Brutal honesty and love requested...

[deborah Haagenson]

@TessaW Your comment is very fair in light of what you just said and I'm sure your right. I might have been a little snarky in my last post. I'm sorry about that!

[TessaW]

I think @NessIllustration is really on to something here. I do find I have a harder time pinpointing what might be helpful to you. Sometimes I will see a few things that could be improved upon in your piece, but then I think that there are a bunch of small things that really don't address the bigger issues. . .which I can't quite pinpoint.

I also sometimes question how much critiques on individual pieces actually help with someone on your level. I think a lot of improvement will come from just making a lot of pieces and brushing up an skills behind the scenes. I think larger portfolio critiques are more helpful for artists at your stage. Just a thought. I could be wrong.

[chrisaakins]

@TessaW I hoped you weren't. I thank you for taking the time to help me out with my art crisis.

@Laurel-Aylesworth Thanks for the words of affirmation. Painting digitally is new to me and I shouldn't expect an immediate transfer of my traditional skills into digital (not that I am a master there either, but am certainly better with them than digital) I feel like I am one of my students who looks at the master's work and then can't see the improvement in theirs.

[deborah Haagenson]

@chrisaakins I relooked at your piece. I haven't read all the comments, so if this info is a repeat, I apologize. First, I think the guys eyes should have a more surprised look. Second, I think the guy should be moved from the center and turned a little bit, so he can see the monster - I'm not sure he would hear him falling through the air. I really like the candle and the bedding. I come from a traditional background too, so I get the struggle of transitioning to digital.

[TessaW]

@deborah-Haagenson said in Brutal honesty and love requested...:

@TessaW Your comment is very fair in light of what you just said and I'm sure your right. I might have been a little snarky in my last post. I'm sorry about that!

Ok, whew. :smiling_face_with_open_mouth_cold_sweat: I saw your comment, and was wondering if you were addressing me or not. I wasn't sure! SVS and this forum have given me so much and continues to and I definitely don't feel as if I'm giving much of anything. I looked back at my comment, and can see how it seems accusatory. I am very socially awkward and can be insensitive without meaning to.

[NessIllustration]

@chrisaakins Yes the "death of a thousand cuts" is particularly hard to critique. When there's just one or 2 things to point out, I write them down and I'm on my way in 5 minutes. On this pieces though (and others like it), I could pick 2 things to point out (for instance the hand too big and the mouth not quite in the right spot) and leave, but I wouldn't feel like I actually helped you any. You could fix those 2 things but you'd still have other issues in the picture. But if I point out every single thing, not only is it going to take me a very long time, but it's going to feel like I'm piling on you. I don't want to seem that harsh to you and possibly hurt your feelings. And as @TessaW has mentioned, a lot of time people at your level are served best by just continuing to practice, continuing to use reference and they will improve over time naturally. So when I encounter a piece that fits all those criterias, I stumble about for a couple minutes not knowing what to say and end up leaving... I'm very sorry if this made you feel like your art was awful, that's certainly not the case! I find that beginners or pros are easiest to critique, and in the middle it gets really hard to do!

[chrisaakins]

@NessIllustration thanks! It really does help. I also need to figure out what I want. Do I want a painterly style or pen and ink style. I am still exploring and I was happy I was able to paint digitally. I need to keep at it, though. Pros like yourself are a big help, and we appreciate your input.

[Kat]

@chrisaakins , kudos to you for asking people to give honest feedback. I think many, many of us are just afraid to hurt feelings or (like me) feel totally unqualified to give any feedback. So, here's my totally unqualified thoughts

I really like how you handled the folds in the fabric, and the candle looks great. I feel that the angle of the boys head and body look "off", though. If he were laying in bed on his stomach, his neck wouldn't be so long, and he wouldn't be able to turn his head around so far. I can see the shape of his behind under the blanket, but not his back or shoulders, which makes it appear that he's coming up out of the mattress. I'd expect his left shoulder to be "up" and sort of blocking the view of his neck. Maybe his right arm showing, although maybe you intended it to be under the pillow.

Please take a look at this photo, and maybe it will help to explain a little better what I mean
https://www.gettyimages.in/detail/photo/young-woman-lying-on-grass-looking-over-shoulder-royalty-free-image/200146572-001

I think the monster is adorable, though! He certainly looks as surprised to be falling as the boy looks to see him! And you've done a good job on the fabric of the curtains, too.

I hope that is at least slightly helpful

[KathrynAdebayo]

Hi Chris. Just want to throw in a word of encouragement. I read through all the comments and feel like others have already shared what I would have said - I actually planned to post a comment in response to your original critique thread, but found it hard to pick out what to mention and found myself saying, “maybe later!” I think your work has been improving a lot over the months, and it’s been an honor to vicariously share in that journey with you. Please continue to share it here, if you feel so inspired to, because it’s very valuable to see your work.

I’m also new to digital, and I’m finding it very difficult to find a style I like while using it. We’re in the same boat.

Just keep sailing.

[sarahlash]

I’m so sorry - I was one of those who viewed your post, but didn’t respond. In all honesty, I just feel completely unqualified to offer any helpful critiques, being so new to illustration myself (and new to the forums). But I know how terrible it feels to put your work out there and get little response. I’m definitely going to make more of an effort to stop lurking and start interacting.

[burvantill]

You're so right. We need to be there for each other. I'm going to make more of an effort to respond to critique requests. Just not this one .
After reading everyones responses, everything that I thought for this piece has been said.
It's so easy to just hit the like button and move on because I think I don't have the time to put in the effort needed to give a good critique. But I have been in your position and every little comment helps. I'm glad you posted this. Be prepared, I will ream you...I mean give you constructive criticism next time.
Get well.

[KaraDaniel]

I saw your finished piece in the finished challenge entry thread then right after I saw your WIP post...I would have commented but seeing as you had already submitted I chose not to. I would have said what most have said thus far in this post. Sorry you have the flu. I had it last week, no fun. Hope you feel well soon.

[LauraA]

Chris, I understand. I left the critiques last night thinking, "These are all really good pieces, but I have no idea where mine fits into the mix and what I could have done better." Maybe it's the people in the middle, the ones who are the hardest to critique, who need it the most!

And yes, while participating in the forums I have been both on the "Something is off with x's submission, I don't know what it is exactly and the morning is escaping me, so I'll pass," side as well as the, "Hey, I want some feedback before moving on and I'm not getting any!" side. Being in Europe where most of you are asleep when I start working probably doesn't help. I do try to give feedback whenever something clear occurs to me. I have spent so much time writing on the forums lately largely because I badly need community and critique, but it's cutting into my work. I hope to participate in the next round of SVS portfolio reviews. It looks like that might help you as well.

I didn't even think of all the things some of the other people replied to you, but when I read their comments, I thought, "Hmm, that's true!" As a former oil portraitist, I think part of the problem is indeed that you are trying to pull off a realistic style and so that absorbs a lot of the energy that could be put into the more big picture, design aspects of illustration.

So, here goes:

First of all, you are in Atlanta? If you are committed to a realistic style, have you ever thought of going to a Portrait Society of Atlanta meeting or taking a class from one of their senior members? I learned a whole lot from them when I lived there years ago! I don't know if Marc Chatov still teaches (I would imagine so) but he taught me a ton about color. And there are plenty of other good teachers, too. It was a great community when I was there. (Don't laugh. I'm so old! It was back in the 90s!)

Here's what strikes me: Your boy has a bit of what Will calls "old man syndrome." That happens when the face isn't simplified enough or when the expression calls for some facial distortion, but in our attempts to emphasize it, it ages the character.

The pose makes him look uncomfortable in a stiff way. Of course he's scared, but he looks more rigid. I see why he might be turning back because he hears something, but the 180 degree angle makes it hard to pull off. Maybe he shouldn't have to do a complete about face? The body is still a bit too flat on the bed despite your attempts to give it volume. And yes, the hand is large. I think a solution for this particular problem would be photographing the pose or getting great reference while also studying figure drawing.

Technique-wise, oil is hard to pull off digitally. You might try some of the Kyle oil brushes with temp layers (any more than a few strokes tend to go to mush, so they require a lot of layers that you flatten later, and therefore I have been avoiding them lately). They are hard to handle skillfully, but if you think about each shape, you can achieve a less airbrushed look. The main thing, though, if you want to go this route, is to study traditional oil painting from life.

If you want to either redo this piece, or do another one for another occasion, in such a way as to concentrate more on concept, character design, composition, lighting and color, you might try simplifying your process (cut down on detail) at least temporarily. I share your interest in painting relatively realistically, but as you see, a lot of the chosen pieces are quite elegantly simple and focus on concept and design. (I'm making that note to myself as well.)

And no, the flu doesn't help! But you are not coming off as a whiner. It's a serious question and you are wanting serious answers. That's courageous.

[xin li]

@chrisaakins I feel the same way as @NessIllustration. I have seen your WIP for this piece. But I have a hard time giving critique.
I feel like it is hard for me to critique a more realistic style because I have a hard time painting realistically (I plan to do more studies on that). I always believe in what Lee says "do not let your weakness dictate your style". So I admire that you are so dedicated working on this quite realistic style.

What I noticed now by re-visiting your WIP thread is the process you paint. It seems that you paint one object at time in the process. I find it much easier to tackle a painting when you paint the entire image at the same time. Here is an example (I took this example from Lee's painting class, I hope he would not mind me sharing it here) to show how to approach a painting.

You might want to give this approach a try to see it helps you to keep the painting more coherent in terms of value and color.

Hope this makes sense. As @Laurel-Aylesworth said, I will also try to make an effort to comment when others ask. We are all in this art journey together.

[chrisaakins]

@xin-li thanks! That does help. Is that from one of the video classes?

[NicolaSchofield]

I definitely fall in the camp of not feeling like I know enough to critique sometimes and not wanting to upset people. If I'm not pointing out some technical flaw that everyone would agree with like the perspective being off or something then I worry I'm just giving my subjective opinion and why would anyone want that!

After reading this thread though and watching yesterday's critique, I think people's emotional reactions and general impressions of a piece can be extremely useful. That's the level of reaction/ engagement that everyone in the wider world will have. They'll glance at a book cover and decide whether to pick it up based on a fleeting first impression. So actually, I would welcome that subjective level of comment on my work and I'm going to try and give it more to others.

Here's mine for this:

I felt a bit disappointed when I first saw this. Everything I love about your art (as beautifully illustrated in your three wise men mice piece), the fluid linework, the lovingly crafted characters, the delicate shading and colour, seems to be missing here. It looks heavy and a little lifeless. But I saw that you said this was your first experimentation in digital so perhaps it is purely a matter of practice. Try some different brushes, etc.

I agree with most of what everyone else has said about his hand and face and adding texture, etc. but I think I would go back and flesh out the story you're telling first. I see there is a monster falling off a roof in olden times but that's all really. Are we in a specific time period? Why? How can you make this clearer? What was the monster doing on the roof? Do monsters roam generally at night here? Do they eat children? Or just steal their socks? The story feels a bit generic at the moment and so I'm not sucked in, wanting to know more.

I think it's easier to give general critiques on sketches. Once a piece is looking finished I tend to think that the creator must be happy with the fundamentals of the idea / design and they just want suggestions for tweaks to the finish.

Finally, I think there's a category for forum posts called "serious critique" but no-one seems to use it much. When I first joined the forums I assumed that people must mostly want nice comments and likes rather than serious critiques if their work is not posted under that category. But now I think maybe people don't realise it's there or just forget to use it?

[Nyrryl Cadiz]

@chrisaakins hi, Chris! I apologize if you feel a bit unseen lately. I’ve been too busy lately as well. I’d love to give you so feedback. So I think your piece has a great concept. However, what I think is dragging it down is its values which are too dark, your character’s bland expression and his slightly wonky anatomy. please excuse my bluntness. I personally think you have good perspective and composition. I’ve attached 3 pics below. 2 details the parts I think you should work on while the 3rd on is a repaint I did.

Please don’t be discouraged. I can’t speak for everyone but sometimes we can’t give feedback because we’re just too busy, sometimes we ourselves don’t know what needs fixing, sometimes there’s too much that needs fixing that we don’t know where to start. This piece lies a bit on the third for me. But you will improve eventually just keep at it and don’t let our silence derail you. I hope this helps.

[Coley]

A possibility is to take one of your mice pieces from inktober and paint it. Possibly using multiply layers or combo of multiply and normal layers. There's likely some of those pieces of yours that fit a nighttime theme. So then you're working on the painting not the drawing for the next week or two.
Repainting an inktober piece was what I did for this month although it was unintentional LoL. I did a lot of multiply layers to leave the inking visible. But at the end I decided I wanted to have the mouse a little more realistic so I used a normal layer on top and covered up some lines as I painted.
Just a possibility
Hope you are getting well

[xin li]

@chrisaakins It is from a live class with Lee in last year. But I think he is putting a lot of the same ideas into the new foundation course. If you take a look at the "LIGHT AND SHADOW FOR ILLUSTRATORS" course - It is basically the same idea there, except he only uses greyscale there. Hope that makes sense.

[Julia]

Hey Chris! because you asked for love and it's Valentine Day, I am sending you love from Down Under! Now, I haven't seen your piece on the forum, I just saw it on your IG and I could not really tell what's story the illustration conveyed. However, now I read the prompt, I am very puzzled about the prompt itself, haha! keep the good work and don't feel discouraged, you can only be better by making!