I really need a course with lots of examples on how to build up a scene from scratch using perspective but not the basic stuff 1,2,3 point perspective to draw a simple scene but how to draw a dynamic scene like in comics with correct perspective

Hello Everyone! This is my first post I'm honored to come to you for some advices. I'm here to progress with my drawing, specifically anatomy, inking and composition. I'd like to know your point of view on (full body) characters placed in empty space (no backgound) and the way to make the final picture more composed and dynamic. Backgrounds are not my cup of tea but I try to incoporporate them more often. Sometimes I feel that it is not needed, however, when I look back at my drawings I think that something is missing with most of them. I try to respect global composition rules within the character and its props but I guess this is not enough. Here's some example from my personal gallery (some have backgrounds, some didn't). Thank you very much in advance for your help, you're the best! s

Hi, everyone! I need some feedback on this digital art piece I made recently. I gave it 2 backgrounds but I am unsure how balanced the pieces seem overall and which is better. Any feedback is welcome! Thank you!

Hi Proko People! If you want to develop your composing skills with me this summer, spend twelve weeks (June, July & August) in a rigorous schedule of exercises, prompts, and projects to build your creativity and design strengths. You can read more at the "Composition Bootcamp" link on my home page: https://www.marshallart.com/HOME We just finished a three-month round and it went well enough for several students to take it a second time. I hope for this summer to be the best of all, and to see you there! Marshall

Hello everyone, I want to make a fanart of Luffy Gear 4 Bound Man! But I want to give it that wild and dynamic touch, like @itokazuuuu's drawings or like boichi, giving them a final rendering in graphite. But my sketches look very loose in composition, what can I do to make them more dynamic, the 1st one looks like 2 standing pillars crushing something XD, and the 2nd one looks very generic Any criticism is received and appreciated. Image credits https://www.instagram.com/itokazuuuu/?hl=es Boichi Manga Author

This is a preparatory sketch for a proposed painting. Any critiques would be appreciated.

“Tuatara”, dip pen, indian ink on paper, 2024.

Hi everyone, So I need feedback on my pulp poster. It's for my own novel set in the 1940s, and involves some of my characters. I would be glad to know any of your opinions. Thanks in advance!

Hello everyone, I am making this sketch of a 3/4 portrait, so I can have a good composition. I want to somehow be able to add the flower elements at the top left, and the flowers at the bottom right. Without sacrificing the composition, since being in the middle I feel that it is very static, what do you think?

I'll leave the questions right at top for any helpful soul that doesn't want to read too much— I aim to make a suffocating scene, but the numbered spaces on the first attachment seem to prevent and even detract from the desired effect. In light of the third attachment where the 1st numbered figure's enlargment makes the 3rd numbered space seem more 'off', how do I understand whys of this happening? What causes, if there truly is one, the disproportionate feeling? Perspective mistake or use of spacing? For the long explanation: This is a scene of capture. The aim was to make the kneeling figure(somewhat centered) small relative to other figures, and also make him 'suffocated' by the numbers. The view is over the shoulder of one of the pigman blocking his escape. The first attachment is the basic sketch, second is added details and fixed perspective issues, third is the final adjustment. What I feel is, and I think the problems come from the three spaces I numbered on the first attachment, the composition makes the scene 'suffocating' to view, rather than suffocating to the character. I'm not sure if that makes much sense—in another way, the perspective and placement seems to make the numbered spaces pop more than the figures' presence, hence neither the central figure nor the surrounding group seems to be in or out of focus. I intend to make this a painting, with the main light source the kneeling figure(Thinking of a ball of flame from his hidden left hand that pops under the chest), and I think the only thing I can resort to fix this seemingly imaginary 'off'ness is to block out the 3rd numbered figures in shadows or entirely hide them away—which seems lazy :( Again, please do point out if you need any clarification, and thank you still.

Sketch inspired by an episode from love death and robots. Feel free to critique. Thankss

Hello everyone, I was looking for some feedback on the composition of this castle. So the story goes like this, There was a very evil and wealthy king who had a huge castle in the mountains where the winter never ends. In a huge battle, he lost all his money and his castle was destroyed. Does the composition portray the description and does it look evil and epic at the same time? Thank you to anyone who takes the time to help me out.

I need help around with "what to do next", this drawing is almost all from imagination and I like that but it sucks with composition, I can't find anything good for that topic. I always get stuck when I need to finish a drawing. I love Eliza Ivanova and her simple approach to shading and line control, now I do not expect to copy or for my lines to be like hers but when I zoom out the image is way to busy its not clean. I would like my drawings to be clean and direct like Eliza for example. Tryed to study and observe her work but I truly do not understand what to look for anymore. Any critique is welcome or directions where I could go with this.

Hi fellow artists ! I've recently become very interested in composing artwork. I've gotten pretty good at using the Fibonacci spiral, but I recently discovered dynamic symmetry (check out the link for a pretty comprehensive tutorial). I understand how to draw the different lines, but I'm wondering if it can be applied to all formats, even those that are close to a square or panoramic aspect ratio that are far from the golden ratio (phi) ? And once you have all these lines drawn, how do you get the most out of them ? Do you focus on the lines and try to align your compositional elements with them, or do you compose based on the spaces created by the lines (creating harmony between full and empty areas) ? If you could shed some light on this, I would be forever grateful ! Thanks in advance and see you soon ! https://ipoxstudios.com/dynamic-symmetry-grids-for-photographers-and-painters/

Which ones are your favorite? Any critique is apprreciated!

Hi everyone! I'm Siqi, and I started a painting based on a photo I took of a waterfall. I roughly blocked in the colours today, but I'm not happy with the shape of the waterfall, and the photo doesn't conveniently offer an aesthetically pleasing shape, haha. I couldn't really figure out a better shape ... so any suggestions would be very much appreciated! This is a bit of a branch of a dam-waterfall, so it starts from a pool of water at the top, and is kind of wide before it drops to a body of water at the bottom. Of course, I don't need to follow the exact structure of the waterfall, but in case that helps! Thank you! :)

this artwork is not polished yet! something is bothering me, I think it's mainly the composition and value(?) I still cant pin point what's wrong any criticisms are welcome!