This is really nice. Well handled values, great gesture. Just killin it!

I like your philosophy "No erasers means there are no wrong lines, you just need to figure out how to use it!" This is what I hear from folks who go straight in with ink. It looks like a magic trick, they just don't sweat a "mistake" in the moment, they just keep working to pull the drawing out of the fire! I love the separation you got between the three main characters and the background, nicely handled. With the main figures try to fully design your shadow shapes before filling in the black areas to help reinforce your forms, and organize lighting. I think the shadow here obscures and flattens your main figures. Planning out your shadow shapes will help your figures feel connected and solid even if you almost fully black out their forms. David Finch starts with a Micron 01 as his "Pencil" when he goes straight to ink. The thin Micron 01 lines are more easily "erased" with the Posca white out (the brush pen line is harder to fully "erase" without looking grey) Using a smaller line he can make bigger corrections to his drawing using less whiteout while planning the rest of the inking process. Once the outline is completed with micron he adds line weight onto the cartoon frame using a flexible nib pen like a tombow, so he can map out lighting direction, and organize the visual hierarchy in the composition. Then the next layer he uses the added line weight to dictate where to add heavy areas of shadow with a brush pen. Planning again is key here. He fully defines his shadow shapes, and forms before filling in the shadows. So even though it might get fully shadowed out, it’s there. Here’s a good demo on lighting from David. This kind of covers how he designs his shadow shapes. https://www.proko.com/course-lesson/basics-of-comic-shading/comments And his inking process https://youtu.be/ppLh6zBROjU?si=okMQ5GemMgrXgX62 Some inking advice from Daniel Warren Johnson, “Hunt for form or texture before going full black.” He’ll practice a texture or brush technique to creatively reveal the form of something he’s inking before fully blacking it out as a worst case scenario. If it does work out, you found a cool new way to describe that surface, or lighting condition, if it doesn’t work out, black it out! You got some brush mileage and experimentation in, but most importantly you’re more aware of the form you’re inking and can take that knowledge into the rest of the drawing. Check out Daniel’s youtube channel, he has a ton of his brush pen process on there. Hope this helps!

... go on

I value this pun :D

What you're seeing here is an example of your vanishing points being placed too close together which gives an extremely warped perspective. If you wanted to show an extreme POV or a jarring perspective this can be used creatively to that effect! If you'd like to create a more naturalistic perspective for rooms or buildings, place your vanishing points further apart. Generally you don't want both vanishing points to be visible inside the picture plane. That said, in your examples you have all of your boxes going to the same vanishing points, which works if they're all oriented in the same direction, but if you have multiple boxes, rotated in different directions, each box will have it's own set of vanishing points. Hope this helps!

Excellent references!

Incredible work!

This is fantastic! You might be able to push the golden/yellow midtone colors in the face and core shadow areas a bit further to make the ELECTRIC yellow rim lighting pop even more. You could also add a bit of orange glow to the center of the cheeks to add a bit of translucent radiating energy. Awesome work!