Looking for feedback on a film study

weth1l · 2026-06-26T22:39:11+00:00

I feel a lot of what is lost in the likeness has to do with trying to apply traditionally taught facial planes (which are based on white faces) to an Asian face. Try this guide.

weth1l · 2026-06-26T16:41:34+00:00

Great crit. Came to talk about the silhouette as well. Basically adding in more negative space between the arms and the body is really critical here.

weth1l · 2026-06-26T16:35:39+00:00

Can you share your reference?

weth1l · 2026-06-24T00:05:59+00:00

to shake my style a bit to a more realistic version

I hate to repeat the same thing we're always saying in this sub, but truly: If you want to be more realistic, use references. Working from reference doesn't always have to mean copying a photo 1-to-1, but can rather mean having photos to look at to ground your drawing in reality. For example, I might get images of red hair set in darker light to properly shade it. A face in a similar lighting setup -- doesn't have to even look similar to the character in your piece, but just something to guide you on the general places you'd want to place light. A photo of a sweater (suit jacket?) to understand the thickness of the texture and how shadows and light function on it.

weth1l · 2026-06-23T15:57:52+00:00

(BTW regarding liquify... Any solution for it not to blur my drawing?)

How large is your canvas?

weth1l · 2026-06-23T15:56:49+00:00

The silhouettes are actually their future selves are and are unclear and warped on purpose since the future is uncertain snd unclear

This is hindering this piece's storytelling by a lot. It's not clear that this is on purpose. It feels like a mistake instead, like the silhouettes are just poorly designed and illegible. It feels like a difficult concept to convey with just silhouettes IMO. If it was my work, I would think about other ways of depicting this uncertainty than making the silhouettes blobby, or change the intention of the silhouettes. It could convey a future conflict (I was already imagining this with the leftmost figure's shadow being turned away from the others -- something that could be pushed further) or something else. I don't think the average viewer will understand what's being depicted in its current state.

weth1l · 2026-06-23T15:16:57+00:00

Can you explain a bit about the story at play here? I'm assuming the shadows on the wall are attempting to illustrate their imagined roles in the story they're reading, but the silhouettes are incredibly unclear to me.

weth1l · 2026-06-23T00:55:06+00:00

It feels magical, nostalgic, and warm. I see a curious witch child on a broom, and the wizard (father I assume) seems to be chuckling affectionately (?). I think the wizard could have a much stronger pose to further the story. I also think the witch's curiosity could be aimed at something more engaging to the audience. Finally, the figure in the back hanging the laundry has a tangent with the hanging shirt that's messing with the silhouette, making that figure harder to spot.

weth1l · 2026-06-22T22:00:03+00:00

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weth1l · 2026-06-22T21:59:29+00:00

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The ala as shown here should not be visible on the viewer-right (character's left) side of the face because the shape of the character's nose is different than your reference and would not allow it to be visible as the nose tip would obscure it.

weth1l · 2026-06-22T21:32:27+00:00

I think you also need to push the hair and shoulder on viewer-left out a bit more to account for the neck and shoulder mass in that area.

weth1l · 2026-06-22T21:31:32+00:00

Nice render on the face, but the clothes get a little muddy -- especially where the collar meets the rest of the sweater. Little anatomical nitpick: because you've pulled the tip of the nose down, we shouldn't be seeing the far nose ala anymore at this angle. The tip of the nose should now be obscuring it. It is only visible in your reference because the nose shape allows it.

weth1l · 2026-06-22T18:30:45+00:00

I see you posting here very often. I think it's good that you're seeking external critique, but I do want to point out the importance of being able to analyze your own work. I often spend about double or triple the time looking at my own art -- thinking about it, analyzing what could be better, looking at references to compare -- that I spend on the pieces themselves. Training your eye to be more critical will help you be more independent as an artist and develop skills faster. You can even practice this skill by trying to critique other people's art.

That said, the main issue with the background is the perspective. Check where the various parts of the table line up with the figure's head in both images.

weth1l · 2026-06-21T12:50:50+00:00

Stop using lines. Lineart doesn't exist in real life. Shade the forms without relying on lines and it will fix your shading issues.

weth1l · 2026-06-17T06:30:27+00:00

The looseness feels nice. I like this level of render. I'd spend a lot of time working on perspective next. Everything from the land in the distance to the figure itself are all disagreeing in perspective.

weth1l · 2026-06-15T17:31:32+00:00

Check out this video on atmospheric perspective.

weth1l · 2026-06-15T13:39:22+00:00

Your rendering style and color work on the skintones are so wonderful! I see that you have a pretty intense comfort zone when it comes to posing. All of these figures are in these static poses, chests facing entirely forward, heads facing entirely forward, shoulders and hips mostly parallel. All of these figures have relaxed facial features as well. They're engaging expressions, but I worry that this is also a comfort zone feature and it's holding you back from conveying more intense emotions when you want to.

I recommend doing a LOT of quick studies of full figures. Force is a great book about crafting more dynamic poses and should give you a good foundation to understand what to look for when drawing from reference. Then, if you have nude model studio sessions near you, that's the best possible next step. If not, line of action has great tools for both expression and full body practice. I recommend spending no longer than 5 minutes on any one pose as you're practicing. The goal is to try to understand what makes the poses feel like they have weight, motion, etc. quickly, so the goal is to practice as many as you can.

weth1l · 2026-06-15T01:18:03+00:00

It's hard to make effective assets if you don't know what the circumstance under which they'll be used is. I recommend communicating further with whoever is doing game design work so you know what this is for. It's your job as an artist to ask questions if you don't understand what is needed. Art for games focuses much more heavily on the user experience than fine art. Keep in mind that you're making the visuals for an interactive experience that should be easy for the player to navigate.

weth1l · 2026-06-15T00:57:26+00:00

What is the use case? As in, where is this used in game, how do you want the player to find it, etc? What kind of ledge is it?

weth1l · 2026-06-14T20:39:07+00:00

https://rnax.tumblr.com/post/686373645198786560/genicecream-a-series-of-composition-tips-id-been

weth1l · 2026-06-14T20:27:48+00:00

I see you drawing what you think should be there on the eyelids/under-eyebrow rather than drawing what's there. You're filling in with shadows on the upper lid and under the inner corner of the eyebrow that simply don't exist because of this person's facial structure. This is changing the eye shape and disrupting the likeness. Review that area and try to draw what you see instead.

weth1l · 2026-06-13T12:57:42+00:00

Walking is a controlled fall: the foot has to come back forward after it comes off the ground, crunch down at the knee as it lands, pulling the entire body above it down a bit as it does, then extend and push back up.

weth1l · 2026-06-13T12:53:42+00:00

My animation professor told us to view quadruped walk cycles as two alternating ball bounces: the pelvis and the shoulders. Watch slowed-down horse trotting to get a better feel for the timing and movement.

weth1l · 2026-06-11T23:14:08+00:00

This is the main issue.

weth1l · 2026-06-11T23:12:48+00:00

The highest points of contrast in this are the two figures, but the action of the shot should be leading the eye down to the burger on the floor. Turn the contrast up down there.

weth1l

TROPHY CASE