@ddtravers Thanks for sharing! I'm also learning Krita, and I have been using it for a few years. Since most of my drawing experience had been on actual paper before, I still tend to reason about canvas sizes and pixel resolutions by thinking back about the physical paper dimensions. For what it's worth, I will share how I tend to think about it below. For example, when opening up Krita and creating a new document, I tend to choose a physical paper size I have worked on before and feel familiar with. For me this is mostly A4 or A3 paper sizes. The advantage of sticking to a familiar format is that I intuitively understand how large I would typically draw an object on it's surface. For example if I was doing a portrait I would know roughly how large the head could be relative to the physical paper size. After choosing this physical paper size I set a reasonable DPI (dots per inch) that could be used for print. DPI is also sometimes called PPI (points per inch). A higher DPI/PPI gives you more ink dots per inch along each dimension (meaning width and height), and each ink dot will essentially be represented by one pixel in your digital creation process. So these ink dots will form a grid when plotted along the width and height of the physical paper, corresponding to a grid of pixels in the digital world. For printing crisp black and white ink work for comics, they recommend DPI around 400-600, and for color printing at least 300 DPI (but probably more). In my Krita version there are already some common templates provided like "A4 300 PPI" or "A4 600 PPI" (see screenshot), so I often just pick one of these. I do think that some choices are actually equivalent in terms of the number of pixels you obtain in width and height, like "A3 300 PPI" will have the same pixel width and height as "A4 600 PPI". For a given fixed aspect ratio of width vs height, one can keep the same number of pixels in the digital image by setting the DPI/PPI in relation to the actual physical dimensions of the paper. For example, if we enlarge our sheet of paper by a factor of two in both width and height, and we want to keep the same number of pixels in our digital canvas, we could halve the DPI/PPI in both width and height. Conversely, if you keep the same DPI/PPI when enlarging the physical paper size then you end up with more pixels for the width and height. So for your drawing of the pear, you could say you wanted it to be on A4 or US letter format (in landscape mode), and then set at 300 DPI if you don't care about too precise print quality or if you don't even intend to print it. Or put it at 400 DPI or more if you aim for a crispier print quality, at the cost of increased file size and slower painting (depending on your zoom level). This could give you a starting point when planning next drawings. It's also possible to think completely in the digital world, without reference to physical paper sizes, by thinking in terms of monitor resolutions. Some advices that I have read online are for example to make a digital painting in 4K because it looks good as a desktop wallpaper on 4K screens (and on lower resolution screens, although in that case details will go lost). By contrast, if you paint on Full HD then it might look blurry when used as a desktop wallpaper on a 4K display. If you want to eventually print then you will have to check if the DPI entailed by the digital work will be good enough for a chosen physical print size. I hope this helped you a little bit, let me know if you have more questions about this type of reasoning or if I made a reasoning mistake, thanks!

Nice work! I like for example the look that emerges from using different line weights in some places, like on the pencil sharpener and tissue box corners

Wow very nice work, it looks so photorealistic, good job! I like for example how you got very clean looking contrasts at some places, like at the candles. The bricks in the wall also look very nicely rendered. Did you use a pure pencil-on-paper workflow, or also some digital steps? My only question so far would be regarding the perspective. For example, I can't seem to fully figure out the spatial relationship between the left part of the wall and the stairs. Based on the left part of the wall, I have tried to overlay a possible vanishing point on your image (green lines). I have to admit I might be wrong here, since your uploaded image is somewhat low-res and I might read the bricks direction in the wrong way. But if the vanishing point that I found is roughly correct, then I wonder if we should see more of the tops of the stairs, since they are all underneath the horizon line (?) Also, I suspect that if the vanishing point is so high then we should see the girl also just slightly more from a top-down perspective, whereas at the moment it reads more like a frontal view. But again, I could be wrong because the brick direction on the left wall is not very easy to read in the shadows and the lower resolution. Other than this perspective question, I really like your drawing and its photorealism, you are clearly good at this type of atmospheric drawing!

I have some experience with painting applications like Krita (and Photoshop a longer time ago). I think there might be a few general things we could say. First, it might depend on how often would you like to rework an area. For example, to tweak the form or silhouette, or to add detail, you might sometimes revisit a particular spot. If you're mostly expressing values through changes in pen pressure, you will be stacking up more and more opacity as you revisit areas. I think this can be particularly tricky if you just want to tweak a little spot but due to the increasing opacity you create darker streaks in the surrouding area. So this process might possibly require you to sometimes switch to a digital eraser to take away some darker values in areas where you wanted it to be lighter. By contrast, if you would set your brush to mostly be close to 100% opacity, then you could pick the values from a grayscale palette. Although I'm not familiar with this process in Procreate, most painting applications have color swatches with some presets like a "grays" palette going from completely black to white and various steps of gray inbetween. Initially, you can map parts of your drawing to certain gray-scale swatches. As you proceed, or while you rework an area, you can either color-pick from your drawing or select again an appropriate swatch from the palette. Of course you don't have to stick to the intially chosen value, you can revise this as you go. Also, if the brush opacity is not 100% then you will automatically be mixing gray values on the canvas, e.g., to create smoother gradations. Also possibly useful to note, is that the method that uses brush opacity close to 100% leads more quickly to filled drawings with no transparency "holes" in them. This may be useful for later steps in the process, perhaps related to coloring or overlaying the work on another background layer. If the values were only built up with just pen pressure changes (with say a white background layer underneath) then the layer on which you made the drawing will conceptually be like cellophane with graphite/ink, which will have the background color bleed through whenever that is changed later on as part of a coloring or polishing process. I hope it helped a bit by sharing my thoughts? Let me know what you think, I can learn as well