View Full Submission View Parent Comment
0 users agree
1:43 PM, Friday October 30th 2020

RPMFX gave you a nice critique (I'm just gonna repeat in my opinion the biggest problems you should work on first) and its hard to judge at the beginning if you're inexperienced or doing something wrong.

The main thing I would strongly emphasize as he said it is to draw confidently from the shoulder and prioritize smoothness and confidence over accuracy. The elipses are especially wobbly. The second biggest problem would be with the boxes as it seems you didn't actually think where they should go. Imagine the line from one point to the other ghost it and actually look where your arm is going and adjust accordingly. I noticed it myself the difference when you think you are ghosting to adjust and when you actually ghost to adjust.

Otherwise good luck.

1:59 PM, Friday October 30th 2020

thanks you for the advice! I will work on making my lines more confident and using my shoulder all the time.

The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something I've used myself. If you're interested, here is a full list.
The Art of Blizzard Entertainment

The Art of Blizzard Entertainment

While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.

The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.

This website uses cookies. You can read more about what we do with them, read our privacy policy.