/ic/ - Artwork/Critique

>>2967304

1. Avoid kissing parallel/kissing/shared/mirrored lines/silhouettes

Try doing what sinix does in 5:45 :

https://www.youtube.com/watch?v=RJIWllIMHsg

2. Have strong focal point, max 2 that don't collide with each other. This is achieved mostly by having one area of painting with higher contrast.

See how Will Terry critiques a girl's painting and changes composition at 17:55:

https://www.youtube.com/watch?v=ntSIaIkzaTo

Generally it's nice to hear him and try to complete that challenge of drawing 50 distinct objects in the illustration without cluttering it.

3. Draw "outside of canvas". See at your painting in OP, there's a statue on the right side that is cut by frame of the painting. Do that though only with large objects and don't overdo it.

4. Put some bigass object in the foreground of the painting, make it like in 3 cut by the frame.

5. Make stuff dynamic, you can tilt the horizon, use atypical camera positions in three-point perspective, even use different lens/curvilinear perspective

6. Start from the simplest silhouette (draw it beforehand, experiment with some) and keep it in mind during the painting process, not losing the focus.

7. Think for a second, goddamnfuck, you people seem to be all hands and no brains, fucking famous painters did different versions of their paintings and did studies and sketches in different media before to see what works for initial underdrawing, colors, composition etc.

How many hours have you spend on drawing? Did you ever reach 20h? 50?

8. Read "Framed Ink". Commencing dump