I got a whole bunch of work backed up now, which means I'm going to start posting more frequently. Maybe I'll get some of my street cred back.
Find a process for isolating elements of reality that leaves the prettiest artifacts. As in, the areas that aren't finished should look finished as quickly as possible. Constant time pressure helps you get better faster, because you begin to get rid of inefficiencies and you prioritize visual information so that the important stuff goes in first.
It's all about the bear necessities. Don't ask how many strokes it will take you, but ask how few. How few colours/values will it take to render a human body? What's important for you? Form? Pigment variation? Gesture? There are many ways to portray reality and none of them are "realistic" so choose to focus on a combination of visual elements that fits your brain.
Analyze the structure of what you're drawing. That way your drawings will instinctively have more power, and you will learn more about your subject.
In entertainment design you can't stray too far from the zeitgeist. Your audience has to know and get what you're drawing right away.
When taking crits, always say "yes, and ..." If you don't understand, ask why.
Always keep in mind what the most important element in your design/painting is. ALWAYS. Before making any stroke, ask what is the important element. I can't stress this enough.
Gradients give you more information that flat colours, however it's a lot harder to manage them to describe form.
Concept artists are basically prostitutes. You are hired to draw things without getting attached to any of them. I will probably return to this parallel.
The tighter the gradient, the harder edges you can use on your brush.
I repeat myself a lot, but that's only because these things are important. The easiest way to resist temptation is to give yourself no choice.
Life drawings from last night. 10s, 15, and 20s.