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love 20
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joy 1
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wow 9
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mad 0
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sad 0
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fear 0
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neutral 0
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. Practice practice practice lol. I'll certainly check out some more videos and try to analyse brushes and everything. I look forward to your next pieces. S x
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Deviousness `ChewedKandi has certainly gone out of her way to keep the vector community on the right path. Always making sure that her talents are infinitely scalable, Sharon has put her bezier curves to excellent use, and firmly anchored herself as an inspirational leader. We're absolutely delighted to bestow the Deviousness Award for June 2013 to `ChewedKandi. Congratulations, Sharon! Read More
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Long story short: to get a sense of space go from thicker brush strokes to thinner as you go back in space. This is demonstrated well on the mountains and river.
Your approach to hair here makes me happy. Whether by happy accident or intention your hair here is quite nice. Something to remember is that hair is shape first before texture. Cylinder before each individual hair for example.
Steps of saturation would be welcome. More to less as we go back in space. Right now the warm reds of the sky are coming very much forward.
The balance of colors makes good sense here. Making Canterlot the same as Shy's colors is a nice touch.
If you have any questions, comments or concerns they're quite welcome, though it is likely easier to catch me on the reddit sub mlpdrawingschool [link]
Great Fluttershy.
I like your palette so far, but yes, saturation needs to be bumped up.
If the light is "golden hour" (sun set/rise), then you need to emphasize your darks (especially in the foreground) and lights more.
You got it right here: [link]
Composition is alright. My eye is drawn to the hill that's dead-center; it's distracting, and disrupts the flow of your piece.
You could lighten it so that it blends in with the mountains/hills behind it and/or shorten the tree in the foreground so you can see the landscape behind it (as well as more of the sky). Or move it.
The tree in the foreground melts into the background... especially where the opacity is off. Needs hard edges. You can still have those soft, fluffy leaves, but define the edge of the silhouette so that there is a clear difference between the tree and the landscape behind it.
There's an equal amount of detail between the foreground and the background, which makes the who image "busy".
Generally, the foreground should have the most detail (because its closer), and the background should have less.
Overall, you have a solid start and a good picture. It stands out, and I think it's the strongest piece in your gallery.
You have a good grasp on the conceptual and narrative elements.
It's just the technical stuff that's holding you back (light, color theory...etc.)
Sketching from life/observation is the best practice.
[link] Here's a painting by Edwin Church with similar setting/lighting. Look at how the light interacts with the landscape. Notice how dark the foreground is, and how light the background is? Also how the details are distributed between the foreground and the background? Study his painting and yours side by side.
Keep up the good work!
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