Am I really that bad guys? Man Fatty... Laughed my ass off!
Wow... I was beginning to wonder where you'd got off to. I guess that's what happens when you're finally able to steal internet from your neighbors, and can check for updates two or twelve times daily. Ha-ha!
Your gestures are wicked awesome... I especially liked the snowboarding oven! Really, this pen and ink work lately (and especially in this update...) is just lovely. I mean really just beautiful! What it actually reminds me of (and I hope you take this in the spirit it was intended, and not as a dig on you.) is illustrations from Highlights for Children. I think it's partly because the line quality is so pure, but also (maybe) it's the content. "Young people doing everyday things." And you just capture that so well!
And then we get to the "drawing done of friends while they watched movie" gem. What can I say about it? It's an awesome drawing, down to the way the upholstery wraps around the arm! Dude, you're getting harder and harder to crit without sounding like a nit-pickey A-hole!
Here we go anyway... in the first drawing... (This actually took me a minute to work out what was bothering me.) Okay, the guy that is turned so he's facing the bottom of the page... I really enjoyed (enjoy... it won't change) the amount of attention you gave to texture and shading through hatching, etc. This is where I had some trouble... I was looking at it, and wondering why you didn't deal with his face the way you did the other faces on the page. The hatching makes him look dirty. (grimey... I think grimey is a better word.) So... I was wondering why you handled it the way you did, and it finally came to me... THE GLARE FROM THE COMPUTER SCREEN! It was acting as a strong, close lightsource, and casting portions of his face into shadow! Okay, then. Case solved. Now, this rases two questions:"Why did it work on the arm?" It's bigger and less detailed... Also We're used to looking at faces (actually... we're practically trained to look at them. That's why it's so important to get them right!) "What can we do to avoid this "mistake" (I use that in the friendliest way possible... I just can't think of another word to use.) in the future?" I have three suggestions for this:1.draw bigger pictures, with a finer pen. (duh) This will allow you to fill in those levels of details. 2.Bolder shadows with abrupt transitions between light and dark... The idea here is that at that scale, there's no need for the subtle skin gratations from hatching. Also the skin is a different texture than the clothes, so why shouldnt it be handled different? 3. You were very... suggestive of the form of the hand on him. Why couldn't that work for the face?
Super jerk-face minor crit numero two! In the pier drawing... The guy under the actual pier... He looks like he started off as either a blind or semi-blind contour. Again, it's an issue of heavy shadow values. You went back and added in the shadows, why didn't you finish his mouth and give him some cheek bones? This would've aided his dimensionality immensely. Generally even in deep shadows you can still see some of the details.
Like I said, you're getting harder and herder to crit... But having to really look at what you (and everyone else, really) has really helped me be able to evaluate myself as well. You're doing fantastic work man, and are an inspiration most (okay, pretty much every) days! keep it up! I don't know where you want to be, but it really seems to me like you're making serious strides on your way there!