I put it in the "other work" section of my portfolio because stylistically it doesn't seem to go with the core stuff in my portfolio, though my portfolio is in a current state of flux--I'm going to concentrate on the line orientated stuff again, and less on the cross hatchy stuff, and random experiments like this. The cross hatchy stuff is labor intensive and doesn't seem to be going over all that well freelance-wise.
This reverse-drybrush style is a little limited, as far as subject matter is concerned--with the heavy graphic black, it can easily end up in velvet painting territory if I'm not too careful. It also lends itself better to certain subjects more than others--those feathers look cool in drybrush, but what if I want to do a smooth skinned portrait?
In general though I'm regrouping and rethinking what my "style" is supposed to be. Art director's choices seem heavily dependant on illustrators who can work in a consistant readable "style" and I have a hard time fitting into one groove. It might be another two years before my portfolio approaches consistant.
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ReplyDeleteWhy "not portfolio material"?
Best piece on the page!
Thanks!
ReplyDeleteI put it in the "other work" section of my portfolio because stylistically it doesn't seem to go with the core stuff in my portfolio, though my portfolio is in a current state of flux--I'm going to concentrate on the line orientated stuff again, and less on the cross hatchy stuff, and random experiments like this. The cross hatchy stuff is labor intensive and doesn't seem to be going over all that well freelance-wise.
This reverse-drybrush style is a little limited, as far as subject matter is concerned--with the heavy graphic black, it can easily end up in velvet painting territory if I'm not too careful. It also lends itself better to certain subjects more than others--those feathers look cool in drybrush, but what if I want to do a smooth skinned portrait?
In general though I'm regrouping and rethinking what my "style" is supposed to be. Art director's choices seem heavily dependant on illustrators who can work in a consistant readable "style" and I have a hard time fitting into one groove. It might be another two years before my portfolio approaches consistant.