Live Art Critique: Charcoal Drawing and DIgital Painting

Live Art Critique: Charcoal Drawing and DIgital Painting



what's up everybody how's it going my name is Jordan and I'm going to be doing the critique for today and before I start I want to let you know that we have open submissions for for our YouTube critiques and they're all free I want to emphasize that that that's a hundred percent free and you could send in one or two or three of your pieces and we'll critique it do it just like this on the live stream and hopefully we only help give you some tips to help you improve your art because that's what we're here for so anyway with that being said let's get started with the critique first off we have this head portrait piece by Y it so I want to make sure I say the last name properly why in parati I hope I say that correctly so this is a walnut ink and charcoal piece and Oh before I go any further also if you guys have any comments about the critique about the piece and you want to throw in your two cents you know just please type them in the comments and every once in a while I'll check in and I'll read them so yeah feel free to to just share your thoughts okay so this is someone who is currently a student studying our education has been interested in visual arts since since he was about 12 but wants to get more serious so he's been taught he is talking about a lot of the different mediums he's tried out and like photography and clay and stuff like that but I bowled this point his artist statement I want to read to you it says the main idea I tend to communicate throughout my artworks is the capability of or is the to allow anyway to be able to be free with themselves as well as free with the perception of their dreams so I thought that was really interesting it was hard for me to fully understand exactly what that meant but from what I'm gathering it just sounds like you know it says in ours they might want to attempt to erase awareness of some social issues in the world so basically like social commentary is a big part of why it's work is what it sounds like and so with that you also say you like doing portraits and studying the human figure because it's really important and I agree I think it's the most difficult thing to master and it's also one of the most rewarding things so definitely keep studying the figure and you also want to talk about mental illness and your work in the stigma behind that so that's a lot to unpack and one drawing hopefully we'll be able to find a way to come to some of the synthesis here so first of all with your piece I like the composition I always liked the profile shots of a figure there's always like a sense of mystery and going on there there's something that's unknown to us and is there something about that I just was always intrigued by I also like your line work now line work is something I have talked about a while on these streams but one of the common things I see with line work is that there's even no variety in the line wait or there's a lot of what I will call pecking which is basically it's like my Wacom pen here is when someone is usually inhibited or in fear of what they're drawing they'll start kind of pecking at their line like this and it begins to look like chicken scratch right and it's unattractive it's not fun and so you you actually have a very strong quality of line which i think is serving you well you also you know I changed the thickness from thick to thin you go lighter some areas than others and I think that's actually pushing you a lot further than you might imagine because one of my classes in our first week one the only things we learned about was the importance of lion and line quality because if you're looking at a piece and it's just primarily you know like a figure drawing or whatever then you want to be lines that are there and so the fact that you have a handle on this is really awesome let's see so in terms of what I would fix about this piece so III don't know if I fully get where the concept in this piece o line and I think that that could be addressed in a couple of ways if you're talking about something as deep and as heavy as mental illness there are many people who struggle with that or who dealing with that situation but there's also many people who don't know much about that and so I would try to find a way to create a piece that shows that in a more symbolic way than just someone's head turning to the side right so you can do something like playing with values for one that I think will make the piece more interesting just in general and it could also be really symbolic for example if you look at any film right there's you know there's always those cool movies where they have an establishing shot or a character just brooding in there covered in shadow and you know there's light behind them or you know like a silhouette or like Citizen Kane really you know that from like 1942 I think that's wrong there's a lot of really beautiful shots there ants and black and white and you can tell a lot about the inner workings of a character's emotions without dialogue but just by showing it there's plenty v shows that I actually I'll give you an example there's a show i watch on it's called all-american and it there was a scene where someone was in this gang and they were trying to double-cross somebody and they were talking to you know person B who started talking about the Greeks and Trojan horse and how they try and take things down from the inside but they weren't that smart and it's one of those scenes where it's like it's not spoken but you know both characters know what's going on so I think you could kind of apply that that symbolism here what is a symbol with mental illness with social injustice or whatever it is you want to focus on that you can use to make your piece even stronger and doesn't have to be super overt you know it doesn't have to always be the elephant in the room per se but I think it would be nice to have a reward for those people who are viewing it and trying to study what's in your mind I hope that makes sense if not and you're watching please post in the comments and again reminder if anyone has any comments about the artwork or anything please post it and share it comment and we'll look I'll read it and I'll share it with everyone else so going off that point the artist has four tools the visual artist at least and when it comes to you know just the painting or drawing or whatever film and dance and odd stuff is very different obviously but you have four tools which is line shape color and value now why are those so important line obviously you know it will tell you the edge of something and you know you can it'll give you directional lines and all that shape is another very important aspect of art we read things by shape a lot of time if you look at like a child's or infants toys a lot of them have really round shapes and it's supposed to show kids that it's friendly its cuddly its soft you know all those things they don't give little kids toys that have sharp triangular edges you know for safety reasons I'm sure but also just for aesthetic purposes right so shape is really important um color we are attracted to color in different ways obviously different color conveys different meanings that is not apparent in this piece but as you keep going forward with your work I'm sure you'll want to include that and at some point and then there's value which I talked about earlier before so use those tools since you have them right so what are you trying to say about the species it's supposed to be a nightmare is it supposed to be something friend is it you know kind of like a mystery is it someone longing for something that they're unable to possess there's a lot of things that you could be saying that I don't think I don't think this piece has reached its full potential and that way just yet so that's the only thing I would really say if that in fact what this piece is about and I assume it is because it's mentioned our statement now this is just a portrait then that's a whole other thing like it's just you know good fine portrait to draw that's different but either way going for it I think that will help you with your art regardless and then I also can talk about like the anatomy so one the first question I have is why doesn't he have eyes you know is there a reason for it and if there is then you know that's fine but if I'm looking at this and I'm just assuming it's a heavy brow Ridge it almost looks cartoony in a way it kind of reminds me of those old Bugs Bunny cartoons where they'd have like Mugsy or whatever like some gang Lord and he there's one in particular I remember he was like two feet tall and a big ol hat and he had this big dumb sidekick and he didn't have eyes unless he was like really his eyebrows just covered his whole eye and that's kind of what I think about when I see this it doesn't necessarily have to be a bad thing but it's a question I have because it looks like this piece is more real you're trying to be as realistic as possible with this the other thing is your ears a little it's a little small and it's slightly shifted up into the right a little bit so I would fix that also the mouth or the filter I'm pretty much this little space here is missing and I'll move the mouth down a little bit lower you know so there's a couple of anatomy issues here I could recommend figure drawing for all it's worth by Andrew Loomis an amazing book for figure drawing there's a book called atlas for the artist by Steven Rogers Peck that's also really good when it comes to understanding and Adam and stuff so you know and I imagine you might even have these in your and your collection because I know you love stating them and figure but some of those those things are incredibly important to help us understand your story and convey emotion right there's a lot of emotion that can be conveyed just by the way you draw the expression on the face right sostay say that a little bit more and then also just what is this character feeling is it or what's this piece about and is it the same as what this character's feeling is it about isolation is it about joy pain lack of empathy you know there's all these things that you can talk about and again I'm not sure it's coming across as as well as we would like it to so I hope that helps really really really open that that helps you out so we pulled up a couple pieces here as some examples there's which McCoy I'm sorry Piero della Francesca it's this portrait piece profile view there's a lot of you know really interesting things you can learn from this here just like the value in the background how it contrasts with the the light tone of the space right so there's the value I was talking about earlier and even his hair even though it's like a brownish color there's parts of it that are lighter and then some of it just fades into the background which i think is really really cool then we have this one from peter paul rubens which is more in the lines of what you did in terms of the drawing so I think this could be really helpful for you and notice how he separates the the nose and the eye right here with a little bit of value see the nose is light and behind him is that little tone of value that automatically separates him and it's not like he's doing it all over the place it's really just in that one spot but it does so much to make this character pop off the page so you could take a look at that then gustav klimt who did this awesome drawing all online as well so I think you could get a lot from these different artists and there are links in names in the description box in this in this critique and as for course is free I would recommend charcoal drawing how to draw a portrait self-portrait with a mirror that's gonna be big for you especially because you know I know you love the human figure and drawing heads and that's one of my favorite things as well so that class or course will help you a lot this is drawing marathon human anatomy and this is basically trying to get you to be not loose per se but just be quick because sometimes we do these giant drawings that take us five hours and they don't look right so what I've tried to do with this is make you do a bunch of drawings and a limited amount of time and you could just see how quickly you pick it up for like four I have a teacher who can draw the head in two or three minutes and it looks better than anything I could do and it takes me ten minutes to do a decent one so there's a lot of stuff you can learn from that let's see here then we have the how to draw self-portrait with a mirror of course which is similar to the other one that I mentioned before and so yeah I hope that was helpful for you Wyatt and if you have any more artwork you want to submit to us just let us know and some you know I show the submit foreign well obviously you already know how to submit so I had to tell you that but everyone else watching there's a submission form that I posted earlier in this video and you could feel free to go to that right okay so now this next piece is by Michael and Michael McElwee McElwee and so Michael is a 17 year old who just finished his junior year in high school and he wants to prepare pieces for art school to go to college and for this piece in particular I want to do a digital painting to get some practice in and he's combined about 50 reference pictures so it's siming realistic and semi imagined which is perfectly fine so first thing I want to say about this piece is I really really like the colors when I see this it reminds me of something I would see in an art book for film and I think you're really successful I think my favorite is this this pinkish red orange color that you have for the sky there's something about that that makes it really stand out in this piece probably because it's it's so warm compared to all the cools that you have everywhere else and I really think you're knocking out of the park on day um you might be going a little too bright and one or two of those flowers on the bottom but that's it's super nitpicky kind of thing just because it distracts a little bit and this also kind of goes into my next point about your focal point I'm not exactly sure what you want me to look at in this piece now what I look at personally is that the you know pinkish sky in the background if that's what you want it to be then that's fine but I think you could do a little bit more to indicate that you could put the Sun there so classic example you could put you know one big cloud there and not have it so prevalent everywhere else or you could have the top covered in clouds and the bottom part pretty much sparse right there's a lot of different ways you could you can do that with without you know sacrificing the integrity of what it is that you're already doing it's really just a lot of small kind of stuff I'm talking about here furthermore your atmospheric perspective is pretty strong I like how I'm able to go back in space with this there's a clear foreground middle-ground background which is essential for creating depth even down to how you paint in the background that's really really awesome the one thing I would say is I think you should add some mist or something or just anything to separate the tree on the right side with the ground behind it because the values are so similar and you know when I first saw this my screen was pretty dark and it was also their little sun shining on it so I couldn't really see all that well and I couldn't figure out what was going on until I looked a little closer so you don't want to have those kinds of issues in your piece when you can avoid them so you can choose if you want to lighten the the tree or the ground underneath it's really up to you but I think one of those needs to be separate so that we can see that there's there's depth there let's see oh so we got a comment since the focal point was mainly supposed to the fort was supposed to be the foreground flowers I was originally going to put an animal skull down there okay so the okay so the focal points the flowers then okay so if that's the case then take back everything I said about the sky you need to make those flowers a lot more prevalent then I think I asked you think you might even need to dull down the sky a little bit and oh that will really brighten up those flowers and put more of them that are that bright because right now I'm kind of I'm looking at one or two but it's still not enough to grab me I think if you're gonna make that the focal point those pink ones you should make them bigger you should probably put more of them or you know have one pink and all them green and make the pink one really big or something like that so that just feels different right so like give an example if there's um if I'm at the grocery store and I'm going by the produce section I see a bunch of green apples all lined up and let's say it's like a two feet by four foot platter of green apples and I see Weinreb one in the even if it's not in the middle but it could be on the side which one am i automatically gonna think is the one that I'm supposed to look at it's gonna be the red one because it's the one that's not like the other that trick is used in a lot of different things putting movies right like there was a movie called like Mike that used to like my house little and they had a there was a lineup of all these NBA players came out in 2002 and the basically the point the movie is this kid has these special shoes that makes them play like Michael Jordan who's play about a little bat wow it's so but he's playing with all these you know six foot five NBA players um what makes it so unique is that you clearly have this four foot five kid or five you know five foot tall kid playing against these giants practically so automatically your point you your focus goes to him the same kind of principle with the flowers let's see here oh okay so the other thing is um your light and dark contrast I think could also be improved with the tree on the left side in the foreground and the tree in the background I think you just need to push the atmosphere in perspective a bit more because the branches are kind of getting lost and it's starting to look like the branches are connecting even though it's clearly set like you know several yards away so just be aware of that and then also watch the tangents on the leaves you have this tree on the right side and then the trees in the Far background those things are touching and it destroys the depth of your piece so I would you know even remove some of that spacing but actually you need to be honest you probably want to push the depth more so I would actually bring those leaves on the from the tree on the right and push them over the ones in the background just so you get that space and it's that's like three or four seconds in Photoshop it's not going to take you long to fix that the next thing I want to mention is the way you're actually applying the the digital paint so I actually have a course here I want to recommend to you let's see where is it it's this digital paying texture cubes course where basically all you're trying to do is just paint a bunch of different texture the reason their cubes is because you know I don't want people worrying about the design I just want them to just figure out how to paint stuff and it also help you understanding the brushes that you're using and what works best for what scenario I'm in this situation I couldn't I really couldn't help but notice this tree on the top left there's this branch that was clearly done with like a streaky brush and it kind of bothers me because trees are opaque there's very thick you know they're not see-through whatsoever and so when you do the streaky texture and you stand I can just clearly see the sky behind it that's a bit of a problem if they were leaves I could probably forgive that a little bit but the fact that I know it's a branch because it the clue that rests the trunk of the tree is that same color and value it's a bit off it looks a bit off so if you're gonna do a streaky brush I would at least do a different color that's that would look like the bark on the tree and make it so that you can't see anything behind it because that automatically just throws me off and that's just not for this tree that's any time you're paying be aware of whether or not something is opaque or transparent or translucent because that will really help you to help you and help the viewer to understand what it is this object is if this is something that was told to me if you are doing a piece if you're drawing something paying something designing something whatever and no one else is able to figure it out and that's not your intention then you haven't done your job and those were harsh words to me but it rings true if you're doing this to make sure that people understand it if they don't understand and that's a problem right so in that means you have to change something about your method is it's a lot easier to change your method than to change everyone else's opinion on how they view the world because most of us have laughs similar views about certain things like we know trees are opaque we know water is transparent but you know think there's different things so just be aware of that let's see I mentioned the composition I do like the composition I didn't say that before I actually do like this composition I think it's intriguing I don't know if it best serves you for the focal point you were planning on but I do like this piece I would probably open it up a little bit more so that there's more areas of rest because in a drawing or painting you want to have balance right you don't want to be so busy that you can't it's like it's like this if you're watching a movie and you have a 30-minute intense action sequence you kind of need that moment of rest for up for a second and that's that's important to get so just be aware of that let's see oh last two more comments if you are trying to do a more graphic style of painting I recommend looking at Ryan Lange he worked on Moana and Doctor Strange those two films and his style actually reminds me a lot of yours and certain ways so I think he might appreciate his work the other thing that I didn't get from your art statement is where's your ultimate goal with art if you want to go to art school which is clear from your artist name that you do I think you should define what you want to do do you want to go into games do you want to go in the film do you want to go into animation things like that will really help you to decide or do you want to fine art it'll really help you decide how you apply your your paints in your and how you use your tools and and the decisions you make in your storytelling it's incredibly important to make sure you understand those things because without that a really important step it's gonna be hard to kind of get your foot in the door and ultimately you want to be a storyteller you your stories very clearly so that other people can understand them so hopefully that all makes sense let me go and share a couple of other things this is john baptiste camille corot i guess as i say um and we picked this painting just to show you how nature scene can be done with the trees and the sky and all that stuff the focal point is very clear it's supposed to be that little opening between the tree and the sky you can see a little silhouette of a figure there that is enough to let you know where we're supposed to look so I think if you apply that same type of lie now I would say logic but emotion the same type of you know logic is the best work you apply that same type of logic to your piece it will automatically be much much stronger you really want to focus on animation I mainly have stories and ideas I write down and sketch and want to make it to a finish idea one day that's existe like I'm the exact same way so in that case you know study the greats right you want to study animated film some art books in your library there's a great website called live Lily blog spot.com Li v Li Li dot blog spot.com I'll post it in the description and that has a whole bunch of resources for animation it has model sheets and backgrounds and it has stuff from Disney and Miyazaki and you know anime and all this stuff that'll really really help you out let's see this is another painting Joseph Mullard who has some beautiful colors in a sky but it's still a very muted palette so but and it has a motion right so there's all those things that that we kind of talked about that you can apply as well and for some courses for you I recommend the digital sky paintings for obvious reasons you're doing digital paintings and you paint in sky and in your piece so why not do this right um I already texture cubes – but the next one is the digital paying techniques in Photoshop brainstorming illustration so this will help you to you know design your your pieces as you continue to go forward and that's pretty much all I got for you Michael thank you for submitting and thank you wife we're submitting as well I hope that this critique was helpful for you hopefully the stream stayed up because sometimes I have internet issues and not much I could do about that at the moment but I did the best I could so if you want to for anyone else out there who wants to purchase a critique and have a look at your actual portfolio maybe you're like Michael and you want to go to art school you know send us your portfolio all the information is right here and we could take a look at it and critique it and do a live stream just like how this was and hopefully we'll be able to guide you into getting into the arts what you want to go to and last but not least please continue supporting art prof. on patreon and through sharing with your friends on Instagram and Facebook and YouTube and all that stuff because I said it before many times I'll say it again we cannot do this without your support everyone the team is incredibly happy and blessed that you all are continuing to support us so please keep it up guys who really really appreciate you I see this last comment thank you for this critique totally got some great feedback good I'm glad you appreciate the feedback I'm glad you learned something I'm looking forward to seeing your work as well as white in the future whenever you watch this I don't know if your honor or not but anyway take care guys have a good one keep doing art

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