Thanks for posting, Carissa! Scrolling through your stuff, I think there's a lot of appeal here. I definitely see a stronger application of line in these designs than color. Not that your color is bad or anything, but for the most part (particularly with the character pieces) I'm not entirely sure the color is adding to the presentation. In fact, it almost detracts - as when a viewer (or a hiring studio) sees color, I think there's a tendency to assume the person is interested in painting. But if one of your goals is to do character work, I would try a few pages/spreads where you eliminate color and only show the line work, or at the most the lines with a touch of grayscale/marker value work. I'm reminded of Jin Kim's work, how it's 90% line, but sometimes he'll spice it up by adding a quick value pass. It's so strong (obviously mostly because he's a master artist) but also because it guides you into his strengths and doesn't put anything else forth. If you google 'Jin Kim Art' you'll see several examples. As for the environment stuff: this is the classic portfolio problem. Do you show characters AND environments to a studio, and risk confusing people as to which department you belong in? (It's a lot easier to hire people when their portfolio clearly shows what role they're interested in!) Or do you bank on the jack-of-all-trades thing, which may better appeal to smaller studios that may indeed have you wearing different hats? For the first...10 years of my career, I did the former. I ONLY showed studios my environment work, even though I did also enjoy characters. That always worked for me. As far as a critique goes, your environment stuff (at least, the two main pieces I see here) are at risk of being too heavy on the light:shadow ratio. I'd say these are 80% light, 20% shadow. It's a bit of a compositional risk to do that, as it takes away from a good sense of staging. Check out a real great layout artist like Armand Serrano - who uses very simple tones to group things into big areas of light and shadow, which help serve the focal point. That's what I'm not getting as strongly in these environment pieces: a clear focal point. I think you do have them ready to go - for example, the dock in the lower piece could be a fantastic focal point in that picture, but you haven't used the lighting to bolster it and make it clear. I'd try a lighting pass on that where the trees on the left get grouped into shadow, along with the shadow patterns they'd throw on the ground. Then from there emerges the dock, into a strong contrasting light. Give it a try! I hope some of this is applicable and makes sense to you - keep it up! Marco