What a different time makes...there are more and more artist taking the digital route and producing not only stunning artwork but professional images for work. Digital has come a long way, yet still has a ways to go. The two finger instant rotation of the image goes a long way to that end, yet there still is the tactile or lack of tactile feedback of the stylus, the randomness of the real world brush which any artist will tell you leads to numerous "happy experiments", and the ability to "spin" the brush and use its edge as a flat or its corners as a point, the real ability to mix colors, there should also be a preset of colors (palleatte) that match existing oil paints, etc.
Today like most I am using digital where it is most helpful, during the layout phase, experimenting with layouts and composition, and using traditional tools everywhere else. For those that follow me I have been using copics alot lately. Mixing graphic shading and acrylics where the job allows.
I have gone back to traditional alot lately because there is a randomness, a magic that allows for unintentional "marks" that spark your artistic brain to try different approaches. In fact the first wow moments every artist has in their careers are those unintentional "moments" which push you to try something you didn't intent in order to fix the "mistake" and end up liking the mistake and subsequent final output. Those times where you feel you made a mistake, try to fix it, then end up coming up with a finished product better than you originally intended. All because of randomness and mistakes. That is the real attraction of doing "real world" art.
I'll never leave digital, again use what is needed at what time, but for now, as in cycles I am having fun exploring traditional friends...again....