lol! i dont even know!
Sorry Zane, but at best I like the dynamicism of the ninja-kick to the robot foetus, and the muted muscular shapes you've got going on in the ninja's figure.
Compositionally I think it's a bit lacklustre, and I think you're capable of doing so much more. The frog bot itself ... probably could be more out of focus, if you're focussing on the action in the foreground. I think you could have also made the frog's bonnet more symmetrical down it's centre too, since it's very off-putting currently.
The texture on the parapet is pretty clumsy, too. It's something I shouldn't need to comment on! Would be better if it was rotated and more sympathetic to the shape of the parapet, which could be achieved with the transform tool. The parapet doesn't seem to abide by the laws of perspective that your ninja is sticking too, either.
Good experiment with dynamicism, but I think it might be worthwhile to revisit perspective and composition in your next Flood pic. If you wanted to.
Lintire beat you to it :P
I'll promise to keep these things in mind.
Hows it going, z?
First up, like what you've doing with the colours - that contrast of cool and warm colours, and fucking a have you ramped up the vibrancy like all fuck. Your actual painting technique ain't half bad either - nice indication of form and nice broad strokes.
When it comes to paintin', though, that ain't all what matters. There are a barrel of other aspects you could have worked a lil' more time into, see? Just sit your baby bossom back while I point out each and every one of them.
First up - the perspective is, for a lack of a better work, whack. It's completely inconsistent, and for anyone who looks at this image for more then 10 seconds it becomes utterly confusing. It's pretty damn obvious you didn't actually plan it out - a few examples: the two alien monsters have radical foreshortening, as well as the ninja himself, but go ahead and compare that to the perspective of the building itself and you can see its as if they're from two completely different pictures.
My advice? Try planning out your perspective beforehand. Foreshortening isn't all that comes into play.
Next up: you kind of cheaped on the textures, brother. Seriously, just looking at the different examples of texture in the pic and its unclear whether this is a painting or a photo collage. Usually its common consensus that if you insert textures into a pic, you use it as a base - paint it in, you know? And it's a little disappointing that at certain bits - most notably the building that they're all standing on - that you didn't line up the textures.
Takes away from the pic a lil'. Try experimenting with painting it all in, can really add a lot to the picture with not much effort on your behalf.
Misc stuff? Take an ogle at the way you deal with legs, his left knee seems to have snapped and his right leg doesn't quite seem attached to his hips. Don't know what's going on with the buildings in the background, but the entire lot seems to have sunk into the ground. Those white squares on the road really busy up the picture without adding anything to it and take away attention from more important details (like the aliens having their shit handed to them).
But overall? It works, z. Nice pic, and keep at it.
Everything sounds about right if you put it that way :3
Truth be told, the background are photo textured, the appearance of the zord, ninja, and enemies looked texture by default brushes (the spatter and chalk brush).
So let see, I need anatomy study, perspective study, scenary study, and focus study. Thanks for the critique Linty :P
Yeah, the perspective on this piece is an acquired taste... hard to view the whole thing comfortably on my monitor. I guess it's the alien pawn in the lower left and the feel of tightness on the center of the piece that threw me. The elements are all laid out nicely. You captured a snapshot of another world, well done!
I like to call them putty but alien pawn sounds about right :3
Looks awesome, Zane. Loving the perspective ;)
It be perspective-ey :3
You are free to copy, distribute and transmit this work under the following conditions: