Satyr Demigod

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  09 September 2013
Satyr Demigod

This is my female satyr nature demigod illustration, plz critique me to get better.
  09 September 2013
Hei Ageorgiadis, i try to give u a feedback.
First, you should tell us about your image, maybe about the composition or your concept.
Did you combine 3d creature image with 2d background? Or did u painted all your image?

I thought you must declare what u made. Did she had skin that made by plastic? Somehow, for me she looked like had a plastic skin. If she was not made by plastic, I thought you should reduce the reflection in her skin, so your creature/ character looks more good and clearly.
Your green crystal and the light emission seemed unfinished, whereas if u detailed the crystal, it would be a good light source. I thought u need spend more time for repairing it.

And the last I try to give u a feedback about the anatomy. Did u use some references when u drew? I think your creature has some miss anatomy especially in her arm, her neck and also in whole proportion.

Thx, Ageorgiadis. Hope u like and not confuse.
I think Lunatique would give u more good and useful critique than me.

Last edited by hebronppg : 09 September 2013 at 12:53 AM.
  09 September 2013
Thanx for the suggestions ben. I modeled the satyr model in Zbrush, i did some polypainting and then exported the maps to photoshop where i composited the backround and did the final integration putting lights and filters to give it a more painting look. I used references of actual bodies and some of the Avatar people. I stretched the neck to make it feel more aristocratic and elegant and to boost the demigod part i had in my mind.

I wanted to create a background from real photos that would be harmonic to each other and help to bring more to my model.
  09 September 2013
When you composite different elements into one image, make sure the edges are clean. Your character's contour edges are jagged/rough and needs to be cleaned up.

Don't use filters--they almost always look cheap, fake, and any digital artist with some experience can spot them from a mile away because they stick out so much. If you're going to use filters, at least paintover the obvious artifacts created by the filters so they don't stick out so much.

The skin looks quite glossy. I don't know if it's intentional, but if it's not, you should make the skin a bit more matte.

A glowing object doesn't look like that. You need to learn how light sources appear to our eyes. The light rays themselves are invisible to us, and the only time we can see them is if there are particles in the air (dust, mist, fog, etc) and what we're seeing is actually the particles being lit up by the light source, and not the light rays themselves. Also, light rays decay at a smooth gradation, and cannot just abruptly terminate like you have it. You should also pay more attention to the surfaces that are lit up by the light. Her figure should bit lit up by that green light on the right side (our right).

You need to also think about your scene's lighting scheme. You're showing a diffused overcast sky in the background, but is that what's lighting the character from the foreground too? And if there's a break in the overcast sky on our side, wouldn't that break cause the background to be lit more directionally?

There are a lot of basic visual art foundation knowledge you need to learn, and you can get started by going to the Art Techniques & Theories forum (linked below in my signature) and read the sticky threads.
  09 September 2013
Thank you very much for your critique and recommendations, i will head out to the theory part you suggested. The fact is, i am best at modeling organic and human models, i used the background to embold my character, like a natural habitat for the character of this composition. Is there any viable way to bring backgrounds and compositions from photos? or should i stop experimenting with it? Thanx again for your time.
  09 September 2013
It really doesn't matter what method you use. The most important things is to improve as an artist so no matter what tools/methods you use, your work will look good. Without having a solid foundation as an artist, no amount of fancy tools will make your work look like it's done by a proficient artist. So even when using photos, if you don't understand the concepts behind lighting, color theory, composition, etc, you will always be making mistakes you can't see (such as mismatched lighting conditions, level of detail, sense of scale, perspective, etc), but other more advanced artists can see easily. The only way forwards is to study the critical foundations of visual art and learn them properly.
  09 September 2013
and how should i methodicly do that?
  09 September 2013
Have you read the sticky threads in the Art Techniques & Theories forum as I recommended previously in my first post? That is the best place to start, because I included many helpful information in those threads to guide people in how to effectively learn and practice in order to become better artists efficiently, without wasting time and energy using methods that don't work.
  09 September 2013
Yeah i did to most of them. To be honest i am intimidated by the 2d you are recommending because i have 0 experience and talent at 2D, i would very much liked a Short and more personalized guidance (imo) something like a mentorship to see what values i got and what i am missing.Because i cant evaluate myself on that, what i got and what i need. Could you suggest something on that or am i asking too much?
  09 September 2013
There's nothing to be intimidated about. Even children draw all the time--you don't see them get intimidated. They do it because it's fun. That is what art should be--fun and joyous when you are creating, with a sense of fulfillment and immersion as you express yourself. Even when learning/practicing it should give you a sense of hope, because with every single lesson and practice, you are becoming a better artist.

I actually teach a workshop called "Becoming A Better Artist" (linked below in my signature), where I teach all the critical foundations of visual art, as well as advanced concepts for more advanced artists too, all in the same workshop. My students range from total beginners to professional artists working as concept artists/art directors, so anyone who wants to become a better artist (regardless of their current level) is welcomed. My workshop is also a long-term mentoring program, where after the workshop, I continue to mentor all of my students in a private alumni forum, where I answer all of their questions, give them critiques, guide them in their artistic development, help them with career-related issues, help them with emotional issues during their artistic development, and the students have discussions, share resources, give each other encouragement and support, etc. Because it's a private forum with a small community, there's no feeling of embarrassment as when you post in a public forum, or get ignored, or have to deal with jerks hiding behind anonymity, and you are guaranteed to get answers to all questions you ask, and in-depth critiques for everything you need help with.
  09 September 2013
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