Hi Aluisin!

Looking at your art, you have a good eye for it, though I can tell you a couple things right away that may be useful.

One thing is take time practicing anatomy.

Take a look at your first illustration of Wolverine. His right arm looks off. That's because from that position with his arm up and back, the trap (muscle connecting the neck to shoulder) would be more flexed and the shoulder would be higher up, thus effecting the clavicle rotation of the rip cage. Also, Wolverine is supposed to be kinda short, so making his head a little larger will help show that. If you make 2 characters with both the same size bodies, but different size heads, the one with the smaller head will look bigger and vise-versa.

Next you might want to do some research on all of your subject matter.

If you look at your samurai, he's mostly in proportion. But, his sword and sword hand don't quite seem right. The hand is a simple fore-shortening error that is easy to fix. For the sword though, it is always on the left for Japanese swords and it's a bit thin. In Kendo and all other Japanese sword arts, the left hand is always at the bottom of the handle, with the right by the tsuba or hilt and the blade is facing up while in the saya or scabbard. I know it seems like things that don't matter, but having that little bit of research can really help and knowing the way it's supposed to be can help you define why you change it.

And maybe you'll want to work on shading and color.

Take into consideration the environment that the character is in. If the samurai is over looking the ocean from a high cliff in the morning, his shading could be more dramatic and with hues of lighting reflecting off his lacquered armor. Shading can also be a strong tool for pushing a good piece to an excellent one. For instance, your Wolverine is good even in spite of what I pointed on anatomy wise because of good shadowing.

So to bring it all together, look at the shoulder of your elf. It looks off, doesn't it? If you define the triceps coming off from the back of her shoulder, have the front of her shoulder go into the upper pectoral like it does, shade it like you can do, and create a reason for color choices like the environment, I think you'll like the results.

And maybe lower the detail a little bit in the belts...it's a little busy and makes it harder for the viewer to define what they're looking at.

If you practice these things, I think it'll catapult your work to a new personal best. Oh and don't forget to take breaks from drawing all the time. It's just like working out, you can get burnt out and stuck doing the same thing over and over without making progress if you don't give yourself a break every so often.

Hope this helps and good luck!

(Note: I have 12 years professional experience as an artist and illustrator and have a formal education in art theory, practice, and history. Just wanted to let you know I'm not just some guy rambling. )

Not really my area of art, and I'm just a hobbyist so take these with a grain of salt...

• Your shading is somewhat weak, you need to get used to using slightly different colors for dark areas versus light areas. For example, the traditional dynamic is for cooler shades in the dark and warmer shades in the light. Dissect some concept art scenes with complex lighting and you'll see what I mean (I'll try to post some examples when I get home).
  
• Original designs. Do you have more original designs? I mean, it's nice to prove you can replicate a character, but for artists I'm sure they're looking more for the capability to create completely original characters and items.
  
• Dave's post.
  
• Do you have an online portfolio? I believe that's a de facto requirement for being an artist nowadays...
  
• Have you done a lot of drawing with a tablet? From what I've seen a lot of concept art is drawn with a tablet directly, not on paper.
  
• Have you done concept work for other people? It's a very different experience to make something with direction from another person than do something for yourself. It'd be great interview fodder at any rate ("The client wanted A, I made what I thought was A, but...")
  

Also, Blizzard? From a get-a-job standpoint Blizzard's probably one of the worst places to look since they're Blizzard. They're famous enough that I'm sure they can afford to hire only people with 15 years of experience and have work hanging in the Guggenheim. Another random thought is that game companies often skip around genres, which requires a great deal of flexibility, so make sure you can draw a wide range of styles and subject matter (fantasy, sci-fi, steam punk, western, etc.).

Okay, yeah, it just wasn't clear from what you posted, so my comments were shots in the dark. Can you post the link to your gallery? Your work is very good; I hadn't noticed any anatomy problems until Dave started pointing them out.

Please don't feel offended, but I will give some harsh comments about otherwise really good work, hopefully pushing you in the right direction.

The issue with your images is not the execution quality, but the lack of individuality. The first one seems like a copy from comic book, there's nothing special about it, in harsh words: where is the difference to a photocopier ? The second image is ok, but the third one is really bad. Not from an execution level, but this kind of models/concepts are often called p-o-r-n-elfs (half-naked, female elf characters, trying to hide lacking anatomy skils by disguising them as fantasy), a clear sign of a unexperienced artist.

There was once an article on gamasutra about someone who checks up artists applications, and this p-elf submission was more or less a sure reason for rejection.

To improve your skills, go over to a pure game artist forum, post lot of your work and work hard on improving it. Polycount has a great forum which is littered with professional game artist. Btw. blizzard recruiter are scanning the polycount forum and a lot of folk over there has been recruited to work on blizzard projects.

Good luck