gryephon » Sat Apr 23, 2016 4:25 pm

  Gryephon
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Subject title: Gryephon's Critiques

Whoever wants a critique from me specifically can post it here.

The general rule of thumb for me is that I don't critique overly-sexed up pieces. So no nudes or gays.

EDIT: Oh and I do critiques on digital painting, not much of a traditionalist.

Also, no critiques on art that is being submitted for competition.

Edit2: Critiques will probably get referenced in my Sycra sketchbook. The "Best Sketchbook Ever"
Last edited by Gryephon on Tue Aug 02, 2016 11:02 pm, edited 2 times in total.
If you clean a vacuum cleaner, you become a vacuum cleaner.

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Postby Erekem » Sat Apr 23, 2016 4:52 pm

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Can you critique this?
Background 1.jpg

 

Postby Fantelle » Sat Apr 23, 2016 6:59 pm

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    I'd love to hear your thoughts on this :)

    Image

 

Postby Gryephon » Sun Apr 24, 2016 12:27 am

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Love the colors.

The main problem is the knight, he\she\it is way to faded into the midground, Try and bring him out so that he is more visible, you can try darkening him and adding more color diversity there to bring him out.

I'll comment on blacks here. In the more main stream colors theory, black and white aren't actually colors, it's a shade of color. Like white represents brightness, black represents darkness. So in color oriented painting it's a good idea to minimize it as much as possible, or completely. Because white and black are shades, they do have very unique psychological effects on the mind that other colors don't... you don't associate shade immediately with green blue yellow et cetera (only when they are close to the shade of black or white). I myself consider black and white to be colors of the highest contrast attainable in art, you stack complementary against them (red & green, blue & yellow) they still seem to come out with the most contrast, which means they'll stick out from other colors. So whenever you want to do color oriented use it sparingly and wherever you want to draw attention to. So if your going to put any black in the painting it should be on the knight because that seems to be what the painting revolves around.

I'll do a quick overpainting, I didn't make any sense of the straight lines on the top left so replaced it with some of my childhood memories. I did try and add rim light here and there. I did try to tweak the mountains so that It's a little bit more consistent with the cruciform armature, which is a composition i'm a little bit more familiar with. I changed the blacks on the edges to cut down on the black use (as i mentioned use it sparingly). I did make the edging in a number of areas a little bit more crispier (especially where light clashes with form), as it felt a little bit too much opacity was used in a number of places.

anyway, hope this helps.

Background 2.jpg


Already Fantella, your up next, brace yourself.
Last edited by Gryephon on Sun Apr 24, 2016 10:34 pm, edited 1 time in total.
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Postby DirtyRustyDevil » Sun Apr 24, 2016 8:45 am

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Idk How much u can critique on this ^-^ but il be happy to hear some opinions on it especially composition and stuff like that (or colors or lighting, damm i suck at them all).

Image

 

Postby Gryephon » Sun Apr 24, 2016 9:45 pm

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@Erekem: One more thing, while I try to shy away from heavy uses of blacks, there are some artists of the dark arts that do seem to handle blacks with a diverse pallet of color alright. A particular bodyscape artist John Poppleton does blacklight photography, which is dominantly black in color whith a lot of other saturated colors. You can see some of his work here. He's the only artist that I know of that handles blacks with diverse colors well.

Fantelle wrote:
    I'd love to hear your thoughts on this :)


Looks like you got the classic case of the camouflage problem. The bird blends into both the hair and the shadows making it's form hard to see.

Since it is a black on black, a common fix to this problem is adding more rim light. Of course not every case you can apply this solution, not everything is dark on dark (you'll have to tweak tones of the form, shadow, and sometimes composition whenever it not dark on dark). Now I did a critique sometime ago on Sykeskywalker trying to explain him how background effects form a lot... You can check it out here. When I overpainted yours, I went as far as turning the background colors to a really dark warm color to have it clash against the cooler colors of the figure... I also edited the bird's blacks to more of a bluish black to separate the form from the hair form. The idea is to better see all four dimensions of form, length, width, depth, and background.

Add more chest hairs, it's the marks of a real man.

Sorrow_Crow.jpg


EDIT:Also if there is something you don't understand, feel free to ask =) I'll try and better explain it.

@DirtyRustyDevil: I'll hop on yours next.
Last edited by Gryephon on Mon Apr 25, 2016 12:40 am, edited 1 time in total.
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Postby Gryephon » Mon Apr 25, 2016 12:08 am

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DirtyRustyDevil wrote:Idk How much u can critique on this ^-^ but il be happy to hear some opinions on it especially composition and stuff like that (or colors or lighting, damm i suck at them all).


Well, yes I can give you a critique here.... But I'm not sure what your trying to do in art... Your saying you suck at lighting and colors, are you trying to pursue realism? Or Cartoonism?
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Postby Fantelle » Mon Apr 25, 2016 7:16 pm

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    @Gryephon: Thanks a lot, mate! Gorgeous paintover as well ;)

 

Postby DirtyRustyDevil » Mon Apr 25, 2016 9:01 pm

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Gryephon wrote:
DirtyRustyDevil wrote:Idk How much u can critique on this ^-^ but il be happy to hear some opinions on it especially composition and stuff like that (or colors or lighting, damm i suck at them all).


Well, yes I can give you a critique here.... But I'm not sure what your trying to do in art... Your saying you suck at lighting and colors, are you trying to pursue realism? Or Cartoonism?


Well to be fair i never been up for realism and most of my art work to me getting something that just looks good, so cartoonism? Ignoring all that in this drawing im more curios on composition and just general aesthetics. I really like tick varying line art in general and had trouble w getting shading work w it. Also giving me more tips on actual realism would help to as i try to borrow things from a lot of things to keep for my own art.

 

Postby BrianB » Sat Apr 30, 2016 2:24 am

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Hi Gryephon! I have been working on this piece for a little while and I think its starting to come along. Any general critique about composition, perspective, proportion, color, how to make it more sci-fi, etc would be greatly appreciated.
Explore.jpg

 

Postby Moe » Sat Apr 30, 2016 7:56 am

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Hey grey, I'm still a noob at painting, I hope your wisdom will guide me in the right direction. Thank you in advance.
1.jpg

 

Postby Gryephon » Sun May 01, 2016 6:00 pm

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Fantelle wrote:
    @Gryephon: Thanks a lot, mate! Gorgeous paintover as well ;)


@Fantelle: Your welcome.


DirtyRustyDevil wrote:
Gryephon wrote:
DirtyRustyDevil wrote:Idk How much u can critique on this ^-^ but il be happy to hear some opinions on it especially composition and stuff like that (or colors or lighting, damm i suck at them all).


Well, yes I can give you a critique here.... But I'm not sure what your trying to do in art... Your saying you suck at lighting and colors, are you trying to pursue realism? Or Cartoonism?


Well to be fair i never been up for realism and most of my art work to me getting something that just looks good, so cartoonism? Ignoring all that in this drawing im more curios on composition and just general aesthetics. I really like tick varying line art in general and had trouble w getting shading work w it. Also giving me more tips on actual realism would help to as i try to borrow things from a lot of things to keep for my own art.


@DirtyRustyDevil: So shooting for cartoonism but wanting advice on realism?

With realism your going to have to work with a lot of references. The problem with your kind of art is that your dealing with form that is not real, so it's kind of hard to maintain consistancy with the subject, and also hard to get references on it because it doesn't exist, you might try taking up sculpting. Observe this video as you can see this guy starts off with 3D sculpting and ends with overpainting it. With me i'm not actually a sculptor, simply because I focus on art that circles around people as the subject (particularly celebrities), so It's kind of unnecessary because I got plenty of reference online from google to copy from. There is a lot more I can tell you, but it would probably be better if you checkout the book "Imaginative Realism" by James Gurney to learn more about how the pros do it.

Yeah, that's probably true getting shading to work effectively in your art style would be difficult. What I suggest if your going to work with those kind of lines is to try and mess around with the colors a lot to add interest, you don't actually have to work in black lines only, you can try white, yellow, blue, red, et cetera. I'll try and illustrate this in an overpainting. While I may have added to much blacks then my usual taste buds, but then again I'm in a style i'm not familiar with and getting a little out of my comfort zone, so have to adjust my own habits to adapt.
smallkindred_by_dirtyrustydevil-da05hm9.jpg





@BrianB: Well, more sci-fi-ish... You would probably have to add a crap ton more blacks (white too I guess for interiors), it's probably because I watch too much star trek and star wars and these shows have a crap ton of blacks probably because they take place in outer space a lot.

The problem with this is mainly the pose, it's not interactive, It doesn't tell story. For example why is one leg up? or why is one hand on her hip? Fixing it up your going to have to think about whats going on in the piece, in the overpainting i decided the kind of story I was telling was a friendly neighborhood giant monster squid giving her flowers. From there the pose is easy to fix because you have an idea of whats going on. Of course you may not immediatly, the original idea when i started overpainting for the fix was her stepping down some rocks to fix the leg pose, and her reaching for her dropped datapad... But then i was wanting to add an alien creature to imply some sort of native inhabitants, and that where I moved on to the tentacle. I'm just explaining you this because your ideas evolve while your painting, not everything comes to you right away.

I'll comment on "immersion", you might try experimenting with more contents. If you don't know, immersion and story are two different things even though they criss-cross sometimes. Immersion has to do with the contents in the peice, while story has more to do with how the contents interact. For example when your painting a kid sleeping in his room... you could draw a completely cleaned up floor, or you could add contents on it like a football or a soccer (implying the person does sports), xbox controller with some games, a family picture on the wall, et cetera... All this adds depth to character perceived. Category of contents does matter, like if one room has a bunch of bibles and other religious books might imply that the character is religious or a pastor, but if it was filled with dildos, butplugs, whips, and other sex toys might get you a radically different perception of the characters involved. I didn't do a whole lot of immersion in the overpainting because I was wanting to wrap it up quickly, but there is a lot of stuff you could add to obtain a little bit more metaphysical depth... Like add a broken ship, or add some hanging huts to the cliffs to imply culture, or maybe a shipyard on the ground or the distant mountain tops, a robotic dog companion, et cetera. An example of an artist that does immersion really well would be Brandon Liao (AKA madspartan013)

You could also try experimenting with more colors to the hair, as it kind of looks very monochromatic, like more cooler colors like blue or purple to spice it up a little bit. With me I kind of picture that in the future girls would be going around with hair that has a lot more colors... I guess this is just a personal view =\ If you want to get some inspiration you can try looking up superschool48
Explore4.jpg




Moe wrote:Hey grey, I'm still a noob at painting, I hope your wisdom will guide me in the right direction. Thank you in advance.

@Moe: Have you tried adding balloons? They help. Also heard there was a new drug on the market called draweasy, might want to invest in some.
Image
EDIT: Disclaimer balloon art is not mine, it belongs to Larry Moss. I just posted it as a funny response to moe.
Last edited by Gryephon on Tue May 03, 2016 5:11 am, edited 1 time in total.
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Postby BrianB » Mon May 02, 2016 6:16 am

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@Gryephon

Thanks for the feedback!

I wanted to get some critiques on what I had so far so I can easily change and fix things. Luckily I set up my layers in a way that it shouldn't be too difficult.

I'm having a lot of fun with this piece and I'll post the final version once I'm finished with it! :D

 

Postby isntGabriel » Mon May 02, 2016 4:33 pm

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I can't wait to see what he does to my art when I post it
skyscraper of a 14 year old

 

Postby ZeroisDead » Mon May 02, 2016 4:58 pm

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How can I fix the lighting on this?
Image
Just a simple teen with a focus in graphic art and design.

My sketchbook, if your interested: http://www.sycra.net/forum/viewtopic.php?f=3&t=18640

 

Postby Gryephon » Tue May 03, 2016 4:44 am

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ZeroisDead wrote:How can I fix the lighting on this?

Oh easy, invert the lighting key. It's too dark. Might add some texture to get some particle effects. Didn't do a whole lot of cleaning, just trying to convey the idea.

Critique mask guy5.jpg
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Postby isntGabriel » Wed May 04, 2016 7:27 am

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Aye Gryephon! OMG LOOK! THERE AREN'T ANY FUCKED UP LINES LIKE BEFORE!! :D

I was trying to get the viewers eyes to focus on the face mostly by kind of blurring out the ear and hair, I know it probably isnt that good, but I feel I've improved quite a lot
Actual painting!@!.jpg
skyscraper of a 14 year old

 

Postby Gryephon » Mon May 09, 2016 10:09 pm

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This critique board has been off and on, haven't been able to post in here till now. =\

Yes you are improving, I'm glad to see that.

You got a partial floating subject problem. Your subject's head doesn't seem to be attached to a shoulder... The problem with this is that it leaves the piece feeling unfinished, You might ask, well if I add a shoulder,don't i need a torso and legs? Well it depends on the picture frame and shot type (Close up, Mid shot, Wide Shot, et cetera.) From what the the picture is telling me, your trying to do a midshot however the shapes that are vissible seem to be more of a close-up. An art piece shouldn't ever be considered done if the subject's shapes is not rendered according to the picture plane\frame (otherwise it's just a "sketch"). So either add the shoulder and some of the back, or crop it to a closeup... In the over paint I put the picture frame in green to show you what i'm talking about.

I'll comment about messy lines\textures since you mentioned it (even though it technically was criticism from a previous piece). Messy textures\lines can work well if you can make it feel apart of the subject's materials. Which does require experimenting around to get it to work, I'm saying this because I don't want to completely discourage you from getting messy. Granted clean art has it's own appeal too, guess it's just a style choice. =\ If your wanting to mess around with messy contours, you'll probably want to look into drip paint art (e.g. here and here) usually good messy lines have a very organic vibe to them. While i'm not super experienced in the messy styles of art, I'll tray and make the textures messy to get the point across.

About background. you may want to experiment around with different background colors. The problem with extreme white or black is that it kinda looks artificial, especially if your trying to do realism (which you may or may not). The background colors play a huge role in influencing how your piece is perceived, for example, I was recently working on coloring an old black and white photo for fun (you can find it here) Different background colors effect the piece a lot, as you can see the pinker magenta might imply something more sexual or romantic compared to the others, or cooler colors might bring out the subject from the background if the subject is of a warmer color, greener colors might imply something more natural (jungle, trees, et cetera). Just experiment around, you might find something you like better then white.

Anyway, hope this helps.


If you have any questions on technique, please refer to this video

Actual painting%21%40%21.jpg
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Postby isntGabriel » Sun Jun 05, 2016 6:19 am

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aye do you think smile or no smile is better?

And how can i make her look more feminine and less boy-ish
which is better.jpg
skyscraper of a 14 year old

 

Postby Gryephon » Tue Aug 02, 2016 10:58 pm

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Do you still want a critique, I had to stop posting because of the problems on the forum at the time, then just kind of forgot about it.
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Postby Gryephon » Sun Oct 16, 2016 1:38 am

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Bump. I'm open up for critique.
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Postby Lythox » Mon Oct 17, 2016 2:08 am

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Here you go! With this piece I tried to create an interesting landscape with a lot of depth in it, and in general I just tried something that looks realistic. I wanted to generate an "all alone in a beautiful big world" feeling. I'm aware of the head of the girl being too large, I will fix that soon, but I'd love a critique on the piece as a whole! Also I see your paintovers, I'm interested in how you would do mine :P

update: http://i.imgur.com/swGHOsn.jpg (higher res and fixed head size + little color/brightness/contrast tweaks)
image.jpeg

 

Postby Gryephon » Fri Mar 10, 2017 5:07 am

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Bump, Previous one was done over PM.

I'm open for critique again.
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