Posted Jun 22 2012 - 02:20 PM
Well, you always did kill us with your art.
Hurm. I'll try to say things not already said here. There's things I love, there's things I don't so much. This isn't my favorite piece from you (nothing beats the Dragonborn) but it's definately a rare one in that it's fun to look at for great lengths of time. There's always something to draw my eye away from what I was looking at and entertain me further with some little surprise or whatnot.
The texturing, and by extension rendering, is top notch. The different layering was done very well. From the tree, to the different types of armor, the spikes in the pit, even the foliage. The walls of the pit are exeptional, great to look at with the light and shadow creating that kind of webby texture. The actual painting itself is phenomenal, the brushed graphite look and soft angles on the main character are probably the highlights of this peice. While not too realistic, there's a kind of asthetic about it that is just complete. I think someone above mentioned Batman, and yes, it does look a lot like Batman's suit from 05 and 08. However, it has its own flow and integration with the form, blending into actual body parts and armor- it's great. Especially the shiny bits. The collar bone (salivate) is the perfect accent, breaking up the black and drawing more attention to the head that the neck chords lead in even further- this is probably the best compositioning in here, even if it wasn't thought out, it is severely appreciated.
The armor shaping also, I can see you're evolving and testing new things- who doesn't love innovation? I can see parts of your standard fallbacks getting refined into a kind of natural style. Little bits stick out, like Kapura's closer upper arm, the leuitenant's thighs and waist, etc etc. The thighs are actually probably the best part of the armor design, plated, yet flowy and functional, though I would have loved to see some textural reference to their leaf pattern maybe on the shoulder parts right above the collar, as it's evident in the waist, but his top half is relatively smooth and simpler.
I do like how you didn't go overboard on the eyes and lights, the Rahkshi's light up the side plating beautifully but everything else is kind of low key and natural. Some people tend to overboard with that, and it's nice you exercised contraint- though I'll admit, you normally don't have issues with it...
Your composition looks to be accidentally spot-on. It doesn't follow traditional rules of alignment or focus areas, but somehow it still flows quite nicely. From the Rahkshi all by himself getting more "face time" versus the one in the cramped, shadowy position, to the main character's position relative to Kapura and the viewer, it's all quite organic, natural, and I can easily envision the scene as if I had chosen an ill-suited hiding spot to participate in some voyeuristic scheme, or had even fallen in the pit as well and it's just not my turn for an interrogation yet- basically your choice for positioning the character, 'camera' and world is a very strong aspect of the picture.
There are a few things that are iffy I guess, but again, and as always, pay little heed to them as they pale in comparison to the grand scheme of things- that scheme being how good your art is.
I get what you're trying to do with the grain, integration and variation mostly, right? While yes, it unifies most of the elements in the picture, it also stands out to me, I can easily tell it's a nearly universal application of screen fuzz, the noise just detracts from parts of the picture that should be a lot clearer- mainly the orange Rahkshi and Kapura's eyes/hands (though most of that can be attributed to the shadow that I assume is acting as handcuffs(?) that excessively darkens that part.) And while it does help create more intrinsic colors and depth, it would be better suited to only be as severe as it is on the background, like the walls of the pit and the greenery, as those naturally are going to have more variations in tone than metallic armor.
The orange Rahkshi's top hand is too wide where the fingers are- hands are relatively square, not trapezoidal or triangular. It would be as simple as moving the fingers closer together for him, since there are only three and it's not so hard to fit them all in, but you did it very successfully with Heuani's hand, and I applaud you for that. (There's also no shame in hiding the other one, it didn't need to be in the picture so it wasn't, perfectly fine and reasonable.) As you know I jump immediately to the hands, as those are some of the harder things to draw and it shows better who can draw verses just rendering in tones/details.
Those spikes seem to come out of nowhere- am I correct in thinking they are wooden? Because they seem to grow out of the ground, with only a tiny fraction of earth to lodge them in to stay, or even create any kind of threat/obstacle. But, who cares I guess. I overthought that a little too much I suppose.
Also, Kapura looks to be a bit pudgy... actually quite a bit wide in the middle. His uniformly/flat plating looks wide and strong, but then his hip attaches too far out and mades it look like he is a lot 'bigger' than intended. I don't know, you can tell how big he is supposed to be, so it's probably not nearly as big (lol?) an issue I made it out to be. I digress.
One last thing, you're foliage is great. The smaller leaves on the left side are painted well, and the fact that you did not shy away from them anywhere else speaks loads to your skill and work ethic.
so um Good job 7/10 bro?
NO! Just kidding. I love it. It makes me want to do more paintings of robots (I've mostly stopped, dunno why) and also join the RPG. I have time now I guess.
But keep on trucking, it's obvious you've learned a lot and are always growing, and that's one of the best signs of an artist you can ever find.
"We've had bears around here before but never in the buildings, so it's a little crazy,
It makes you a little nervous. I suppose that there could be a bear just approaching you right now."