Hey, @wetumbrella6, welcome to the Proko community! I agree with @Steve Lenze, nice job working on this drawing! I can tell you’ve put some time and care into it. Hope you’ve found the process enjoyable and enriching! I stand by Steve’s recommendations. And since his feedback already covers the most relevant stuff regarding the construction and the composition, I’ll just add a complement specifically regarding the line work. In the drawings you posted, it's noticeable that all the lines have basically the same thickness and value. My suggestion would be that you try to look for ways to create more overall line variety. Some of the possible solutions could be: -- Making the lines on the foreground thicker and “heavier” than the lines on the background (which is something Steve had already suggested and that should help shift not only the sense of depth, as he properly noted, but also the composition and visual appeal of the drawing); -- Creating some thick-to-thin transitions (kind of emulating the feel of an inking brush); -- Making the lines on the background not only thinner, but also lighter (maybe make them gray instead of black). This could exaggerate even more the sense of depth and also create an even clearer read for the separation between foreground and background; -- Using a line weight criteria, such as "light and shadow" or "hierarchy of importance", to decide how to design your lines when inking. Stan talks about this topic in his lesson on How to Draw with Line Weight, which is part of the Drawing Basics course. As a visual feedback for the comments above, I’m attaching a quick "before-and-after" draw-over I made based on a portion of your original drawing. Please keep in mind that my draw-over is not necessarily "the right way", but merely an illustration of a few of the possibilities you could choose to stick with. Of course, any creative/artistic decision you might make should depend on your personal preferences. One more thing! I think it’s pretty cool that you were able to draw this scene without any reference, and if being able to draw without reference is part of a current goal or challenge you may have set for yourself, then it’s great that you’ve dared to attempt it and succeeded. With that said, I’d also highly encourage you to definitely use reference whenever you notice the need! In the case of this artwork, if you allow me the suggestion, I personally believe that some reference could be especially helpful for you to give a little extra touch of development to the environment, textures and props (bricks, wood, lamp, clock…), as well as to the characters' facial expressions - it could help you capture nuances and subtleties on the lips, brows and eyes that are often harder for us to envision just from memory. Hope you find this helpful. Other than that, just keep up the good work!

Hey wetumbrella6, I really like the mood and feeling of this drawing, nice job. I do have some things that I think will help you going forward. First of all, you must work out your perspective and background so that your figures make sense with them. Then make sure your figures are placed properly and that they are the right proportions and anatomy. Your background doesn't make much sense and is very flat. Also, I think that is a fireplace in the upper right, but it is too small and too high for the perspective that you do have. When it comes to inking this, you must make the lines in the background thinner than those in the foreground or they will look like they are on the same plan. I did a quick sketch to show you the steps you should use to come to your finished piece, I hope it helps :)