Marshall suggested to that one guy to do 300 robobeans. I think that is what I need also, I never drill enough. here is my first 100, I'm trying to do 20-30 a day, (100 every 4). I hope these first 100 are enough to expose my bad habits. Feedback is very welcome!

Just started this course yesterday and I'm so excited! The loomis method is so hard for me wrap my head around, I feel like I'm failing to comprehend exactly how the small oval on the cranium looks at different angles. The cross inside has been a lot more difficult than I thought it would be. The jaw is also fascinatingly frustrating. It doesn't look straight at all, especially when the head it tilted upwards and at an angle (you can see on the left side of the first picture where I struggled with that exact pose). When I try to track a straight line from the far end, it lines up, but it feels so crooked, even in the reference model. Maybe that's why I struggle so much with it. Anyway, I would appreciate any feedback anyone has. I really like these, and that means it's time for a heaping slice of that sweet, sweet humble pie. So don't spare my feelings and rip them to shreds please!

Wow this is really great. I love watching the idea develop like it did

These are really neat, I especially like the first one, it feels like it would be like a cosmic being, the lighter bits would be glowing and the darker would be pitch black

Hi @Drewster H, I appreciate that you took the time to tackle a full blown illustration like this. In my experience, doing longer paintings that are outside of your zone of experience helps to exaggerate your weak points, which makes them easier to address in the future. I attached an image where I used curves and a posterize layer on photoshop to do a rough value simplification of your artwork. When we look at the graphic design of your piece through limited values, we can see that you currently have a bit of a design motif going on where there's repeated vertical lines, made visible through your light values. Because there's so much repetition of this design motif, but nothing to counter balance it, the composition feels a bit weaker. You had a concern about the wings, and I think the gesture of the wings can bring a great graphic design element to the piece. I attached a painting by Tyler Jacobson, where he uses the wings as big graphic curving shapes. This adds variety to the composition, and it helps to frame the character's body. Additionally, I attached another piece of fantasy art by Chase Stone, simplified into rough graphic shapes. Chase happens to be a hybrid 3-D and 2-D digital artist, which means he is capable of rendering out his scenes to get near perfect light on his materials. Notice how simple his composition though. Even though he probably rendered his character so that it has perfect reflections on his armor, he uses his skills as a 2-D composer to pull back the unnecessary information to black. He leaves the lighting information mostly for the face and some parts of the background, because the focus of his piece is in the character's face. The main takeaway is: you don't have to paint all the materials in your scene to be perfect. In fact, sometimes this will cause distractions in your piece and take away from the focal point. It might be easier for you to compose in this 3 value stage and make sure the image is working the way you want it to first, before moving on to the harder bits like color. Hope this helps! Let me know if there is something that you would like me to address further, or if you have any more questions!

Welcome :) Good concept you have there. The thing that first stood out to me is the image leads my eyes around all over the place before finally finding the face. I'd work to accentuate the area you most want focus on and lead to that. For example, the sword is a very bright and contrasting colour. Is it important to the character? I'd desaturate it a bit but keep the strong metallic look. You've done a great job with the metallic look on the outfit, but it does take focus away from the face with how bright it is so again I'd desaturate it to see how that brings out the face more. Maybe ditch the wings and see what that looks like, otherwise, just grab some references and photobash if you have to to figure it out :) From what I see it looks like he's just walked into the sunlight and is not at all happy about it? I think lighting-wise, if it's bright light it needs to create harder edged shadows. See for instance the attached pic, notice the contrast and hard edges (face, clothes). I'm new at this critique business and by no means a pro so hopefully I'm providing some good suggestions :)

Hello! I'd love to download this video (I live in the country so I download what I can while I'm in the city) But there's no option to. Would love some help, but no rush, I'm still on deltoids so I won't need this for awhile.

Hey team, first I just wanted to say this lesson is AWESOME, I've been struggling with hands for a while and finally buckled down for a week to really zero in on them. Day one is the awful blocky boi, and you can see such improvement after just a couple days of handiwork. Are they perfect? Nah, the perspective needs work on a few boxes, especially in those "four shortened" sticks. Also, how do you guys illustrate where the phalanges meet the metacarpals? The sliding boxes just aren't clicking for me. No pressure @Liandro , but since you've been the most insightful, warm, and helpful critic in the history of this beta site, I'd love your thoughts! PS: This was done DIGITAL-ly. Hahaha.

Wanted to spice things up and make sure I maintained the volumes by animating a short turn. Done in procreate.