So you want to do art? Well, the first thing you gotta do is practice. And you can't do it...
Handy-Dandy Artsy-Fartsy Critique Thread
- Thread starter TheOneMoiderah
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So you want to do art? Well, the first thing you gotta do is practice. And you can't do it alone.Nobody improves in a vacuum; as with writing, performance, singing or acting, an artist needs critique. Everyone needs the help of others in order to experience any true improvement. It's true for you, it's true for me, it's true for just about anyone.
This thread is here to provide growing artists an avenue for improvement. The setup is simple; post your work, and others will be allowed to critique your work. Simply respond to the work you want to cover, and you will be allowed to do so.
The pieces and the following critiques will be threadmarked; discussions and responses to said critiques will not.
But as with anything, let's lay down some ground-
RULES
1) BE ENCOURAGING.
Nobody cares how supposedly bad someone's work is. As fun as it is to dunk on someone, that's not helpful if you want an artist to improve. This isn't an easy avenue to flame someone else's work.
This is a critique thread, not a license to be a dick. You should instead be looking at deeper questions, instead of just spouting "IT BAD".
Ask questions like:
- Why doesn't the composition work?
- Is the anatomy off?
- Perhaps you can provide redlines to help someone else improve their artwork?
On the other end, we have one-word responses, like "Cool!" or "Neat!" or "Nice!" Having been on the receiving end of such responses, I can tell you that they're unhelpful and frustrating.
An artist appreciates praise, yes, but we'd rather be told why something we've created is nice.
- What makes someone's piece work?
- Why is this particular character design interesting?
- What makes this work?
The goal is to let a growing artist know how to improve their work. If an artist, even one that is far, far below your skill level, shows signs of improvement? That's great! Let them know how and why they're improving.
- How has an artist improved in their craft?
- What has improved in their craft? Is their rendering more intricate? Maybe they've advanced their style?
- Have they actually found a style?
This is for the artists.
I get it. Getting your work criticized sucks, especially after pouring hours of work into it. It's nothing to be ashamed of; if you pour that much of your soul into a piece, you want it to be loved. You want people around you to like your work.
But that isn't a license to get defensive about criticism. Don't take it personally; nobody actually means it as an attack on your person. Keep your critics in good faith; they probably are trying to do it for your benefit.
Similarly, don't make excuses for mistakes. Don't claim that an error is just your style, don't claim that it's an intentional choice. Most of the time, critics can tell when it's just your style or an intentional stylistic choice. The fact of the matter is that if an element doesn't work, it simply doesn't work.
5) LIMIT YOURSELF TO ONE PIECE PER DAY
To prevent an artist from just overtaking the thread, I'd recommend you just post one piece per day. I would also heavily recommend against just posting revisions of the same piece of artwork.
If you want someone checking over your work, PM them instead. The critique thread is meant to look over finished works.
Don't be afraid to post something imperfect.
Trust me, you'll never make a perfect piece of art. Dwelling on the same piece is actively harmful and will make you take ages to finish anything.
I'm not saying "Produce crap quickly", I still think you should produce the best work you can. I also think that best doesn't mean perfect.
What matters the most is posting your work, flaws and all.
6) BE HONEST.
This is a biggie. Don't sugarcoat your critique. Don't hold back opinions. Don't restrict yourself based on whether or not you're a friend of the artist.
Your opinions, whether or not they're badly founded, matter. They are all important.
And even if what you say is wrong, and we do believe wrong opinions exist, there's nothing wrong with it. There is nothing wrong with making a mistake while critiquing a work, just like there's nothing wrong with making a mistake while drawing a work.
Speak truthfully, speak honestly, and even if you fuck up, at least someone will learn.
Be it you or the artist.
you beat me to making this thread. 
BRING THE PAIN!
I'll be in bed, but I'll reply tomorrow.
- Location
- in the trash
Okay so very quick first impressions:
- I'm guessing that you were trying to draw him falling, but he doesn't look like he's actually in motion, so the pose ends up looking very weird and unbalanced. This is a tricky thing to fix but that's one of the biggest things that stands out to me. Maybe try to show some motion in the flapping of the robes, have the sandal in the process of flying off, make his expression more shocked if you can?
- He looks kinda flat and formless. I think part of the issue here is the way the robes conceal everything (just below the right shoulder particularly). EDIT: No part of the picture seems to stand out, i.e. there doesn't feel like there's much depth.
- The left arm looks too rubbery. Specifically, the bend in the left elbow.
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Axslashel
I am a pessimist not a realist.
- Location
- Land of the Midnight Sun
Now, while I cannot speak for Cornybone's intentions, I am pretty sure he is sitting in a chair.
- Location
- in the trash
...Huh.
Maybe, but it still looks a bit odd, and that wasn't the impression I got looking at it.
To make sure I've got it:
I had something that was supposed to read as a chair beneath him, but it blends too much with the background. Likewise the light shading I've put beneath the leg's doesn't read with the gradient on the background.
A lack of depth in the upper torso, because the folds are obscuring the profile of the figure?
Left arm needs more differentiating lines to read as more substantial.
- Location
- HELL
- Pronouns
- They/It
Aight so I'll start with the good on my end. I really like his bewildered expression, and that kind of discomfort he's got with the kimono. He really feels like he doesn't fit in this chair, with these clothes, with this look. And it's something I really, really like.
I like his posing, I like how he's not just sitting down in a boring way; he feels like he's got a personality and some weight to him.
I like the design you put on the kimono, I like some of the clashing colors, and I like the Ukiyo-e thing you're going for with the flat patterns and thick lines.
That said, they're right; I could not tell that there's a chair behind him. I would not have known unless you told us that there's one. I know you're trying to suggest it with a pattern but it's not terribly effective at that.
His left arm is a bit too rubbery. While I understand that Ukiyo-e goes for a lot of really abstract designs and looks, I think you can take a few liberties when necessary to accentuate the bend of the arm.
Here's a quick redline. I didn't actually change that much; just added a sharper bend to where his arm would presumably bend. While his body is obviously beings wallowed by the kimono, his own shape should be a bit clearer.
That said, keep up the good work! Ukiyo-e's a fun style to work with.
I like his posing, I like how he's not just sitting down in a boring way; he feels like he's got a personality and some weight to him.
I like the design you put on the kimono, I like some of the clashing colors, and I like the Ukiyo-e thing you're going for with the flat patterns and thick lines.
That said, they're right; I could not tell that there's a chair behind him. I would not have known unless you told us that there's one. I know you're trying to suggest it with a pattern but it's not terribly effective at that.
His left arm is a bit too rubbery. While I understand that Ukiyo-e goes for a lot of really abstract designs and looks, I think you can take a few liberties when necessary to accentuate the bend of the arm.
Here's a quick redline. I didn't actually change that much; just added a sharper bend to where his arm would presumably bend. While his body is obviously beings wallowed by the kimono, his own shape should be a bit clearer.
That said, keep up the good work! Ukiyo-e's a fun style to work with.
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Any good study references for clothing folds?Aight so I'll start with the good on my end. I really like his bewildered expression, and that kind of discomfort he's got with the kimono. He really feels like he doesn't fit in this chair, with these clothes, with this look. And it's something I really, really like.
I like his posing, I like how he's not just sitting down in a boring way; he feels like he's got a personality and some weight to him.
I like the design you put on the kimono, I like some of the clashing colors, and I like the Ukiyo-e thing you're going for with the flat patterns and thick lines.
That said, they're right; I could not tell that there's a chair behind him. I would not have known unless you told us that there's one. I know you're trying to suggest it with a pattern but it's not terribly effective at that.
His left arm is a bit too rubbery. While I understand that Ukiyo-e goes for a lot of really abstract designs and looks, I think you can take a few liberties when necessary to accentuate the bend of the arm.
Here's a quick redline. I didn't actually change that much; just added a sharper bend to where his arm would presumably bend. While his body is obviously beings wallowed by the kimono, his own shape should be a bit clearer.
That said, keep up the good work! Ukiyo-e's a fun style to work with.
- Location
- HELL
- Pronouns
- They/It
There's actually a lot to learn when it comes to learning clothing, but here.
It's a pretty huge collection of different kinds of clothing. I'd also recommend you hit up a few tutorials, like this, this, and this.
There's a vast library and I'd also recommend you look up a few models and references. Here's another massive fucking database for that sort of thing. It is kinda janky but it's still another thing to look for.
I personally use a pretty huge collection of images that I got by prowling the internet as reference, and if something doesn't fit that, I look online.
- Location
- Mars
I'll dip in and say Pinterest since that's the one mainly use other than Google.
Thy-Robocop
Fairy Chess Player
- Location
- Southampton
- Pronouns
- He/Him
Is this thread still active? If so, I was wondering if anyone could critique one of the latest character sketches I've drawn. Here's the link.
I take it you did this in traditional media? Pencil, inks, color pencil? The color work on her clothes is very nice. Subtle and graceful, properly selling her as a magical girl warrior.
However: The leg frills eat the silhouette of the calves, and the legs themselves bend in the wrong places. It throws off the pose by feeling awkward and unintentional. Minor depth cues are also missing:
The axe blade should be connecting to the staff in the center of the shaft, and the same for the dolphin's left back flipper. These would help indicate the perspective in space, and inform the viewer that they are looking at a character with visual depth.
- Location
- in the trash
More later, but one thing that stands out to me is that the skirt needs to be more swooshy/flowy. The pose implies movement, but the way the cloth just hangs downward, unaffected by any force save gravity, is at odds with that. The fabric should billow where she's just lifted up her leg, unless she's been holding that pose for a while (which would be quite uncomfortable).
Even when a character is completely stationary, you can justify it as wind, unless your character is wearing one of those cage underskirt thingies (crinolines apparently) or something, and that's obviously not the case here.
Private Lee O'Malley
Easygoing Egoist
- Location
- Gensokyo
Is she licking a knife?So this thread was recommended to me for art critique
any suggestions?
- Location
- Connecticut
- Pronouns
- They/Them
Thy-Robocop
Fairy Chess Player
- Location
- Southampton
- Pronouns
- He/Him
@CornyBones @Arcus Thank you so much for the feedback comments!
I'm glad you liked my choice of colours! I was getting a bit concerned about whether I could achieve the colouring I wanted with the limited selection of coloured pencils I had (particularly with skin colour in this case), but it's good to hear that it's still working.
I'm guessing I should have given the leg frills a more 'transparent' like colouring, as I did for the skirt? As for the legs, I'm still not quite sure where the problem lies, and how to fix it. Could you show me which part I need to work on? I'm also not sure about the point about the axe blade, but I think I get what you're saying about the dolphin's flippers.
Actually, I was thinking that she'd been holding the pose for a while. Part of the inspiration for this character came from La Pincoya, a character in the game Abyss Odyssey, who floats off the ground in her idle pose (her outfit is somewhat NSFW, so I won't be linking it here), so I could justify it as her having the ability to hold that en pointe pose for longer thanks to magic. Still, you've made a good point here. I'll make the skirt more swooshy/flowy the next time I draw her in a similar pose.
I'm not too much of an art expert, but it doesn't quite look like she's licking the knife to me. It looks more like she's trying to lick her nose, with the knife resting to the side of the tongue. Perhaps it's because the tongue appears to be pointing upwards, whether it should be angled more towards the knife, so that the tongue is licking off more of the blade. As for the right corner of the mouth, the way the lines of the tongue meet makes it look like the tongue is stuck to the lips, rather than coming from inside the mouth, or that the tongue coming out is too thin.
Those are the points that I think are easier to fix if you still want to keep the rest of the drawing, though if you are willing to redraw this piece, I would suggest next time to draw her as she's starting to lick the knife (tongue pointing downward, blade overlapping the tongue), rather than as she's finishing.
Hope this helps!
I'm glad you liked my choice of colours! I was getting a bit concerned about whether I could achieve the colouring I wanted with the limited selection of coloured pencils I had (particularly with skin colour in this case), but it's good to hear that it's still working.
I'm guessing I should have given the leg frills a more 'transparent' like colouring, as I did for the skirt? As for the legs, I'm still not quite sure where the problem lies, and how to fix it. Could you show me which part I need to work on? I'm also not sure about the point about the axe blade, but I think I get what you're saying about the dolphin's flippers.
Actually, I was thinking that she'd been holding the pose for a while. Part of the inspiration for this character came from La Pincoya, a character in the game Abyss Odyssey, who floats off the ground in her idle pose (her outfit is somewhat NSFW, so I won't be linking it here), so I could justify it as her having the ability to hold that en pointe pose for longer thanks to magic. Still, you've made a good point here. I'll make the skirt more swooshy/flowy the next time I draw her in a similar pose.
So this thread was recommended to me for art critique
any suggestions?
I'm not too much of an art expert, but it doesn't quite look like she's licking the knife to me. It looks more like she's trying to lick her nose, with the knife resting to the side of the tongue. Perhaps it's because the tongue appears to be pointing upwards, whether it should be angled more towards the knife, so that the tongue is licking off more of the blade. As for the right corner of the mouth, the way the lines of the tongue meet makes it look like the tongue is stuck to the lips, rather than coming from inside the mouth, or that the tongue coming out is too thin.
Those are the points that I think are easier to fix if you still want to keep the rest of the drawing, though if you are willing to redraw this piece, I would suggest next time to draw her as she's starting to lick the knife (tongue pointing downward, blade overlapping the tongue), rather than as she's finishing.
Hope this helps!
- Location
- in the trash
Honestly my read of it is that a bunch of the proportions are off. The tongue is too large, the outline of the head and eyes aren't quite in alignment, the angle of the knife is weird, the hand is way too squished.
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- Location
- Italy
Soooo...opinions? The piece is complete, it's in grayscale and the color i added is just a stylistic choice.
Like the last piece i did, my way of coloring is "Apply color/grayscale and pray for the best" without an actual technique or plan in mind aside from "You need to add light parts and dark parts", and i'm trying to improve on it.
On top of wonky proportions/anatomy that it seems only practice and study ad infinitum will eliminate.
Fast tip for coloring is to use Ctrl-U in Photoshop to play with the colors and adjust lights/darks without needing to repaint anything. Also you can lock layer transparency to paint within a bound area.
Finally, don't disparage your work when asking for critique. It undercut's others observations on your pieces, and can points out subtleties that aren't easily discernible or meaningful.
Face and hands are the same color as the clothes, making it hard to tell where the figure and clothing begin/end. She also doesn't seem to be standing on anything because their's no indication of a ground plain with cast shadows around her. Finally their's a lack of pose, I can't tell what she's supposed to be doing in space.
Black and white painting, studying clothing folds, because that was the weakness of the last piece.
- Location
- in the trash
- If you want to fuck around with lighting and shadow, you want to know where your light source is. Think about where the light would fall and how this casts certain areas into shadow.
- You're applying shading to a drawing that lacks perspective or depth, so the result falls flat (quite literally). As CornyBones noted, the pose is lacking and it looks like she's just floating in the air. The drawing needs to have a sense of being three dimensional first. You need to think about your drawing as existing in a 3D space and being viewed from a certain angle.
Otherwise, the result you get from your shading is very shallow. Slight depressions and contours and bits that stick out slightly, but no more than that.
EDIT: I'd suggest trying to practice drawing people from angles, instead of only from the front.
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- Location
- universe
Okay, so i know that the sleeves are weird and that the eyelashes are off-centred from each other, but i'd like to hear more negatives. All I've received is praise and whilst that's good and rewarding, i would like an artist's impression on how i can improve this style.
I can't advise you on how to advance a style. I can only point out what flaws I'm seeing.Okay, so i know that the sleeves are weird and that the eyelashes are off-centred from each other, but i'd like to hear more negatives. All I've received is praise and whilst that's good and rewarding, i would like an artist's impression on how i can improve this style.
The framing of the image with the cuttoff at the knees makes it hard to tell Evil!Wendy's relation to her environment. Is she flying? Is she stepping on someone?
The brooch at her neck is just a square. It should be more than a square.
Her hair is....very strange to put it mildly. Up close it doesn't layer like actual hair in stylization, especially above her right arm.
Finally the shading is off. The shadows on her face indicate that illumination is coming below her, but the way shadows are being cast on the body indicate that it's all around her. They should be sharper, with deeper contrast between the lights and darks.