Hi @punchyengland, hmm... strange... I'll forward this to the team 👍 In the meantime, have you tried searching for solutions to this issue, maybe typing something like "fix vimeo videos won't show play button google chrome". It might be as simple as closing google chrome and restarting your computer. Or maybe clearing the cache on google chrome. It might not be the Proko site that is faulting, but the browser's ability to play Vimeo videos (which I think most of the lesson videos are). Are you able to play this video for example, which is a Youtube video Drawing Demo by Glenn Vilppu. Hope this helps :)

Hey, @Anubhav Saini! Thanks for your patience in expecting my delayed reply! I think it’s cool that you chose a comic story as a means to express your indignation. Indeed, it’s upsetting that some people still misjudge the importance of art and the legitimacy of an artist’s work. The good news (in which, at least, I believe) is that humankind’s will to make art should always have room to exist in the world somehow, despite any disbeliefs or negative judgements that may emerge. Overall, I agree with @Steve Lenze about the mixture of shots - I think the variety in viewpoints and the sequence they are put in is giving your story a good visual dynamism. I understand that delivering the message “art matters” is the main point of this double-page, so in general, I think it’s okay to overlook a little bit some technical issues such as accuracy in perspective and figure drawing - since the message is clear enough, it’s fine if things aren’t “perfect”. With this in mind, below are a few comments for each specific panel. They concern, mainly, clarity in storytelling, composition and overall artistic quality. Please receive these comments as suggestions based on my personal point of view, not as “corrections” that you necessarily have to make - although feel free to incorporate anything that makes sense to you, of course. Also, feel free to discard or adapt any of my suggestions according to your own creative preferences. (I’m attaching a draw-over with numbers for you to easier reference my comments to each panel). . Panel 1 - I think this panel doesn’t seem to add much to the storytelling, so I think I’d remove it. . Panel 2 - The setting and the characters look fine to me. I’d polish a bit more the lines and shape of the speech bubble. Also, I’d look out more carefully for correct punctuation and capital letters in the sentences, since writing issues could definitely hurt the storytelling in comics. . Panel 3 - Same comments as in Panel 2. . Panel 4 - I think this panel fits well into the story. . Panel 5 - I’d say the environment could be a bit more visually descriptive - at least to me, it looks a bit unclear whether this is a street in a little town, the living room of a big house, the halls of a hostel or something else. Plus, I’m a bit unsure about how this panel fits into the story to connect the previous and the next scenes. Here’s what I understood: he gets angry at his friend and storms out of the room; then, in the next page, he goes to another location to talk to another friend - is that it? Well, if so, then maybe Panel 5 (which is the inbetween moment where he’s alone) could be an interesting point in the story to develop a bit of his introspective thoughts and draw how these thoughts would reflect on his body language, on the environment or on his internal dialogue. For example: maybe he’s walking with his head down and face frowned - so you can plan your composition for this panel in a way that these aspects can be clearly shown; or maybe there’s pouring rain as a symbolism for his anger and sadness; or maybe he’s mulling over his feelings and his friend’s words - then, instead of having just one panel for this introspective moment, you could develop this part of the story into several panels, exploring variety in thought bubbles, facial expressions and perspectives in each one. . Panel 6 - This panel doesn’t seem to add much to the story, so I’d say it would be fine to take it out. . Panels 7 and 8 - Same comments as in Panel 2. . Panel 9 - Same comments as in Panel 4. . Panel 10 - I think it could be nice to show the character walking into this new environment (instead of showing just the environment). The story is understandable even without the character, but I just think that adding him in the scene would create a stronger visual link with the previous panels and better conduct the reader to follow the character through his journey. Also, I’d recommend adding some more texture to the street in order to make the drawing look more complete. . Panel 11 - I understand that your intention is to show the character suffering, but I think it’s so sad that the story ends just with him crying and mulling over his feelings... Wouldn’t it be interesting to focus on him somehow overcoming the criticisms instead? For example: maybe, after leaving his second friend’s house, he goes for a walk in the park and decides to just start sketching the people and the nature around him; this invigorates his energy, and he enjoys the experience so much that he comes back the next day, and the next… and, after a few years, he’s improved his skills so much that he became an accomplished artist ready to make his first solo show, to which he invites his friends (who he hadn’t seen in a while); and when his friends meet him, they look surprised at how he evolved and congratulate him for his accomplishments with his art. This is just one possibility for your story, and a very simple one - of course, there might be other creative choices you could make. But my point, as a suggestion for this ending, is just to consider developing the storytelling in a way that carries the same message (“art is important”, “being an artist is possible”…), but in a more positive and engaging way for your comics’ reader. Hope this helps! There’s a great book named “Understand Comics”, by Scott McCloud, which unravels the main aspects and storytelling techniques in the language of comics - if you’ve never read it, I’d highly recommend! It’s fully written in the format of a graphic novel, so reading it is a true delight. Best of luck with your art!

Really, struggling with getting the lvl 2 proportions right, sometimes I get confused.

2023/1/21. Good morning everybody. Here’s my latest assignment for @Patrick Jones’s course “The Anatomy of Style”. Thanks and have a good weekend.

After many years studying and working with Proko, I still can’t help but get inspired with Stan’s lessons, even the most elementary ones! Congrats and thanks for putting such high quality art instruction videos out there, @Stan Prokopenko and team!

Hey, @Paul Z! I think @LottaIn has a point, maybe check if the pressure sensitivity settings you’re using are appropriate to the kind of result you would like to obtain. The properties can be set differently depending on the type of device / tablet and on the software, as well as on your own personal preferences, of course. And, if you’re okay with sharing some examples of your own work with lineart to illustrate a bit more clearly the difficulties that you’re facing with it, I’d love to see, since it could help me make more specific comments. But here’s a trap you don’t wanna fall into: thinking that other artists do it easily. I’m pretty sure that all artists who make it look like as if it was easy must have had a good deal of mileage and training before getting comfortable with the process. At your disposal to continue this discussion, if you wish!

I have a question: where is the best place to get free models as references?

Hei Hei, I'm learning again by following the YT videos. Here I've followed the examples to better my understanding of CSI. The first drawing is me just copying the example (the second is me re-doing it from imagination). The rest is me trying the examples by myself first before copying the drawing examples. The last 3 is my first attempt at exaggeration, followed by the example, and then I retried it again. I followed the same timings as in the video. I've noted my "style" changes drastically depending on which tutorial/book I'm studying from at the time. Is this normal for a beginner?

Hello. Sometimes I struggle with the pelvis, and how to imagine the pelvis as a box, instead of round disks; like, where would the corners of the box be? I'd love and appreciate some tips on drawing the pelvis as a simplified shape.

Hi sir, I am sorry for posting on the wrong thread because I had little idea about how the thread discussion works. Actually yes I like to simplify it more and i do want to have great shape design. I love simple yet interesting shape designing but the problem is when I try to make it simple I think that it's not working and I am loosing all the information here, then it started to looking boring and dull and that just doesn't work at all. And whenever I try to keep it simple I just can't stop myself from making it more complicated and I just keep drawing keep drawing it until I ruined it. Maybe I overworked my work because I don't think that looked good enough when I have simplified the drawing, i keep adding the details to make it work.

Some beans I did following along with the tilt & lean video. Sometimes struggling to see where the forms overlap.

can I get a critique on my recent gesture drawings?

Adding some eyes helped me enjoying this assignment :) Drawing the beans it is hard for me to recognize my mistakes. Any feedback would be highly appreciated!

Would love feedback on how accurate these are compared to the photo they were based on!

Hello everybody! I started my art journey two weeks ago with Proko's Figure Drawing Course and since then I did gesture drawing every day. As recommended I did around 12-15 figures. ATM I have around 30-40 min/day for studying. I know that is not perfect and I cannot expect much from that in 2 weeks but I think I improved a little bit and I hope for some critique. The images are from the first day, the first week, and today. I also included 2 10min poses. I struggle with the gesture of the arms and legs and I don't know if I should move on to the bean yet. So any feedback is appreciated. And maybe you also have tips on how I could use my limited time most effectively to improve. Thank you in advance!

Good evening everyone. I always struggle a bit with these kind of exercises. Finding it especially hard to simplify into boxes, rather than round shapes, and seeing/understanding when to "switch" the direction of cross countours to emphasize movement in relation to the bigger shapes, especially when I am paying attention to the horizon line. Any tips om how I can think about it while planning the direction of the shapes? Feel free to draw over my pictures 🙂

Wow.. these are looking good.

Hey, @knightdroid! @Jon Neimeister is making a course on Digital Painting Fundamentals here at Proko, I’d suggest checking it out. If you’re not ready to take the paid course yet, you can find some of Jon’s lessons on Proko’s YouTube channel for free: https://youtube.com/playlist?list=PLtG4P3lq8RHHBiU_VqcY_L9T2iFDeCUJH Alternatively, I also really like the “Digital Painting 101” free mini series at http://www.CtrlPaint.com About where to stop the drawing before starting to shade… it depends, there’s no general rule. Some people have a more painterly approach and draw very few lines before starting to add tone (in a way, you could say that they sketch with tones). But other people, such as myself, for example, are more comfortable with lines. Since you have some mileage with drawing, but are a beginner on shading/painting, I’d recommend developing the sketch as much as you can before shading - at least in the beginning. Try not to skip stages of the line drawing, develop it until you feel that’s as far as you’ll go with the lines. You don’t need to ink necessarily, just make sure to have a drawing that’s fully developed in terms of construction and design. For instance, in your “Spider-Man X Venom” drawing here, I’d say the first one (image 4) would definitely be too early to start shading, but the second (image 5) is pretty close - I think I’d just design the forms of Venom’s tongue a little more (which is looking a bit flat), and perhaps add some elements of an environment to complement the composition - and then I’d say it could be ready to shade. Aside from that, @Steve Lenze’s considerations on posing, gesture, perspective and construction certainly apply too! Over time, as you gain more experience with shading and painting, you might start to feel more confident with painting an undeveloped sketch or with the process of sketching with tones rather than with lines - if that happens, you can simply adjust your process to your more advanced preferences. Hope this helps!

Hello, I wached the bean intro video last week and practiced them for a while now. Today I was having a really hard time with finding the gesture/ action, so I decided to add the bean into the mix. This has helped me a lot to get a better feel for my gesture drawings. After warming up with 10 60s drawings I went ahead and did the 2min draw along/ assignment example. The result was much better than it would have been without the bean. I am going to do a few gestures in ink soon and look more for force, when observing the reference. Looking forward to your feedback. :) (no idea why, but my pictures get rotated, when uploaded)