"Post your Art" Thread -

[macguyver16]

I've been decidedly working on wholesome furshit lately. First one is a clothes rendering study and the second for a winner of a raffle

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That horse lady is absolutely gorgeous. I love the eyes

I aint a furry tho.

 

[Bizarre Monkey]

I aint a furry tho.

macguyfur16 am i rite?? lmao

I jest, of course. I personally have faced a lot of annoyance from people assuming that I'm among the furry crowd when I do all in my power to disassociate myself from it. Granted, I've since changed my online alias from what it is here, so it's a lot less common now.

For today, I only have a small piece that is incredibly flawed because I went in with no prep, but to me at least, it still looks immensely beautiful. That's not an excuse to not improve, I've already abandoned it, as I did it while watching a friend stream so my focus was divided.

I'm hoping that tomorrow I'll be able to draw a really nice art of this girl, Solistace. Her name is based on a combination of many words which represent her. Solstice, Solace, Solitude and Ace.

The reason why her specifically? I've accidentally ended up getting a composer willing to compose an OST for the game she stars in! And he's recently composed her track and it is awesome!

 

[Str8Bustah]

Father's Day Card I sketched up. I'm awful at landscapes so this took longer than I was hoping.

 

[Moonglade Feral Druid]

Arms seem too long.

Yeah maybe. I haven't touched that sculpt in a couple days due to things i can't speak on. I had already shortened them at the upper arm, but i guess not enough.

Stylistically I'm still looking to kill most detail, going for some blend between my 2D work, and some inspiration from art assets out of Gigantic.

Their general pipeline was sculpted meshes in zbrush from low-poly box modeling in maya, and bake the extra bits of detail down to textures in XNormal after retopology.

 

[Solid Snek]

I've been decidedly working on wholesome furshit lately. First one is a clothes rendering study and the second for a winner of a raffle

View attachment 2280700View attachment 2280695

lol, I don't know if marrying a dog counts as "wholesome", but the clothes look very nice! I especially like the gossamer effect on the trailing end of the dress, and the vivid chiaroscuro of the horsewoman is quite striking, as well.

Was that all digital? And would you care for any critiques?

 

[Decepticon Spy]

Yeah maybe. I haven't touched that sculpt in a couple days due to things i can't speak on. I had already shortened them at the upper arm, but i guess not enough.

Stylistically I'm still looking to kill most detail, going for some blend between my 2D work, and some inspiration from art assets out of Gigantic.

View attachment 2283481 View attachment 2283487

Their general pipeline was sculpted meshes in zbrush from low-poly box modeling in maya, and bake the extra bits of detail down to textures in XNormal after retopology.

Damn shame I've never even played that game. It would really be right up my alley. Goddamn steam kiddies and their mommy's office laptop complaining on arbitrary horseshit.

 

[John Furrman]

lol, I don't know if marrying a dog counts as "wholesome", but the clothes look very nice! I especially like the gossamer effect on the trailing end of the dress, and the vivid chiaroscuro of the horsewoman is quite striking, as well.

Was that all digital? And would you care for any critiques?

Thanks, and yes, all digital! I had to rework those parts several times to get that translucent layered effect. I always appreciate any feedback, especially that which helps get better

 

[Solid Snek]

Thanks, and yes, all digital! I had to rework those parts several times to get that translucent layered effect. I always appreciate any feedback, especially that which helps get better

OK! Well, with the Retriever Bride; like I said above, I really like the ends of her dress. It's very soft and wispy, and I almost want to tell her to pick the damn thing up so she doesn't get it muddy. I also really like the grass, especially from a distance. It's got an Impressionist quality to it; the light brings it out and draws the eye. The translucency on the bridal veil is very good, too; I think the gradients of value is a major contributing factor to why it's so convincing (kind of an aside, but you ever seen any of those veiled virgin sculptures, like by Raffaelo Monti?)

It's fun zooming in and out on this piece; you wind get a completely different experience of completely different parts of the work.
Zoomed in, the detail on your doggo's face is quite impressive! Obviously, furry portraiture is something you have experience with and a passion for.
Zoomed out, the background elements take on that very striking Impressionist quality I mentioned above. It's quite impressive how well the background pulls together when viewed from a distance. However, much of the facial detail is lost when zoomed out. Part of that may just be the low resolution of the preview, but I think there may be compositional reasons for why the face gets a bit lost as well.

For example, with a casual look, my eye doesn't really get drawn to the dog's face at all; instead, I find my eye drawn first to the negative space around her waist and tits, then down the diagonal of her dress, and finally coming to rest on that dang grass again. Forcing my eye upwards, I get stuck on the bouquet - which feels very recessive, bleeds into the background, confuses me, then sends me back to the negative space, and right back down the dress to the grass again.

That could just be autism on my part, but I'm wondering if it wouldn't be possible to, say, use some colour cues to help draw the eye up to the dog's face? Your pallet is mostly browns, greens, and golds, so perhaps the blue in her eyes would work - the eyes themselves are too small to be drawn to on their own, but it's very a nice shade. Maybe some flowers would help; little decorative petals in her hair or running along her dress and shoulders? Or perhaps a tinted light - not everywhere, just along certain edges, encouraging you to follow along. Nothing big; something small and subtle, just enough to encourage your gaze to move back upwards towards her eyes? If the blue would be too much, then a red could maybe work, too; I'm thinking a very earthy red, like a burnt sienna, something that would blend well with the greens and browns already present. OR, another possibility - instead of colour, there might be something you could do with the background. Place an element near her face (another patch of light? some unique foliage? a bit of flowers or a tree?), or even further up the line made by her dress, which could draw the eye back up the canvas? Ultimately, it's not a huge deal, and it may even for the best that the dress and grass overwhelms the face (you did say you were mostly doing this piece for the clothes, yes?). But, as it is right now, I do find it easy to lose the face - which given the amount of work you put into it, is a shame.

A bigger issue, I think, is the middle bit of the dress, just below her corset. It feels very stiff, almost like statuary. I'm not sure if that was what you're going for, but if not, I think the uniformity of the lines and the very sharp angles of the folds are what's making it look that way. The very lowest section of the dress, and the whole right edge of the dress from where it starts billowing out, feels very dynamic and flowing! The middle-left section, though, looks either like very starched, well-pressed fabric, or possibly even stone.

Again, for all I know, that could have been intentional! But it seems like perhaps you'd want the whole dress to have the same airy feeling throughout. And if so, I think reworking the folds to have more subtle variation in line and value, might help soften up that section of the dress.



----------------------
As for the horse lady, I love that sun ray effect! I know people must tell you this so often that you're sick of it, but you've got an amazing eye for light.

One suggestion: the road behind her. Is it necessary? Because of the colours you're using, I feel the road bleeds into her fur and hair, especially the hair beneath her chin and the fur along her shoulder. I'm wondering if maybe it would work better if you extended the grass out on the lefthand side, changing the position of the road behind her? Keep the same light values (I think that value around her chin works really well, for example), but instead of the gray/golds of the road extending out to the gray/golds of her body, have the green/golds of the grass adjacent to her instead.

One reason NOT to do that would be the fact that the road currently forms a strong triangle, but, well, here -

Spoiler

Crude, but you get the idea, right? Blue is the current angle of the road, but maybe purple would work, too? Pull in the road, extend the grass out to around the purple line. That way, you could still have a fancy compositional triangle fixed along a mouth/eye/ear point, but you'd have more colour contrast between her fur and the background, plus you'd get her shoulder AND her boob along the triangle as a bonus (the only thing you'd lose is the nostril, but boobs > nostrils, as I always say!).

 

[John Furrman]

OK! Well, with the Retriever Bride; like I said above, I really like the ends of her dress. It's very soft and wispy, and I almost want to tell her to pick the damn thing up so she doesn't get it muddy. I also really like the grass, especially from a distance. It's got an Impressionist quality to it; the light brings it out and draws the eye. The translucency on the bridal veil is very good, too; I think the gradients of value is a major contributing factor to why it's so convincing (kind of an aside, but you ever seen any of those veiled virgin sculptures, like by Raffaelo Monti?)

It's fun zooming in and out on this piece; you wind get a completely different experience of completely different parts of the work.
Zoomed in, the detail on your doggo's face is quite impressive! Obviously, furry portraiture is something you have experience with and a passion for.
Zoomed out, the background elements take on that very striking Impressionist quality I mentioned above. It's quite impressive how well the background pulls together when viewed from a distance. However, much of the facial detail is lost when zoomed out. Part of that may just be the low resolution of the preview, but I think there may be compositional reasons for why the face gets a bit lost as well.

For example, with a casual look, my eye doesn't really get drawn to the dog's face at all; instead, I find my eye drawn first to the negative space around her waist and tits, then down the diagonal of her dress, and finally coming to rest on that dang grass again. Forcing my eye upwards, I get stuck on the bouquet - which feels very recessive, bleeds into the background, confuses me, then sends me back to the negative space, and right back down the dress to the grass again.

That could just be autism on my part, but I'm wondering if it wouldn't be possible to, say, use some colour cues to help draw the eye up to the dog's face? Your pallet is mostly browns, greens, and golds, so perhaps the blue in her eyes would work - the eyes themselves are too small to be drawn to on their own, but it's very a nice shade. Maybe some flowers would help; little decorative petals in her hair or running along her dress and shoulders? Or perhaps a tinted light - not everywhere, just along certain edges, encouraging you to follow along. Nothing big; something small and subtle, just enough to encourage your gaze to move back upwards towards her eyes? If the blue would be too much, then a red could maybe work, too; I'm thinking a very earthy red, like a burnt sienna, something that would blend well with the greens and browns already present. OR, another possibility - instead of colour, there might be something you could do with the background. Place an element near her face (another patch of light? some unique foliage? a bit of flowers or a tree?), or even further up the line made by her dress, which could draw the eye back up the canvas? Ultimately, it's not a huge deal, and it may even for the best that the dress and grass overwhelms the face (you did say you were mostly doing this piece for the clothes, yes?). But, as it is right now, I do find it easy to lose the face - which given the amount of work you put into it, is a shame.

A bigger issue, I think, is the middle bit of the dress, just below her corset. It feels very stiff, almost like statuary. I'm not sure if that was what you're going for, but if not, I think the uniformity of the lines and the very sharp angles of the folds are what's making it look that way. The very lowest section of the dress, and the whole right edge of the dress from where it starts billowing out, feels very dynamic and flowing! The middle-left section, though, looks either like very starched, well-pressed fabric, or possibly even stone.

Again, for all I know, that could have been intentional! But it seems like perhaps you'd want the whole dress to have the same airy feeling throughout. And if so, I think reworking the folds to have more subtle variation in line and value, might help soften up that section of the dress.



----------------------
As for the horse lady, I love that sun ray effect! I know people must tell you this so often that you're sick of it, but you've got an amazing eye for light.

One suggestion: the road behind her. Is it necessary? Because of the colours you're using, I feel the road bleeds into her fur and hair, especially the hair beneath her chin and the fur along her shoulder. I'm wondering if maybe it would work better if you extended the grass out on the lefthand side, changing the position of the road behind her? Keep the same light values (I think that value around her chin works really well, for example), but instead of the gray/golds of the road extending out to the gray/golds of her body, have the green/golds of the grass adjacent to her instead.

One reason NOT to do that would be the fact that the road currently forms a strong triangle, but, well, here -

Spoiler

View attachment 2283994
Crude, but you get the idea, right? Blue is the current angle of the road, but maybe purple would work, too? Pull in the road, extend the grass out to around the purple line. That way, you could still have a fancy compositional triangle fixed along a mouth/eye/ear point, but you'd have more colour contrast between her fur and the background, plus you'd get her shoulder AND her boob along the triangle as a bonus (the only thing you'd lose is the nostril, but boobs > nostrils, as I always say!).

Thanks for such a thoughtful critique. I really appreciate you taking the time to look and break down what you saw into concise points.

Once again, it seems like my tendency to stick too close to a reference strikes again. I didn't notice all these compositional failures until you pointed them out.

Composition is one of those things I haven't failed enough times and learned from those mistakes at to make big design decisions like adding elements to help guide the eye. I like your idea for an element like a tree branch for guiding the eye to her face. I also agree that the bouquet does read as too flat, I should have added more light stuff that would pull the form forward in space more. I'm also unhappy with the parts of the dress under the corset that you pointed out, but I didn't know how to fix them. I think I should have gone off reference for the stiff parts of the dress, too. Eventually, I had to call the dog lady picture done, though, otherwise I'd keep messing around with it for much longer and it had been way too long already when I called it done.

The horse lady's lacking compositional direction is also the result of following the reference too closely. These all seem like things that could be avoided if I just asked for some help while I was working on them early on in the design phase and later on in the rendering phase as well.

These are some good lessons to be learned, I'll have to stop being so timid with adding stuff and going off reference when it would be better to add more elements to help the composition. On my current painting I will definitely get some more eyes on the canvas before I dive into the rendering. Another thing I should do another set of is compositional studies of master paintings where I can only use pure black or pure white to re-create the painting. I'll have to keep on studying drapery so the dense folds don't turn out so statue-like.

Thank you again for the help!

 

[Solid Snek]

Thanks for such a thoughtful critique. I really appreciate you taking the time to look and break down what you saw into concise points.

Once again, it seems like my tendency to stick too close to a reference strikes again. I didn't notice all these compositional failures until you pointed them out.

Composition is one of those things I haven't failed enough times and learned from those mistakes at to make big design decisions like adding elements to help guide the eye. I like your idea for an element like a tree branch for guiding the eye to her face. I also agree that the bouquet does read as too flat, I should have added more light stuff that would pull the form forward in space more. I'm also unhappy with the parts of the dress under the corset that you pointed out, but I didn't know how to fix them. I think I should have gone off reference for the stiff parts of the dress, too. Eventually, I had to call the dog lady picture done, though, otherwise I'd keep messing around with it for much longer and it had been way too long already when I called it done.

The horse lady's lacking compositional direction is also the result of following the reference too closely. These all seem like things that could be avoided if I just asked for some help while I was working on them early on in the design phase and later on in the rendering phase as well.

These are some good lessons to be learned, I'll have to stop being so timid with adding stuff and going off reference when it would be better to add more elements to help the composition. On my current painting I will definitely get some more eyes on the canvas before I dive into the rendering. Another thing I should do another set of is compositional studies of master paintings where I can only use pure black or pure white to re-create the painting. I'll have to keep on studying drapery so the dense folds don't turn out so statue-like.

Thank you again for the help!

Yeah, no probem, thanks for letting me sperg! I really love your work, and it's been awhile since I could properly indulge in art autism.

I wouldn't necessarily say they're compositional failures, mind you. I think both pieces are quite strong compositionally (and VERY strong technically) - just maybe some little tweaks <might> help. Or they might wind up looking worse, too, who knows?! Given that it's all digital, would I be right in assming that it'd be easy to tweak? Maybe play around with those elements non-destructively, on a new layer, to see what works, and what doesn't?


Also, you mention working from reference. Would it be possible to upload those references? It's a lot easier to see what the dress "should" be doing if we've got access to the references, too (I'm thinking specifically with that "stiff" part of the dress; folds in clothing are really hard to visualize, and I'm very curious to see how this particular dress looks IRL)

 

[MerriedxReldnahc]

Moar Iron Dream art, featuring Hitler's Mary Sue protagonist

 

[Bizarre Monkey]

I'm hoping that tomorrow I'll be able to draw a really nice art of this girl, Solistace. Her name is based on a combination of many words which represent her. Solstice, Solace, Solitude and Ace.
View attachment 2281589
The reason why her specifically? I've accidentally ended up getting a composer willing to compose an OST for the game she stars in! And he's recently composed her track and it is awesome!

I did it! Granted- it wasn't the tomorrow I said. It did happen however!

Two days later after waking up at 4 AM ON A WEEKDAY, I got my tablet ready and over two periods (had art workshop in the middle of them) I drew the Lass of Steel.

Solstice of the Abandoned​

Interestingly, this is the first piece in ages where I buckled down and used references.

Originally I wasn't intending to do dramatis shading but look If I place a nice glowy sun in an artwork I won't be able to resist, lmaooo.

The background is a play on the "Solstice" part of her name. Both the Sun and Moon are present. In the spoilers is a version without the soft-light_blend gradient.

Spoiler

She got a nice face~

 

[Moonglade Feral Druid]

Arms seem too long.

Got back to that sculpt, the arms were fine but the thighs were too stubby.



Could have gotten back to it sooner, but needed to start mocking up some terrain maps related to this.

 

[MerriedxReldnahc]

Goblin tiiiiime