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Following the cold snap, I painted a snowy scene. The soft, fluffy snow has such an atmospheric feel. I tried to simplify the values while still finding a sense of balance within the variations. This winter Shirakawa-go in Japan, with its gassho-zukuri village houses, was especially fun to study for value distribution.

Another long-haired dog added to the collection. This time I drew the brindle dog from a café I often visit. I experimented with variations in stroke looseness, spacing, and graphite density to create different effects. Adding a hexagonal graphite stick made the drawing process even more fun.

still clinging to craig mullins style. The horse was done with a mouse, as craig said , the simpler your tool, better your understanding of the subject

Just wanna share my self portrait cuz its my bday today!

I am looking to improve my skill in painting and not sure how. what would be some good exercises to help with this?

A portrait study of a child resting their face on their hand. I don’t often draw children’s faces, so this time, while searching for the edge lines, I tried giving the lines a rhythm with subtle shifts between soft and firm.

Has anyone drawn pokemon ?

This time I used this Czech pencil. When blended, it creates a brown tone with a subtle red-violet tint. It reminded me of the calm, grounded effect I got in a previous life-drawing study (second image). It works really well for darker skin tones, almost like having a built-in dual-tone filter.

Hi. I am a beginner in painting and unable to decide between Marco Bucci's courses and Digital painting fundamentals + advanced course by proko. My background is that i have bought and halfway through drawing basics course by proko. Any guidance is appreciated. Thank you.

I am in the process of teaching myself how to paint digital in procreate with a tablet. I am curious how do I go about this and what lessons on procreate would help further my goal in creating comic and animation? making these drawing into fully fledge concept.

Landscape study. This time I tried redesigning the tree shadows, and it felt really good to connect the sense of light filtering through. The same place, painted at different times, can evoke very different moods.

Yeah teaching myself with a digital tablet

I've been wanting to put some more time into painting with gouache lately so I'm starting a study thread, feel free to join in! Here are two pieces from this weekend's attempts. The first is a Dean Cornwell study done along with a livestream from Jeff Watts. Clear reference was tough to find, so I just went along with the process I saw Jeff work though in the video. I spent about 3 hours on the Cornwell study and then applied the same process to an original sketch I did of Norman Rockwell from a black and white photo, which also took about 3 hours. Still getting the hang of organizing values on the palette, I feel like my palette gets crazy and disorganized quickly, so by the end of the Rockwell piece I was hunting and mixing a lot more to get back to the appropriate values. I'd love any feedback, suggestions, notes or revelations you've had during your own gouache adventures! Tools- Palette - Winsor & Newton Permanent White, and Ivory Black, Holbein Permanent Yellow Deep, and Flame Red Robert Simmons 785 Round #4 Arches Aquarelle Watercolor Cold Pressed Paper Livestream- https://www.youtube.com/live/gsTAsfjR_uk?si=l8BQy83zXAEOzYwk

Ok so I decided to do a study on various painters and artist. I was wondering how to do that properly so I get the most out of it.

Rearranging the balance of black, gray, and white in the composition was really fun. While painting the boat, I was reminded of Disney’s Treasure Planet. Just like Atlantis, the visuals in that film are unbelievably beautiful.

Tried drawing a Border Collie for a change. First time drawing a long-haired breed. Compared to the short-haired beagle I did before, this one needed more attention to layering different fur lengths with varied stroke types.

I really enjoy the lead artist Aleksander Rostov's style and ability to incorporate simple shapes into an expressive design. Would appreciate some feedback if anyone is willing to share thoughts.

Here are a few watercolor studies of monstera leaves. The shapes of the leaves have so much freedom, and designing them turned out to be surprisingly fun.

Hello, everyone. I struggle from going from black and white into color. For example, I did this drapery study a month ago. Usually, when I draw or paint something without color—like white cloth or plaster casts—I start by loosely sketching what I call a gesture-found contour. Then, I establish a light and shadow family using a middle value for both. From there, I add two additional values on each side—one lighter, one darker. In total, I have six different values (or 7 to 8, depending on which side I want to focus more): three for the light family and three for the shadow family. This method ensures that the darkest value in the light family is still lighter than the lightest value in the shadow family. After loosely placing these values in the correct areas with the proper shapes and refining the edges, the result is what these drapery studies look like. At this stage in my art journey, this approach is sufficient for me. However, this method seems to work best on white, colorless subjects. I struggle with adapting it for colored studies. Theoretically, I understand that with color, I must manage not only value—though value remains the most important aspect—but also hue, saturation, and, on top of everything, color temperature. I know the basic rules about warm and cool light sources and how the temperature of shadow colors tends to be opposite that of the light source, yet I still struggle with painting color. Any advice would be greatly appreciated.