I try to always start my day with 30 minutes of gestures for warm-up. It was nice to have these to shake it up from my usual routine. Especially Week 3 with the hands and feet. I must admit, it was tough sticking to the time limit, as I usually like to give myself a little longer if I'm really enjoying the figure. It was fun to push myself though and keep myself moving. Though, full transparency, there were a few moments I gave myself just another pencil stroke or two after the timer moved on. Week 1 said "submit at least 20 drawings" I did 2 sets (Set A and Set B) but if I was only supposed to submit 1 please take Set B. I'll separate all the weeks into individual comments.

Hey Lo, First of all, it's great to have you here in the Proko community. I know that, at least in my personal experience, it can be daunting to share your artwork and open yourself up to criticism (especially when you may find your work "embarrassing") but it is certainly a big and beneficial step. Aaravi has some good points. Learning how to create art is a journey and everyone's journey can be different. It's important to be able to sometimes just let go, experiment and see where it takes you. But I understand the frustration. Oftentimes we have an idea, even if only vaguely, of what our art should look like (or of what our "destination" is on this journey) and when we fail to achieve that ideal, it can be disheartening. I often think back to this video with a speech from Ira Glass. https://vimeo.com/24715531 It may say storytelling in title but I believe it fits all kinds of creative expression. You may have to do a lot of work to get to the point where you feel you are consistently creating things that live up to your vision, but I believe with good practice and perseverance you can get there. Now, you came here asking for a concrete plan. While there is a balance to be struck when it comes to following a rigid plan and allowing your creativity/desires to flow, I, as an artist who is also always learning, will try to give you some ideas that I think will help. You're probably familiar with the saying "practice makes perfect" and maybe you've heard the follow-up from Vince Lombardi "Practice does not make perfect. Perfect practice makes perfect." In this case, I believe the answer is somewhere in the middle. You can do a ton of work and make progress, but intentional work will in most cases get you further faster. With that said, here are some things I would recommend focusing on. Structure: The Basic Forms This was something that I neglected for a long time, and it wasn't until I started going through Proko's figure drawing series that I really started to grasp and incorporate it. Being able to consistently draw the basic forms (spheres, cubes/rectangular prisms, cylinders) can be key to leveling up your art. Even before knowing anatomy, it can take a flat, lifeless drawing and turn into something that looks like it really exists in a world on your page. Take this drawing I did almost a decade ago, and compare it with just the underdrawing of one of my recent projects (For an even better example of using simple forms to construct the figure, check out Proko's Mannequinization Lesson in the figure drawing fundamentals course https://www.proko.com/course-lesson/mannequinization-structure-of-the-human-body/assignments ) I see so many newer artists who can do beautiful things with colour, but it's effect is muted because of the flimsy structure beneath it. You don't have to be a master of anatomy to draw the basic forms that help the objects you create to feel real and tangible. Breaking things down into simple forms also helps with shading. When you're armed with this knowledge/ability you can really make your drawings pop! I really like to look at animators, or artists with a simpler style when it comes to studying these basic forms, as it can be easier to spot the building blocks they used. Some of my favourites to look at are https://www.instagram.com/seangallowayart and https://www.instagram.com/gurihiru In addition to breaking down real human models into basic forms, it can be fun to look at artists you enjoy and do the same to their work. This can open up your eyes to new ways that you can break down the human body into simple forms. Looking at your work and one of your time lapses, it looks like you already have a fairly good grasp of this area. Your piece with Ganondorf, Link and Prince Sidon stands out to me in this regard. Especially Ganondorf's arm, you can really feel the form. Continuing to work on these foundational elements while expanding your knowledge of perspective and anatomy will serve you well. Even though this is an area you already do well in, I wanted to cover it before getting into the rest of the points. I have to take a break for now, but when I get back I want to talk about using interesting shapes + rhythms, line quality and confidence. Also, I will try to draw over some pieces to help give some visual examples that might be more helpful. For now, I'll leave you with this. I think your work is in a great place and I see a lot of potential! It's been fun to look through your work and I'm excited to see what you do in the future!

I FINALLY finished this piece. I incorporated a lot of the feedback I got here, or tried to. I spent a total of 13 months working on this piece and redrew it more than 2 dozen times in different media on different papers. Ultimately the "finished" piece was done in Prismacolor pencil on French Paper Co. Speckletone paper. I like the tooh of the paper and it works well with the Prismacolor though it's not really a drawing paper. This was a gift for my wife. The character is our dog, Marlow, who died 2 years ago. He loved water so this is how I envisioned him in doggie heaven.

TLDR: Looking for feedback, any glaring mistakes, suggestions for background, additional clotheslines and/or falling clothes - yes/no? Update: Almost there! Normally I do my roughs digitally and then print them out to finish with traditional pencils, but I decided to challenge myself and get the whole thing done digitally (Even after a few years of having a surface, I still find that I draw many things more quickly on paper). At this point I'm mostly cleaning up, finishing up a few details (Like putting in her web for the first panel) and trying to figure out what to do with the background. Originally I was just going to put another building, but I'm not a huge fan of how that's looking. I also worry that a whole cityscape background will have too many elements that cut into the action in the foreground. Right now I'm tempted to leave it blank, but that's probably just me wanting to be finished. Any suggestions on this front would be appreciated. I'm also considering adding some more clotheslines, either into the foreground or further back, but I wonder if this would be too distracting/too busy. Similarly, I was thinking about having some clothes falling through the air but the same concerns pop up. Also, if anything stands out to you I'm open to any critiques as well. Not sure how much more I'm going to go back into this, but I always want to learn more for future projects (Who am I kidding, if you point something out there's a good chance I won't be able to resist fixing it). Thanks everyone!