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Hey, I don't know if this is the right place to post this, but I thought I should try here. I really love just free drawing with ink and pens. There's something about putting a permanent line down and having to fix it if you mess up, rather than just redrawing your pencil outline. But I really struggle with line weight! I can't find a way to make the main figure pop from the background. Does anyone have any advice? I really like how the moose is dark, but I can't seem to keep the owl from blending into the background.

This is the object study I did in my art college I have been only doing shading for 2 weeks straight cause I got into college but didn't do any practice beforehand so I'm very behind others Please critique this because I am too shy to ask for advice the marked one is mine did I do right or wrong for making it pure white

Working on an illustration for an ongoing set of illustrations related to a story I call AXR2120. In AXR2120 humanity has reached a world that exhibits a phenomena where their underlying inner monsters can exist alongside them and are manifested as a variety of giant creatures in the physical plane. For this illustration I am concerned about scale in the composition: I am wondering if the scale ratio of man to inner monster is portraying the phenomena well... what are your thoughts?

Hello prokoers ;) I will do an illustration traditionally and then digitally, I want to do a knight with a big sword, breastplate and shoulder plates standing in front of an entrance. Wich of these poses do you think is best? Should I explore more, any tips?

Hello everyone I was given a task To make a poster for a bad art club And was given the following two images As refference so in the third image I made the poster I took the style of the fonts like thick strokes and fill from the refference and just made an illustration at the background to make it different from the first two posters because I wanted to do something different this time also I have less experience in creating posters so can anybody give me feedback for it and thank you

I’m looking for a list of different ways to compose a drawing to the right message. Like rules of thirds Fibonacci sequence and others. Also what purpose for each of the techniques if possible

Here is a project I've been working on could use feedback regarding composition and composition basics that I could work on.

Hi, everyone! I need some feedback on this digital art piece I made recently. I gave it 2 backgrounds but I am unsure how balanced the pieces seem overall and which is better. Any feedback is welcome! Thank you!

I really need a course with lots of examples on how to build up a scene from scratch using perspective but not the basic stuff 1,2,3 point perspective to draw a simple scene but how to draw a dynamic scene like in comics with correct perspective

Hello Everyone! This is my first post I'm honored to come to you for some advices. I'm here to progress with my drawing, specifically anatomy, inking and composition. I'd like to know your point of view on (full body) characters placed in empty space (no backgound) and the way to make the final picture more composed and dynamic. Backgrounds are not my cup of tea but I try to incoporporate them more often. Sometimes I feel that it is not needed, however, when I look back at my drawings I think that something is missing with most of them. I try to respect global composition rules within the character and its props but I guess this is not enough. Here's some example from my personal gallery (some have backgrounds, some didn't). Thank you very much in advance for your help, you're the best! s

Hi Proko People! If you want to develop your composing skills with me this summer, spend twelve weeks (June, July & August) in a rigorous schedule of exercises, prompts, and projects to build your creativity and design strengths. You can read more at the "Composition Bootcamp" link on my home page: https://www.marshallart.com/HOME We just finished a three-month round and it went well enough for several students to take it a second time. I hope for this summer to be the best of all, and to see you there! Marshall

Hello everyone, I want to make a fanart of Luffy Gear 4 Bound Man! But I want to give it that wild and dynamic touch, like @itokazuuuu's drawings or like boichi, giving them a final rendering in graphite. But my sketches look very loose in composition, what can I do to make them more dynamic, the 1st one looks like 2 standing pillars crushing something XD, and the 2nd one looks very generic Any criticism is received and appreciated. Image credits https://www.instagram.com/itokazuuuu/?hl=es Boichi Manga Author

This is a preparatory sketch for a proposed painting. Any critiques would be appreciated.

“Tuatara”, dip pen, indian ink on paper, 2024.

Hi everyone, So I need feedback on my pulp poster. It's for my own novel set in the 1940s, and involves some of my characters. I would be glad to know any of your opinions. Thanks in advance!

Hello everyone, I am making this sketch of a 3/4 portrait, so I can have a good composition. I want to somehow be able to add the flower elements at the top left, and the flowers at the bottom right. Without sacrificing the composition, since being in the middle I feel that it is very static, what do you think?

I'll leave the questions right at top for any helpful soul that doesn't want to read too much— I aim to make a suffocating scene, but the numbered spaces on the first attachment seem to prevent and even detract from the desired effect. In light of the third attachment where the 1st numbered figure's enlargment makes the 3rd numbered space seem more 'off', how do I understand whys of this happening? What causes, if there truly is one, the disproportionate feeling? Perspective mistake or use of spacing? For the long explanation: This is a scene of capture. The aim was to make the kneeling figure(somewhat centered) small relative to other figures, and also make him 'suffocated' by the numbers. The view is over the shoulder of one of the pigman blocking his escape. The first attachment is the basic sketch, second is added details and fixed perspective issues, third is the final adjustment. What I feel is, and I think the problems come from the three spaces I numbered on the first attachment, the composition makes the scene 'suffocating' to view, rather than suffocating to the character. I'm not sure if that makes much sense—in another way, the perspective and placement seems to make the numbered spaces pop more than the figures' presence, hence neither the central figure nor the surrounding group seems to be in or out of focus. I intend to make this a painting, with the main light source the kneeling figure(Thinking of a ball of flame from his hidden left hand that pops under the chest), and I think the only thing I can resort to fix this seemingly imaginary 'off'ness is to block out the 3rd numbered figures in shadows or entirely hide them away—which seems lazy :( Again, please do point out if you need any clarification, and thank you still.