This is a great video, rarely I see more advanced discussion of artwork with professional critiques. Not to mention you on the receiving end not just blindly following the critique, but actually trying to understand why. Hence able to see certain critiques are subjective. Commenting to boost algorithm :)
Some of the things Jackie gave critique on could be explored further by transferring this design to a traditional medium: it's natural to end up with more texture there, and to push the values a little more towards strong contrast. It would be difficult to reproduce the color balance without making a bigger investment in various pigments, but you could aim for a monochrome look using, e.g., watercolor paper and water-soluble graphite, and some drafting tools to set up the proportions(T-square, rulers, shape stencils). If you've been all-digital this whole time, you've been mostly focused on the design end of things and are missing out on tactile interactions that take place when you scrape a nib or press down on a real brush, which would help inform how you do things digitally.
Amazing video, I'm trying to lwarn art on my own and some of these advanced concepts like shape language and brush efficiency is hard to grasp. Could you show more in detail the process you mentioned about clipping masks and texturing? That was really interesting. Anwyay, good luck with your future art!
10:42 just be careful when comparing things to not discount the relevancy of the subject matter, in this case you're comparing a beach shot to a forest, which is something that does have more information, as opposed to a high horizon beach shot which is easier to simplify to a point that still reads - that's not to say your work couldn't be simplified further, but that depends on a few factors - you have to for instance make sure you understand the concept of focus point, where do you want people to look at? that's where you try to manage the detail level to be higher - high contrast, and sharp edges tend to call attention, also be careful with depicting low contrast elements in shadow with sharp edges. turn off your lights in your room and try to look at objects in shadow, you'll see that the edges are not very well defined because of the low light - but this is stuff you need to practice, practice attempting to build scenes managing the amount of information, having the awareness that all the information you add to your artwork may cause a reaction. and is it the reaction you want? you're the first viewer. you have to try to look at your work as if it's the first time you see it. pay attention at what your eyes are doing when you add tones, contemplate if those tones are necessary to accomplish your goal with this piece, that's roughly how you can approach the decision-making behind detail management
thank u for making this video! Ive always wondered how professional artist think and also how they achieve that satisfying texture. The work paths seem really interesting so im going to look into that. Do u plan on making another video about it? I also agree with you on when she added that simple multiply shadow, it made it muddier. Kinda made the character, the tree infront and back blend together. Though i do agree that theres room to explore contrast, i think it can evoke a more interesting sense of space and create clearer lines or points of focus that i feel would actually unite and harmonise the illustration more. Like using pops of colors in specific places to give it vibrancy. I still like ur drawing tho, even tho i dont know the character, the feelings of warmth and hopefulness in her memories are really evocative in it.
@@sadisticc yes I’ll explain and demo it in a future video! I’m still new to the technique but how it works is that it creates a path from a selection by averaging pixels into a singular point. This is useful because selections are typically noisy and have unappealing feathering, work paths makes selections more shapey and thus more appealing!
Your art is great! It was really insightful to hear your commentary. Thank you for the video! Also I didn’t know the girl was March until you mentioned her haha Ps: random suggestion but you should make a discord server for your followers who are looking for critiques!
I loved your commentary. As an artist I always appreciate how open-minded one has to be with your own artwork! If I'm not being too intrusive, do you post your artwork anywhere? HSR is also a beloved game of mine so it was a surprise to see the subject of such a soft piece~
@@whoshuman7197 for sure! It’s always good to be critical and curious with your art, people that don’t do this can’t improve. My instagram is @maple_bgs btw :)
@@makura1339 More natural looking. Every time I use a stamp brush for foliage/leaves, it looks too harsh. It looks too fake. I want it to look like I painted each leaf.
@@jennyai I’ll try to make a video on it soon, but the short answer is just experimentation and playing around with masking, layers, layering subtle effects with blend modes. But remember that stamp brushes will only ever be as good as your skill in using a default hard round brush. Stamp brushes improve efficiency, not fundamental painting skills.
I don't want to come off as rude. I think the character melts too much into the background. Maybe a textured path towards the character? Anyways it's a great piece but you know that already ;)
'efficient shapes' is such an amazing way of describing it, absolutely loved the video!! and your artwork was beautiful!!
This is a great video, rarely I see more advanced discussion of artwork with professional critiques. Not to mention you on the receiving end not just blindly following the critique, but actually trying to understand why. Hence able to see certain critiques are subjective. Commenting to boost algorithm :)
Some of the things Jackie gave critique on could be explored further by transferring this design to a traditional medium: it's natural to end up with more texture there, and to push the values a little more towards strong contrast. It would be difficult to reproduce the color balance without making a bigger investment in various pigments, but you could aim for a monochrome look using, e.g., watercolor paper and water-soluble graphite, and some drafting tools to set up the proportions(T-square, rulers, shape stencils). If you've been all-digital this whole time, you've been mostly focused on the design end of things and are missing out on tactile interactions that take place when you scrape a nib or press down on a real brush, which would help inform how you do things digitally.
Amazing video, I'm trying to lwarn art on my own and some of these advanced concepts like shape language and brush efficiency is hard to grasp. Could you show more in detail the process you mentioned about clipping masks and texturing? That was really interesting. Anwyay, good luck with your future art!
10:42 just be careful when comparing things to not discount the relevancy of the subject matter, in this case you're comparing a beach shot to a forest, which is something that does have more information, as opposed to a high horizon beach shot which is easier to simplify to a point that still reads - that's not to say your work couldn't be simplified further, but that depends on a few factors - you have to for instance make sure you understand the concept of focus point, where do you want people to look at? that's where you try to manage the detail level to be higher - high contrast, and sharp edges tend to call attention, also be careful with depicting low contrast elements in shadow with sharp edges. turn off your lights in your room and try to look at objects in shadow, you'll see that the edges are not very well defined because of the low light - but this is stuff you need to practice, practice attempting to build scenes managing the amount of information, having the awareness that all the information you add to your artwork may cause a reaction. and is it the reaction you want? you're the first viewer. you have to try to look at your work as if it's the first time you see it. pay attention at what your eyes are doing when you add tones, contemplate if those tones are necessary to accomplish your goal with this piece, that's roughly how you can approach the decision-making behind detail management
Make a speedpaints bro, I really wanna seehow you do your artworks
thank u for making this video! Ive always wondered how professional artist think and also how they achieve that satisfying texture. The work paths seem really interesting so im going to look into that. Do u plan on making another video about it?
I also agree with you on when she added that simple multiply shadow, it made it muddier. Kinda made the character, the tree infront and back blend together. Though i do agree that theres room to explore contrast, i think it can evoke a more interesting sense of space and create clearer lines or points of focus that i feel would actually unite and harmonise the illustration more. Like using pops of colors in specific places to give it vibrancy.
I still like ur drawing tho, even tho i dont know the character, the feelings of warmth and hopefulness in her memories are really evocative in it.
@@sadisticc yes I’ll explain and demo it in a future video! I’m still new to the technique but how it works is that it creates a path from a selection by averaging pixels into a singular point. This is useful because selections are typically noisy and have unappealing feathering, work paths makes selections more shapey and thus more appealing!
Your art is great! It was really insightful to hear your commentary. Thank you for the video!
Also I didn’t know the girl was March until you mentioned her haha
Ps: random suggestion but you should make a discord server for your followers who are looking for critiques!
I loved your commentary. As an artist I always appreciate how open-minded one has to be with your own artwork! If I'm not being too intrusive, do you post your artwork anywhere? HSR is also a beloved game of mine so it was a surprise to see the subject of such a soft piece~
@@whoshuman7197 for sure! It’s always good to be critical and curious with your art, people that don’t do this can’t improve. My instagram is @maple_bgs btw :)
Cool video looking forward to more
You should raise the gain or add compression on the audio if you make another video, you're not loud enough. You can look up OBS compressor settings.
Noted! thanks for letting me know :)
This can also be added in post-processing
Lovely illustration ❤
Hoho, got you in recommendations
Do you have any tips on how to make stamp brushes look more organic? Beautiful work btw.
Can you specify on what you mean by organic?
@@makura1339 More natural looking. Every time I use a stamp brush for foliage/leaves, it looks too harsh. It looks too fake. I want it to look like I painted each leaf.
@@jennyai just stamp with the base color and then go over every leaf to give it dimension and texture with shading and highlighting
@@jennyai I’ll try to make a video on it soon, but the short answer is just experimentation and playing around with masking, layers, layering subtle effects with blend modes. But remember that stamp brushes will only ever be as good as your skill in using a default hard round brush. Stamp brushes improve efficiency, not fundamental painting skills.
@@makura1339 Thank you!
This is beautiful
Talented!!
thank you
I’m the 599 subscriber🥺
I don't want to come off as rude. I think the character melts too much into the background. Maybe a textured path towards the character? Anyways it's a great piece but you know that already ;)
kwel, do you have any socials
@@baylego my instagram is @maple_bgs :)