I'll start out by saying that in terms of how you're handling this artwork in craft and in style, this artwork feels stronger than your digital artworks, and I believe the reason for this is that you will simply have better control over traditional mediums. It is definitely easier to make an artwork look more natural if you work traditionally, which is the huge plus for drawing by hand. It's what makes the best digital artists really good; the fact that they have an insane amount of mileage in traditional mediums means they have the know-how to make their digital artworks look natural. By no means am I telling you that you should not do digital artworks, but just know that working digitally actually doesn't do a lot of good in improvement. Other way around (traditional to digital), of course, does.

One quick thing about the figure...May's arms don't make sense right now. If she is being tied at her elbows, then her biceps are way too long. If her arms are just being tied to the back, then it looks like part of her forearm is being chopped off. We also really shouldn't be able to see her right arm if she is being tied in that fashion, at least not from that angle. I do like the fact that the pose is a little bit off-balance to show a little bit of swinging (since at that height, wind + struggling = you're not staying still). That'll be all for the figure/pose.

What I really wanted to talk about was the environment. Remember what I said two crits ago? Well, I'm glad you really took a jab at drawing out the background this time. I agree that there is a good sense of depth here from the background, but I also am noticing a few logical problems. With the current pattern of the tree's branches in ratio to the height of the trunk, May would at best be hanging onto some really small branches or twigs that would most likely not be able to support her weight. Either May needs to be closer to the tree, or the branches need to be longer/thicker.

What you need to work on now is what most people really need to work on in terms of perspective. The convergence part of linear perspective is what most people get right at the start because it's pretty formulaic; the problem that a lot of people have (in just about every area of visual art) is the relative scaling of objects in perspective in relation to other objects in the same space. This is why I REALLY hate it when artists think they can just put their drawn/painted figures in 3D backgrounds/photos; it can work if they actually know what they are doing, but I know these artists are hiding the fact that they don't know perspective when I see really bad scaling errors. Especially when it something like a kneeling person's height being the same as a lantern on the wall that you would have to reach up while standing up to touch it. When I see that in an artwork that is drawn, on the other hand, I just think "okay, this artist just needs to learn x, y, and z." It might not be correct, but at least they are being honest about it.

Anyhow, I think that will conclude this crit for now. Definitely do more traditional pieces. You will probably surprise yourself more than you think you will. Keep drawing environments in your artworks; you'll surprise yourself when you do things right (like the depth in this picture), and you will certainly learn from the things you do wrong. Keep it up!

I have to say, all of the pokemon in this pic were excellently done. Bravo. May's expression is entirely priceless and wonderful. The detailing on the tree trunk is excellent. The Hoothoot is a nice touch, as it really brings the piece together. The ONLY thing that bothers me is the left breast. It seems like it is just a small tad too high up on her torso. I would say that the perspective would explain it, but it gets my eye a little much for that. Still, it's not a damning flaw. This is a thoroughly enjoyable piece, and I would like it very much in my group's gallery.