Loose vs unfinished/ rushed
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I'm so happy to have gotten honorable mentions today, for me it's about growing with each submission and taking something away... so I'm ecstatic even though it wasn't right for the ring.
So, I'd love discussion on loose vs unfinished. Like Lee said, it's such a fine line. I'm used to being a photorealistic colored pencil portrait rtist and nailing down every flipping hair. I'm still trying to find my illustrative style, and find myself drawn more to the loose, textured, almost impressionistic styles. Maybe because it's so opposite of what i do with colored pencil.
I'm definitely learning loose, barely scratching the surface. Especially since I'm working with my non dominant hand. So, how does one find balance and that chefs kiss to loose, without looking unfinished? -
@AngelinaKizz Congratulations on an honorable mention!
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@Frogpunzel thanks!
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Great job today...
I too am in the same boat as far as finding loose vs too tight, still trying to find my style and push boundaries, trying to get better. Staying true to me but leveling up...:)
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@AngelinaKizz this resonates with me so much, because I tend to over-render and smooth stuff out making it look plastic. I managed to get round some of this by not zooming in too much, and using textured brushes. If I keep the brush size bigger it'll force me to imply smaller details. I still struggle. I had to rework loads of my painting to get rid of the over rendered part, and force it to look looser. You'll figure it out, I really liked your entry.
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I really liked your entry, Angelina. Maybe try doing some masters studies of the loose styles you’re trying to emulate.
the site: katherinetyson.com
instagram: instagram.com/katherinetysonart -
@Katherine that's a great idea. For the next 3 days I'm actually in class with my fave, marco bucci, hopefully he'll have some guidance too on loose vs unfinished.
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@MarcRobinson I think your style is beautiful! I don't think you need to adjust at all. Your illos are totally picture book ready.
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@AngelinaKizz too kind, thank you.
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@AngelinaKizz That's cool... Marco Bucci and Aaron Blaise often pair up together to teach loose, yet "buttoned up" rendering which I do see some elements of Therese Larsson's techniques, all so inspiring.
Keep up the good work! -
@AngelinaKizz I agree with you, @MarcRobinson your work is phenomenal and reminds me also of Brandon Dorman. So talented. You could teach a course yourself...
Erin Richardson
instagram.com/erinrichardsondesigns21
www.erinrichardsondesigns.com -
@ArtistErin I swear you guys are gonna make me blush! I've had such a warm reception here on the forum. Such a welcoming community.
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@MarcRobinson LOL Oh I forgot to congratulate you for winning Critique Arena!
Erin Richardson
instagram.com/erinrichardsondesigns21
www.erinrichardsondesigns.com -
@ArtistErin I'll let you off this time... Just don't let it happen again
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I find that a lot of the illustration can be loose as long as the important details are not. Faces, especially eyes, facial expressions, hands. The background? That can be hella loose, except any areas or props necessary to the understanding of the story. This loose/finished contrast can even help direct the eye towards the important bits. The eye will tend to skip over blurry, loose, or less detailed areas.
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@AngelinaKizz On loose vs. finished, John Singer Sargent comes to mind. Sargent would reportedly paint the same subject and then scrub it down for days in a row until he was satisfied. In the end, having worked quickly, it would look spontaneous. But by the time he had done this "spontaneous" painting, he knew where every stroke should go, or at least felt it in his fingers. This technique, at least as applied to oils in his time, was called alla prima painting. Marco Bucci has a similar style, BTW.
Another way to look at it is, you might have loose strokes, but you have a strong sense of structure.
And yeah, @MarcRobinson, way to go in the Critique Arena!
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@LauraA Sargent is the GOAT... And thank you!
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I like drawing 'loose'....too loose sometimes.
It's hard finding that balance. My inspirations are pretty obvious. Watercolour and ink legends like Quentin Blake, Tim Burton, Ronald Searle...
They all draw loose and lively, and colour their images haphazardly. I practiced doing the same for months and months.I think it's all about drawing interesting, lively facial expressions with good designs. It's not a simple thing to get good at. I've filled about 13 sketchbooks so far trying
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After 6 hours of intense learning with Marco Bucci today, I feel like a bunch of light bulbs all turned on at the same time. Things that should be obvious, I'd totally missed, like harder edges where there's importance, and deliberate areas of lost edges. I'm totally inspired to take previous works and start them over based on what i learned today, and I still have 12 more hours of learning time with him this weekend.
