Creative Corner
Share your own art and stories, or ask for critique.
TOPIC | i'll critique your art! (rules upd8)
[img]https://i.imgur.com/hdnOFiw.png[/img]
Critique anything! (except for sketchiness I'm aware of it lol)
Critique anything! (except for sketchiness I'm aware of it lol)
hi
@CocoBean
first off, very cute bean, love the face. even though it's only a sketch, i'd like to see a little more confidence in the lines still? places like the wing fingers or the bottom of the tail, the strokes are quite broken up - it's better to commit to a single, smoother curve, even if you end up erasing or drawing over it later. it'll help give more movement to the drawing, and it's just generally better practice for sketching. i think the wing is a teensy bit awkward overall, i can't really tell how it's positioned (are the fingers curving towards the viewer?) so i think committing to more of a bolder curve there one way or another would have helped clear that up.
anatomy seems solid, no real complaints, although i think the tibia-fibula region of the bent leg is a bit too long compared to the femur? it seems a little off to me. but i love the fluffy 'boots' and how the paws are drawn. i think the other thing that comes to mind is the shading. it seems a little slapdash, and for me it doesn't really clarify anything about the shape or form. at a glance it looks like the light is coming from the right hand side, but then why is the shoulder region in shadow? the shading on the wing is also confusing me a little. when you're putting down shadows, it's important to think of what it says about the form and definition of the thing you're drawing. it's how 3D details can be communicated, but if you're not consistent with your shadows it can really flatten the drawing as a result.
but overall, solid and very cute - i love some of the choices you made about the design and the pose, and honestly i'd just like to see something more finished from you! hope that helps
first off, very cute bean, love the face. even though it's only a sketch, i'd like to see a little more confidence in the lines still? places like the wing fingers or the bottom of the tail, the strokes are quite broken up - it's better to commit to a single, smoother curve, even if you end up erasing or drawing over it later. it'll help give more movement to the drawing, and it's just generally better practice for sketching. i think the wing is a teensy bit awkward overall, i can't really tell how it's positioned (are the fingers curving towards the viewer?) so i think committing to more of a bolder curve there one way or another would have helped clear that up.
anatomy seems solid, no real complaints, although i think the tibia-fibula region of the bent leg is a bit too long compared to the femur? it seems a little off to me. but i love the fluffy 'boots' and how the paws are drawn. i think the other thing that comes to mind is the shading. it seems a little slapdash, and for me it doesn't really clarify anything about the shape or form. at a glance it looks like the light is coming from the right hand side, but then why is the shoulder region in shadow? the shading on the wing is also confusing me a little. when you're putting down shadows, it's important to think of what it says about the form and definition of the thing you're drawing. it's how 3D details can be communicated, but if you're not consistent with your shadows it can really flatten the drawing as a result.
but overall, solid and very cute - i love some of the choices you made about the design and the pose, and honestly i'd just like to see something more finished from you! hope that helps
@CocoBean
first off, very cute bean, love the face. even though it's only a sketch, i'd like to see a little more confidence in the lines still? places like the wing fingers or the bottom of the tail, the strokes are quite broken up - it's better to commit to a single, smoother curve, even if you end up erasing or drawing over it later. it'll help give more movement to the drawing, and it's just generally better practice for sketching. i think the wing is a teensy bit awkward overall, i can't really tell how it's positioned (are the fingers curving towards the viewer?) so i think committing to more of a bolder curve there one way or another would have helped clear that up.
anatomy seems solid, no real complaints, although i think the tibia-fibula region of the bent leg is a bit too long compared to the femur? it seems a little off to me. but i love the fluffy 'boots' and how the paws are drawn. i think the other thing that comes to mind is the shading. it seems a little slapdash, and for me it doesn't really clarify anything about the shape or form. at a glance it looks like the light is coming from the right hand side, but then why is the shoulder region in shadow? the shading on the wing is also confusing me a little. when you're putting down shadows, it's important to think of what it says about the form and definition of the thing you're drawing. it's how 3D details can be communicated, but if you're not consistent with your shadows it can really flatten the drawing as a result.
but overall, solid and very cute - i love some of the choices you made about the design and the pose, and honestly i'd just like to see something more finished from you! hope that helps
first off, very cute bean, love the face. even though it's only a sketch, i'd like to see a little more confidence in the lines still? places like the wing fingers or the bottom of the tail, the strokes are quite broken up - it's better to commit to a single, smoother curve, even if you end up erasing or drawing over it later. it'll help give more movement to the drawing, and it's just generally better practice for sketching. i think the wing is a teensy bit awkward overall, i can't really tell how it's positioned (are the fingers curving towards the viewer?) so i think committing to more of a bolder curve there one way or another would have helped clear that up.
anatomy seems solid, no real complaints, although i think the tibia-fibula region of the bent leg is a bit too long compared to the femur? it seems a little off to me. but i love the fluffy 'boots' and how the paws are drawn. i think the other thing that comes to mind is the shading. it seems a little slapdash, and for me it doesn't really clarify anything about the shape or form. at a glance it looks like the light is coming from the right hand side, but then why is the shoulder region in shadow? the shading on the wing is also confusing me a little. when you're putting down shadows, it's important to think of what it says about the form and definition of the thing you're drawing. it's how 3D details can be communicated, but if you're not consistent with your shadows it can really flatten the drawing as a result.
but overall, solid and very cute - i love some of the choices you made about the design and the pose, and honestly i'd just like to see something more finished from you! hope that helps
@Seteth
so poking through the examples on your twitter - i really like your painting style, and your use of colour is very nice. in terms of things to critique, i'm mostly noticing your anatomy has some problems, particularly on your faces. in your 3/4 views, you tend to 'detach' the nearest eye and draw it out-of-plane, if that makes sense? lemme see...
[img]https://i.pinimg.com/originals/9c/de/26/9cde26e9f1fd3c42a05f8f2ebb94d346.jpg[/img]
it's often helpful to consider the geometric planes that make up the head. the 'face', roughly speaking from the right corner of the right eye to the left corner of the left eye, all faces outwards. the eyes in humans are both on the same plane, and in a 3/4 view they should both be facing in the same direction. here's a very quick redline because i feel like i'm not explaining this super well, haha:
[img]https://66.media.tumblr.com/7e6efabe61c3af6aef17db39f087d081/91c7e170f226fc2d-a3/s1280x1920/2885b6a859733109d7ec48fbeb5526a38a31b2c9.png[/img]
this is EXTREMELY quick and dirty but hopefully it shows what i'm getting at!
the anatomy in your fullbodies could use some work, as well. i'd recommend starting from the ground up and looking at the human skeletal structure - it's important to understand key volumes like the pelvis and rib cage, and it'll help you proportion your figures a little better as well. andrew loomis' [url=https://illustrationage.files.wordpress.com/2013/04/andrew-loomis-figure-drawing-for-all-its-worth.pdf]figure drawing for all it's worth[/url] is the holy grail for figure drawing and anatomy, but if you don't want to go that in-depth (it sure is wordy!) then some skeletal studies and regular life drawing practice can really help! there are tons of sites out there that can provide image reference for life drawing. i, uh, can't link to any of them here because the models often don't have any clothes on, but a search for "figure drawing reference" will bring up TONS of stuff.
i hope this is helpful! i think your art is very very nice overall (you've got a wonderful way of bringing designs to life with small details, and your headshot compositions are lovely!), you just need to brush up on your basics a little bit.
@Seteth
so poking through the examples on your twitter - i really like your painting style, and your use of colour is very nice. in terms of things to critique, i'm mostly noticing your anatomy has some problems, particularly on your faces. in your 3/4 views, you tend to 'detach' the nearest eye and draw it out-of-plane, if that makes sense? lemme see...
it's often helpful to consider the geometric planes that make up the head. the 'face', roughly speaking from the right corner of the right eye to the left corner of the left eye, all faces outwards. the eyes in humans are both on the same plane, and in a 3/4 view they should both be facing in the same direction. here's a very quick redline because i feel like i'm not explaining this super well, haha:
this is EXTREMELY quick and dirty but hopefully it shows what i'm getting at!
the anatomy in your fullbodies could use some work, as well. i'd recommend starting from the ground up and looking at the human skeletal structure - it's important to understand key volumes like the pelvis and rib cage, and it'll help you proportion your figures a little better as well. andrew loomis' figure drawing for all it's worth is the holy grail for figure drawing and anatomy, but if you don't want to go that in-depth (it sure is wordy!) then some skeletal studies and regular life drawing practice can really help! there are tons of sites out there that can provide image reference for life drawing. i, uh, can't link to any of them here because the models often don't have any clothes on, but a search for "figure drawing reference" will bring up TONS of stuff.
i hope this is helpful! i think your art is very very nice overall (you've got a wonderful way of bringing designs to life with small details, and your headshot compositions are lovely!), you just need to brush up on your basics a little bit.
so poking through the examples on your twitter - i really like your painting style, and your use of colour is very nice. in terms of things to critique, i'm mostly noticing your anatomy has some problems, particularly on your faces. in your 3/4 views, you tend to 'detach' the nearest eye and draw it out-of-plane, if that makes sense? lemme see...
it's often helpful to consider the geometric planes that make up the head. the 'face', roughly speaking from the right corner of the right eye to the left corner of the left eye, all faces outwards. the eyes in humans are both on the same plane, and in a 3/4 view they should both be facing in the same direction. here's a very quick redline because i feel like i'm not explaining this super well, haha:
this is EXTREMELY quick and dirty but hopefully it shows what i'm getting at!
the anatomy in your fullbodies could use some work, as well. i'd recommend starting from the ground up and looking at the human skeletal structure - it's important to understand key volumes like the pelvis and rib cage, and it'll help you proportion your figures a little better as well. andrew loomis' figure drawing for all it's worth is the holy grail for figure drawing and anatomy, but if you don't want to go that in-depth (it sure is wordy!) then some skeletal studies and regular life drawing practice can really help! there are tons of sites out there that can provide image reference for life drawing. i, uh, can't link to any of them here because the models often don't have any clothes on, but a search for "figure drawing reference" will bring up TONS of stuff.
i hope this is helpful! i think your art is very very nice overall (you've got a wonderful way of bringing designs to life with small details, and your headshot compositions are lovely!), you just need to brush up on your basics a little bit.
I appreciate the advice and don't want to dismiss it, since you've put a lot of effort into the critique! There's just one problem.
I already do all of those things. I use quite a lot of guidelines, and I've taken formal anatomy classes. I have tons of textbooks / references /websites saved and don't draw without them.
should I just give up on art? It seems like I can't improve this no matter how much I study.
I already do all of those things. I use quite a lot of guidelines, and I've taken formal anatomy classes. I have tons of textbooks / references /websites saved and don't draw without them.
should I just give up on art? It seems like I can't improve this no matter how much I study.
I appreciate the advice and don't want to dismiss it, since you've put a lot of effort into the critique! There's just one problem.
I already do all of those things. I use quite a lot of guidelines, and I've taken formal anatomy classes. I have tons of textbooks / references /websites saved and don't draw without them.
should I just give up on art? It seems like I can't improve this no matter how much I study.
I already do all of those things. I use quite a lot of guidelines, and I've taken formal anatomy classes. I have tons of textbooks / references /websites saved and don't draw without them.
should I just give up on art? It seems like I can't improve this no matter how much I study.
@Seteth
honestly, it's super common to feel like you're not improving, even though you're putting the work and practice in. I've been there many times, haha. it usually just means your eye is improving faster than your hand, so to speak - your knowledge and ability to assess your skills is increasing faster than your ability to put them into practice. there'll come a stage where that'll reverse, and suddenly things will start to click into place, but it can take a lot of hard (and often frustrating) work to get there.
at the end of the day, if it's bumming you out, just don't worry about it! on a technical level, there's always things you can improve on in art - that goes for you, me, and literally every other artist on the planet. but art is a lot more than just the technical aspects, and there's no way of objectively assessing stuff like creativity or fun. art, no matter how 'good' or 'bad' it is, is something unique that is being put out into the world by an individual. nobody else can make the art that you make.
ultimately, if art is something that makes you happy to do, keep doing it! if you keep drawing, you'll always improve, even if it's hard to see it at times. and i think your art is really wonderful - so even if it's just the opinion of one person on the internet, i think it'd be a real shame if you gave up :)
honestly, it's super common to feel like you're not improving, even though you're putting the work and practice in. I've been there many times, haha. it usually just means your eye is improving faster than your hand, so to speak - your knowledge and ability to assess your skills is increasing faster than your ability to put them into practice. there'll come a stage where that'll reverse, and suddenly things will start to click into place, but it can take a lot of hard (and often frustrating) work to get there.
at the end of the day, if it's bumming you out, just don't worry about it! on a technical level, there's always things you can improve on in art - that goes for you, me, and literally every other artist on the planet. but art is a lot more than just the technical aspects, and there's no way of objectively assessing stuff like creativity or fun. art, no matter how 'good' or 'bad' it is, is something unique that is being put out into the world by an individual. nobody else can make the art that you make.
ultimately, if art is something that makes you happy to do, keep doing it! if you keep drawing, you'll always improve, even if it's hard to see it at times. and i think your art is really wonderful - so even if it's just the opinion of one person on the internet, i think it'd be a real shame if you gave up :)
@Seteth
honestly, it's super common to feel like you're not improving, even though you're putting the work and practice in. I've been there many times, haha. it usually just means your eye is improving faster than your hand, so to speak - your knowledge and ability to assess your skills is increasing faster than your ability to put them into practice. there'll come a stage where that'll reverse, and suddenly things will start to click into place, but it can take a lot of hard (and often frustrating) work to get there.
at the end of the day, if it's bumming you out, just don't worry about it! on a technical level, there's always things you can improve on in art - that goes for you, me, and literally every other artist on the planet. but art is a lot more than just the technical aspects, and there's no way of objectively assessing stuff like creativity or fun. art, no matter how 'good' or 'bad' it is, is something unique that is being put out into the world by an individual. nobody else can make the art that you make.
ultimately, if art is something that makes you happy to do, keep doing it! if you keep drawing, you'll always improve, even if it's hard to see it at times. and i think your art is really wonderful - so even if it's just the opinion of one person on the internet, i think it'd be a real shame if you gave up :)
honestly, it's super common to feel like you're not improving, even though you're putting the work and practice in. I've been there many times, haha. it usually just means your eye is improving faster than your hand, so to speak - your knowledge and ability to assess your skills is increasing faster than your ability to put them into practice. there'll come a stage where that'll reverse, and suddenly things will start to click into place, but it can take a lot of hard (and often frustrating) work to get there.
at the end of the day, if it's bumming you out, just don't worry about it! on a technical level, there's always things you can improve on in art - that goes for you, me, and literally every other artist on the planet. but art is a lot more than just the technical aspects, and there's no way of objectively assessing stuff like creativity or fun. art, no matter how 'good' or 'bad' it is, is something unique that is being put out into the world by an individual. nobody else can make the art that you make.
ultimately, if art is something that makes you happy to do, keep doing it! if you keep drawing, you'll always improve, even if it's hard to see it at times. and i think your art is really wonderful - so even if it's just the opinion of one person on the internet, i think it'd be a real shame if you gave up :)
@corvidus
Hhh I've only ever been a hobbyist artist, could I get some critique on my art? I really hate my lineart, they never look dynamic enough, but I'm also scared of extremely tiny lines when it comes to coloring...
I also have no idea how to approach coloring and don't want to ruin this piece by shading it...
[img]https://i.ibb.co/27vD4Zy/riden.png[/img]
what his daggers look like (colors unfinished)
[img]https://i.ibb.co/P5xLhSn/sadfjkgjk.png[/img]
@corvidus
Hhh I've only ever been a hobbyist artist, could I get some critique on my art? I really hate my lineart, they never look dynamic enough, but I'm also scared of extremely tiny lines when it comes to coloring...
I also have no idea how to approach coloring and don't want to ruin this piece by shading it...
what his daggers look like (colors unfinished)
Hhh I've only ever been a hobbyist artist, could I get some critique on my art? I really hate my lineart, they never look dynamic enough, but I'm also scared of extremely tiny lines when it comes to coloring...
I also have no idea how to approach coloring and don't want to ruin this piece by shading it...
what his daggers look like (colors unfinished)
@GlitchingFlame
sure! i really like your lineart style, honestly. it's very neat and crisp - as someone who usually avoids lineart if i can help it, I'm a little envious, haha.
in this instance the pose looks fine to me, but if you're struggling with making your art dynamic it might be a good idea to brush up on lines of action? you want to build your poses up around a strong curve dictating the 'flow' of motion, using secondary elements to either work with or offset it. in this particular piece, I'd like to see a bit more motion in the daggers. here they're working as the secondary element, so you could give them more of a dynamic curve to help work against the slightly more static pose. don't be afraid to use more of the canvas, as well! at the moment, their placement makes the subject feel a bit 'boxed in'. if necessary, work on a larger canvas than necessary and then crop around once you've finished sketching, but always give your poses room to breathe!
shading can be a tricky beast to get right, because ultimately you need to understand how your drawing works in 3D. it can be helpful to remember that light always moves in a straight line. as a rule of thumb, light from a distant light source (like the sun) will all fall in the same direction, and cast softer shadows; light from a close light source, light a light bulb, will spread out radially from the center, and cast sharper shadows. figure out what your light source is and where it's coming from - it can be helpful to sketch a little visual representation of it on the image - and then trace along the rays, figuring out whether given areas of your drawing will be lit up or not. simply speaking, if the light can't get to an area, it'll be in shadow. (there's a lot of other complications when it comes to reflected or bounce lighting, but this is just the basics!)
no piece needs shading, but it can really bring them to life, and it'll help you as an artist to think more carefully about the shapes and volumes of the objects you're drawing. hope that helps!
sure! i really like your lineart style, honestly. it's very neat and crisp - as someone who usually avoids lineart if i can help it, I'm a little envious, haha.
in this instance the pose looks fine to me, but if you're struggling with making your art dynamic it might be a good idea to brush up on lines of action? you want to build your poses up around a strong curve dictating the 'flow' of motion, using secondary elements to either work with or offset it. in this particular piece, I'd like to see a bit more motion in the daggers. here they're working as the secondary element, so you could give them more of a dynamic curve to help work against the slightly more static pose. don't be afraid to use more of the canvas, as well! at the moment, their placement makes the subject feel a bit 'boxed in'. if necessary, work on a larger canvas than necessary and then crop around once you've finished sketching, but always give your poses room to breathe!
shading can be a tricky beast to get right, because ultimately you need to understand how your drawing works in 3D. it can be helpful to remember that light always moves in a straight line. as a rule of thumb, light from a distant light source (like the sun) will all fall in the same direction, and cast softer shadows; light from a close light source, light a light bulb, will spread out radially from the center, and cast sharper shadows. figure out what your light source is and where it's coming from - it can be helpful to sketch a little visual representation of it on the image - and then trace along the rays, figuring out whether given areas of your drawing will be lit up or not. simply speaking, if the light can't get to an area, it'll be in shadow. (there's a lot of other complications when it comes to reflected or bounce lighting, but this is just the basics!)
no piece needs shading, but it can really bring them to life, and it'll help you as an artist to think more carefully about the shapes and volumes of the objects you're drawing. hope that helps!
@GlitchingFlame
sure! i really like your lineart style, honestly. it's very neat and crisp - as someone who usually avoids lineart if i can help it, I'm a little envious, haha.
in this instance the pose looks fine to me, but if you're struggling with making your art dynamic it might be a good idea to brush up on lines of action? you want to build your poses up around a strong curve dictating the 'flow' of motion, using secondary elements to either work with or offset it. in this particular piece, I'd like to see a bit more motion in the daggers. here they're working as the secondary element, so you could give them more of a dynamic curve to help work against the slightly more static pose. don't be afraid to use more of the canvas, as well! at the moment, their placement makes the subject feel a bit 'boxed in'. if necessary, work on a larger canvas than necessary and then crop around once you've finished sketching, but always give your poses room to breathe!
shading can be a tricky beast to get right, because ultimately you need to understand how your drawing works in 3D. it can be helpful to remember that light always moves in a straight line. as a rule of thumb, light from a distant light source (like the sun) will all fall in the same direction, and cast softer shadows; light from a close light source, light a light bulb, will spread out radially from the center, and cast sharper shadows. figure out what your light source is and where it's coming from - it can be helpful to sketch a little visual representation of it on the image - and then trace along the rays, figuring out whether given areas of your drawing will be lit up or not. simply speaking, if the light can't get to an area, it'll be in shadow. (there's a lot of other complications when it comes to reflected or bounce lighting, but this is just the basics!)
no piece needs shading, but it can really bring them to life, and it'll help you as an artist to think more carefully about the shapes and volumes of the objects you're drawing. hope that helps!
sure! i really like your lineart style, honestly. it's very neat and crisp - as someone who usually avoids lineart if i can help it, I'm a little envious, haha.
in this instance the pose looks fine to me, but if you're struggling with making your art dynamic it might be a good idea to brush up on lines of action? you want to build your poses up around a strong curve dictating the 'flow' of motion, using secondary elements to either work with or offset it. in this particular piece, I'd like to see a bit more motion in the daggers. here they're working as the secondary element, so you could give them more of a dynamic curve to help work against the slightly more static pose. don't be afraid to use more of the canvas, as well! at the moment, their placement makes the subject feel a bit 'boxed in'. if necessary, work on a larger canvas than necessary and then crop around once you've finished sketching, but always give your poses room to breathe!
shading can be a tricky beast to get right, because ultimately you need to understand how your drawing works in 3D. it can be helpful to remember that light always moves in a straight line. as a rule of thumb, light from a distant light source (like the sun) will all fall in the same direction, and cast softer shadows; light from a close light source, light a light bulb, will spread out radially from the center, and cast sharper shadows. figure out what your light source is and where it's coming from - it can be helpful to sketch a little visual representation of it on the image - and then trace along the rays, figuring out whether given areas of your drawing will be lit up or not. simply speaking, if the light can't get to an area, it'll be in shadow. (there's a lot of other complications when it comes to reflected or bounce lighting, but this is just the basics!)
no piece needs shading, but it can really bring them to life, and it'll help you as an artist to think more carefully about the shapes and volumes of the objects you're drawing. hope that helps!
@corvidus
gosh thank you so much! I read about lines of action quite a bit of time ago and probably promptly forgot about it. No wonder those daggers are so sad-looking! I have been playing around with this new style, which is clearly reminiscent of anime styles, so most of my references had cell shading, which is most useful for animation. Softer shading probably makes more sense here unless I wanted close lighting as you mentioned, which I don't think I want for this piece! :P
I guess it was because I was drawing with the notion that this was meant for a profile-esque picture and not a dynamic piece all-in-all xD Usually, my pieces would retain some white spaces/different sized canvases for more space for dynamism like this one (it's on ig though, so might not be that evident) ^^ I might try an alternate version with an enlarged canvas for this boyo here tho! I'll definitely let you know if it turns out good <33
Ok your art is nose-bleedingly amazing?? What could I do for an art trade? I do not have the funds!
gosh thank you so much! I read about lines of action quite a bit of time ago and probably promptly forgot about it. No wonder those daggers are so sad-looking! I have been playing around with this new style, which is clearly reminiscent of anime styles, so most of my references had cell shading, which is most useful for animation. Softer shading probably makes more sense here unless I wanted close lighting as you mentioned, which I don't think I want for this piece! :P
I guess it was because I was drawing with the notion that this was meant for a profile-esque picture and not a dynamic piece all-in-all xD Usually, my pieces would retain some white spaces/different sized canvases for more space for dynamism like this one (it's on ig though, so might not be that evident) ^^ I might try an alternate version with an enlarged canvas for this boyo here tho! I'll definitely let you know if it turns out good <33
Ok your art is nose-bleedingly amazing?? What could I do for an art trade? I do not have the funds!
@corvidus
gosh thank you so much! I read about lines of action quite a bit of time ago and probably promptly forgot about it. No wonder those daggers are so sad-looking! I have been playing around with this new style, which is clearly reminiscent of anime styles, so most of my references had cell shading, which is most useful for animation. Softer shading probably makes more sense here unless I wanted close lighting as you mentioned, which I don't think I want for this piece! :P
I guess it was because I was drawing with the notion that this was meant for a profile-esque picture and not a dynamic piece all-in-all xD Usually, my pieces would retain some white spaces/different sized canvases for more space for dynamism like this one (it's on ig though, so might not be that evident) ^^ I might try an alternate version with an enlarged canvas for this boyo here tho! I'll definitely let you know if it turns out good <33
Ok your art is nose-bleedingly amazing?? What could I do for an art trade? I do not have the funds!
gosh thank you so much! I read about lines of action quite a bit of time ago and probably promptly forgot about it. No wonder those daggers are so sad-looking! I have been playing around with this new style, which is clearly reminiscent of anime styles, so most of my references had cell shading, which is most useful for animation. Softer shading probably makes more sense here unless I wanted close lighting as you mentioned, which I don't think I want for this piece! :P
I guess it was because I was drawing with the notion that this was meant for a profile-esque picture and not a dynamic piece all-in-all xD Usually, my pieces would retain some white spaces/different sized canvases for more space for dynamism like this one (it's on ig though, so might not be that evident) ^^ I might try an alternate version with an enlarged canvas for this boyo here tho! I'll definitely let you know if it turns out good <33
Ok your art is nose-bleedingly amazing?? What could I do for an art trade? I do not have the funds!