Love the shapes!

Wow! These colors are great!! And the eye looks so cool! Water colored pencils have been a tough one for me but a technique I like to have fun with is dipping the pencil tip in the water before putting it to the paper, it gives it a thick and very pigmented line

Cool experimentation, I really like that bird!

Cool!,

Those are some nice head shapes on page six! If I should try and find something to critique I think maybe you can look out for some snowman effect on the page 7 figure! Great job!

Nice one sketching out in public! If the one on the left is the original one I think I like that one best because the lines are more free there. And in the other one it might help maybe stylising the shapes more? Or more shade/contrast to make more defined shapes? And differentiate the people in the foreground to the ones further back I think works well, like you did in your other journal page 4... I don't know really... just my two cents. I just think it's great you're sketching from life!

I like your philosophy "No erasers means there are no wrong lines, you just need to figure out how to use it!" This is what I hear from folks who go straight in with ink. It looks like a magic trick, they just don't sweat a "mistake" in the moment, they just keep working to pull the drawing out of the fire! I love the separation you got between the three main characters and the background, nicely handled. With the main figures try to fully design your shadow shapes before filling in the black areas to help reinforce your forms, and organize lighting. I think the shadow here obscures and flattens your main figures. Planning out your shadow shapes will help your figures feel connected and solid even if you almost fully black out their forms. David Finch starts with a Micron 01 as his "Pencil" when he goes straight to ink. The thin Micron 01 lines are more easily "erased" with the Posca white out (the brush pen line is harder to fully "erase" without looking grey) Using a smaller line he can make bigger corrections to his drawing using less whiteout while planning the rest of the inking process. Once the outline is completed with micron he adds line weight onto the cartoon frame using a flexible nib pen like a tombow, so he can map out lighting direction, and organize the visual hierarchy in the composition. Then the next layer he uses the added line weight to dictate where to add heavy areas of shadow with a brush pen. Planning again is key here. He fully defines his shadow shapes, and forms before filling in the shadows. So even though it might get fully shadowed out, it’s there. Here’s a good demo on lighting from David. This kind of covers how he designs his shadow shapes. https://www.proko.com/course-lesson/basics-of-comic-shading/comments And his inking process https://youtu.be/ppLh6zBROjU?si=okMQ5GemMgrXgX62 Some inking advice from Daniel Warren Johnson, “Hunt for form or texture before going full black.” He’ll practice a texture or brush technique to creatively reveal the form of something he’s inking before fully blacking it out as a worst case scenario. If it does work out, you found a cool new way to describe that surface, or lighting condition, if it doesn’t work out, black it out! You got some brush mileage and experimentation in, but most importantly you’re more aware of the form you’re inking and can take that knowledge into the rest of the drawing. Check out Daniel’s youtube channel, he has a ton of his brush pen process on there. Hope this helps!

❤️ these drawings.

So much information with so few lines! I especially like the use of cylinders to go past contour and inform the perspective of the limbs and overall pose. Thanks for posting.

This is great! Can’t wait to see what you create.

❤️

Update

Hi @Kiara Aldana Many thanks!