@NessIllustration I have gotten similar feedback about the pose. I plan on sketching out some thumbnails on different poses. Someone suggested looking up more dynamic and interesting poses, and potentially finding a course that teaches anatomy and poses. Have you taken any courses here on SVS learn that will help with that?

Thank you for the input, in the future I will study and plan more.

@IgorWoznicki Has some AWESOME points! I agree with his input. The only change I would make to his overpaint is the background color. I wouldn't do that pale green. Maybe try the same color shadow that the Monster's head is casting. Or a warm tone like the pink on the tips of the monster's horns. In fact I would ditch the pale green color all together. Don't use it on the skateboard. Again, maybe try the purple or another shade of pink.

2 other things come to mind..

1- You've got this awesome cast shadow coming from the monsters head, you might want to try the same thing for his arm on the right. I feel like it gets a little flat with all that tan. Think about where the light source is coming from and cast another nice deep purple shadow.

2- The guys from 3 pt Perspective podcast have mentioned the 2/3rds or 3/4ths rule (I can't remember which) with layout and space when it comes to design. To me it looks like you're right at 50/50. Half clear/negative space and half busy. Might want to consider adjusting the composition a bit to make it a little more interesting.

Super interesting concept though. I love the expression on the monster's face and the blue fuzz

I second @NelsonYiap's suggestion with the line of action/flow and toning done the contrast of the chair and bookshelf.

In regards to the flow if this was a full book spread this page might be more interesting and have it feed into the next page. I feel like the dark fat calligraphy stroke she made in the corner leads me off the page, but could potentially lead to the next plot point/illustration.

Another thought that might help in making it more interesting is putting hierarchy into practice. Think about what you want to stand out the most. For me, for this piece the order of hierarchy/focal points would be: 1-the girl, and 2-the calligraphy mark or trail of paper. Everything else can be made more subtle. You could make the chair appear smaller by pushing back the desk, chair and wall in the space you've created.

@NessIllustration I have gotten similar feedback about the pose. I plan on sketching out some thumbnails on different poses. Someone suggested looking up more dynamic and interesting poses, and potentially finding a course that teaches anatomy and poses. Have you taken any courses here on SVS learn that will help with that?

Thank you for the input, in the future I will study and plan more.

@Aleksey You're spot on with the depiction. It is Jesus holding a lamb. I like that suggestion of thinking about the emotions I want to convey. I'll work on that.

Okay. I’m putting myself out there and I’m a little nervous with so many talented artists out on this forum, But I want honest feedback. I have a goal to interact with more artists online. And I’m tired of the “It looks good” response from family and friends and I want to improve.

I am a graphic designer wanting to improve my drawing an illustration skills. I have an Etsy shop Nichole Marie Printery and am I wanting to roll out some more quality illustrations rather than just simple graphics and lettering. But I think you can get a feel for my style a little bit from my shop listings.

Anyway, here is my drawing:

It was all done digitally on Procreate.

I would really like to make it better and have something ready for Easter. So lets have at it. Honest to Zeus truth. What isn’t working? How can I make it better? Is this something you would buy for yourself or gift to someone for Easter?

On a more technical/process side, any tips with you’d recommend on Procreate that can help would be greatly appreciated.

Side note: Am I following the correct protocol in posting this critique request? Just want to help keep things organized and help this post get found.

This was a fantastic podcast, now for my critique: Something I would like to have a discussion about is when an artist thinks they are ready for a critique, but really aren't. So the punch seems even harder, because it was unexpected. What's the best way to come back from that? I'm curious to see the response from instructors and fellow student artists as well. Because you do see those who get an unexpected punch and some fall and don't get back up from it.

I try really hard to go into a critique thinking that I will have to start over or make some hefty changes to my piece, or like Lee said, pretend it's a study or just for the sake of learning. But occasionally, my skin does get a little thin, and I get defensive. Not to the point of tears, but there's a bit of a sting from what critics have said and frustration and overwhelm, build up and I can't let it go. Usually I just let time do it's thing and I forget about it, or just ignore it and move on, but I don't know if this is the best process. Haha.

And I really did like the story at the beginning with not considering art for work. I feel like I have found my sweet spot. I studied graphic design in school and that's my job, but illustration and watercolor is my hobby. I do sell my illustrations, but knowing full-well that it won't support me.

Thanks again for another great podcast. Keep 'em coming.

I'm trying to dig through some of the podcasts and google to find links graduation speeches that have been mentioned. There was one that was mentioned about connecting the dots by Steve Jobs, and another one about making progress in your career and facing the mountain. The analogy was along the lines of your goal being the mountain and as long as a project turns you towards it, you're on the right track. Anyone know what I am referring to? I would appreciate the links to these speeches.