Here's an image I made for a friend of mine. We're working on a project together that we'll be pushing for publication within the next couple of years. This is one of the concept drawings for it.
Nicely Done! I like the theatrical lighting. (I assume it's coming from the Wiz's amulet). I wonder what would happen if you were to push the darks a bit —to get some of the important figures to project a little more. The dragon's crouch is wonderful, but it's getting lost in the details.
Thanks, guys! The owl was a personal choice. Everything's better with owls :P The light source, Paula, is the amulet around the Wizard's neck. This is an image that would likely be a design for a frontis piece. It is a time in the far past. The dragon is the main protagonist and the Wizard is long dead when the story is taking place (in our time). As dragons go, he is young, only slightly larger than he is in the picture at the time of the story's start.
I agree with you, Chuck. I tend to go light. I'm fascinated with the pencil work of Alan lee and John Howe. I've been experimenting with value contrast in high key to middle key ranges to give the illusion of glimmering light and whimsy. I have a very direct approach to art, large shapes and close compositions. I like intimate moments between characters a great deal. It makes me feel like I'm sitting there, too. Also fascinating to me is the perspective of the third party observer, as in the Elivagar piece. You're not on the boat with the sailours, but off to the side. When I make a work, i want the viewer to experience the event somehow. In this piece, the collection of animals gathered in a way that is reminiscent of a bunch of children listening to a storyteller, I wanted the viewer to feel like they were curled up on the grass, listening with equally rapt attention.
You might enjoy looking at the work of two of my favorite children's book artists —Carter Goodrich and Loren Long. Both of them are really good at organizing their lights and darks in their compositions, and making full use of figure/ground relationships. Goodrich in particular, does fantastic things with light effects.
You've cleverly worked light into the wizards arm, and used that as a light backdrop for the dragon's head, which is terrific! I think you could still soften the details in the sleeve a bit and play with your values more to get that dragon to really register. Details are great, but I wouldn't sacrifice character for details.
Both you and Joe have recently posted art with a character's face illuminated from below, and you both have handled it very well. I'm currently working on a cartoon that does the same thing. I'm finding it's a tough stunt to pull off —but rewarding.
Thanks, guys! I'll look at those artists, Chuck. Thanks for the recommendation. Always appreciate :) And good luck with your piece, I'm sure it'll be a fine work.
Really interesting compostition.I really like the owl and little dragon.
ReplyDeleteNice!
ReplyDeleteWhat is the light source?
Nicely Done! I like the theatrical lighting. (I assume it's coming from the Wiz's amulet). I wonder what would happen if you were to push the darks a bit —to get some of the important figures to project a little more. The dragon's crouch is wonderful, but it's getting lost in the details.
ReplyDeleteThis may sound silly, but you may want to rethink the name. I don't think it's commonly used anymore, but "dago" is an ethnic slur for an Italian.
ReplyDeleteThanks, guys! The owl was a personal choice. Everything's better with owls :P The light source, Paula, is the amulet around the Wizard's neck. This is an image that would likely be a design for a frontis piece. It is a time in the far past. The dragon is the main protagonist and the Wizard is long dead when the story is taking place (in our time). As dragons go, he is young, only slightly larger than he is in the picture at the time of the story's start.
ReplyDeleteI agree with you, Chuck. I tend to go light. I'm fascinated with the pencil work of Alan lee and John Howe. I've been experimenting with value contrast in high key to middle key ranges to give the illusion of glimmering light and whimsy. I have a very direct approach to art, large shapes and close compositions. I like intimate moments between characters a great deal. It makes me feel like I'm sitting there, too. Also fascinating to me is the perspective of the third party observer, as in the Elivagar piece. You're not on the boat with the sailours, but off to the side. When I make a work, i want the viewer to experience the event somehow. In this piece, the collection of animals gathered in a way that is reminiscent of a bunch of children listening to a storyteller, I wanted the viewer to feel like they were curled up on the grass, listening with equally rapt attention.
You might enjoy looking at the work of two of my favorite children's book artists —Carter Goodrich and Loren Long. Both of them are really good at organizing their lights and darks in their compositions, and making full use of figure/ground relationships. Goodrich in particular, does fantastic things with light effects.
ReplyDeleteYou've cleverly worked light into the wizards arm, and used that as a light backdrop for the dragon's head, which is terrific! I think you could still soften the details in the sleeve a bit and play with your values more to get that dragon to really register. Details are great, but I wouldn't sacrifice character for details.
Both you and Joe have recently posted art with a character's face illuminated from below, and you both have handled it very well. I'm currently working on a cartoon that does the same thing. I'm finding it's a tough stunt to pull off —but rewarding.
Really nice piece. This is a much easier read than your other work.
ReplyDeleteThanks, guys! I'll look at those artists, Chuck. Thanks for the recommendation. Always appreciate :) And good luck with your piece, I'm sure it'll be a fine work.
ReplyDelete