A linework ink drawing of the Gladekeeper, the dragon goddess of nature on dragon pet sim Flight Rising. Drawn for inktober 2019!
Drawn in 2019, this is a graphite and ink portrait of my mum's horse that I did as a birthday present for her. I used Fine liner pens and 5H, HB, and 6B graphite pencils on A4 150GSM art paper.
Digital Art by Tran Hoai Truong ©️Email tranhoaitruong@artlover.com. Do not arbitrarily post without my permission. ©️Copyright all rights reserved by Tran Hoai Truong 2019.
Digital Artwork by Tran Hoai Truong ©️Email tranhoaitruong@artlover.com. ⚠️ Do not arbitrarily post without my permission. ©️Copyright all rights reserved by Tran Hoai Truong 2019. Do not repost!!!
Photo & Photographer onwer Tran Hoai Truong. ©️Email: tranhoaitruong@artlover.com. ©️Copyright all rights reserved by Tran Hoai Truong 2019.
Anime character drawings designed by me. Adobe Photoshop 2019 *Upload Time: October, 14, 2019 Contact Us Owner: copyright.ip.7777@hotmail.com All rights reserved - [It is strictly forbidden to re-upload it to other websites or steal it] - Do not copy, modify, or post this image in any way without the express written consent of the copyright holder. Use without written permission is illegal.
Take the Rymans, for instance. There is Robert Ryman (1930 – 2019), the patriarch whose paintings are indisputable icons of the modernist canon. Then there are his wives and children. Ethan Ryman (b. 1964) is the oldest of Robert’s three artist children. Though his mother was not an artist, Lucy Lippard (b. 1937) was still a scrappy and eloquent art critic, a feminist, a social activist, and an environmentalist. Ethan’s meticulously considered and crafted artworks might be characterized as somewhere between photography and sculpture, the abstract and the (f)actual. Though Lippard and Ryman divorced just six years after their 1961 marriage, their son is arguably the closest to his father’s methodologies if not his medium, and was certainly the last to become a visual artist. Robert Ryman went on to marry fellow artist Merrill Wagner (b. 1935) in 1969 and they had two sons. Though Wagner is more quietly acknowledged than Ryman, her boundless practice includes sculpture, painting, drawing, installation, and more. With an emphasis on materiality, her sites are indoors and out, her styles alternating. Will Ryman (b. 1969) is the elder son of Robert and Merrill. He started out as an actor and playwright though he too eventually assumed a visual art practice to become a sculptor. He is best known for his large-scale public artworks and theatrical installations that focus on the figurative and psychological, at times absurdist, narratives. Cordy Ryman (b. 1971) is the youngest, and the only one of the three who knew that he was going to be a visual artist early on. His work is abstract, the sophistication understated, and his output is prolific. With his mother’s DIY flair, his homely materials seem sourced from the overflow of construction projects, lumberyards, and Home Depot. Ethan Ryman said that, when he was young, he didn’t want to be a visual artist. Instead, he pursued music and acting, producing records for Wu-Tang Clan, among others, getting “my ears blown out.” But he was always surrounded by artists—Sol LeWitt, Carl Andre, Jan Dibbetts, William Anastasi, and countless others at his mother’s place on Prince Street in SoHo and at the Rymans’s 1847 Greek Revival brownstone on 16th Street in Manhattan, where everyone was often seated around the family dinner table. He would spend part of most weekends in the highly stimulating chaos that reigned there—birds, dogs, plants, toys, art, people, everywhere. “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” Ethan Ryman Lippard was “a powerhouse.” She took Ethan on her lecture tours, readings, conferences, galleries, studios, wherever she had to go. And while that almost always breeds rebellion, at some point, he began noticing all the art around them—both what it looked like and how it was made. He began to take photographs of buildings and realized that “abstract color fields were all around us.” He also began to notice his father and Wagner’s work more carefully—how sensitively it was executed and how reactive it was to its surroundings. “Once you’re interested, you notice. When I asked my dad questions, I would most likely get a one-word response. I had to go to his lectures for answers where he broke down modern art for me. After listening to him, it seemed to me we should all be painting, otherwise what were we doing with our lives?” Will Ryman, on the other hand, said that all his work has a narrative component. His background is in theatre and his interests have always been film and plays, his narratives about New York City and American culture and history. “It’s a city I love,” he said. “I try to observe culture in a bare-bones way and I’ve always been interested in telling stories—we’re the only species that tells stories to each other. It comes from an intuitive, cathartic place in me. I want to stay away from preconceived notions, although that’s not completely possible. I have no plan except to do something honest, with a little bit of a political bent and humor but I’m not an activist. I’m interested in exploring a culture and its flaws as an interaction between human beings.” His interests and his work are very different from his last name. There is no connection to minimalism. He didn’t go to art school, drawn instead to theatre workshops and theatre troupes. “I didn’t become involved with the visual arts until my mid-thirties. It’s easy to say what I make is a reaction, but I dismiss that. And I also wouldn’t say it’s rebellious after twenty years.” Of his family, he said, “we’re a normal family, a close family, with all the dynamics and complications that go along with that. And while everyone who came to 16th Street were artists, they were also just family friends. I have no other measure for how a family interacts. It was just the way it was.” Cordy Ryman was the only one of the three who went to art school, earning a BFA from the School of Visual Arts, but it was reportedly awkward for him, since all his teachers knew his parents. “When I started making abstract paintings, it was kind of push and pull but it became more interesting to me than my earlier figurative or narrative work. That’s when I started to know where I came from. I realized that I had a visual memory, and the language was there, a language I didn’t know I knew. We all had different ways of working; our processes are very different and it’s hard to compare us. Ethan and I use a similar inherited language but he thinks about what he does more. I work very fast, the ideas come from the process itself. I work in two or three modes simultaneously and bounce around.” At home, they were around Wagner’s work since her studio was there. “Will and I were always in her studio, helping her, going to her installation sites with her, adjusting her boulders or whatever the project was she was working on. That was special and made a deep impression, but I didn’t realize it then.” All five Rymans have in common an acute consciousness of space and of place as an integral component of their work. For the brothers, part of that consciousness might stem from their parents, but also from their attachment to their family home, which was a crucible of sorts for them, where everyone was an artist. To Cordy, the house was a “living, breathing thing, and the art in it felt alive, growing, and occupying any space that was available. It was the structure of our world. When I’m making work, it doesn’t need to be the most beautiful thing ever, but it needs to have its own life, its own space, like the art we grew up with.” And the next generation of Rymans, also all sons—what about them? Will said his son is still too young to know. Cordy thought the same about his two younger children; his oldest is in the art world, but not as an artist—so far. Ethan perhaps summed it up best: my two sons are artists; they just don’t know it yet.
All author contact information: Photographer / Author: Kieu Thien Truong Mail: nancyajram.socialmedia@hotmail.com Upload date: July 13, 2019 Editing device / Render: Adobe Photoshop Cs6 . © Kieu Thien Truong - Please be Respectful of Copyright. Unauthorized use Prohibited. Strictly Copyrighted - Sharing is Allowed ( with credits ) but any other Violation will lead to Legal Action Against.
Done 2019 lead pencil. Yes i know this is bad fucked up drawing I did thas why I threw it away, NOw i look at it hmm maybe I should not done that . I can fix things on this drawing to make it better. I am open for commission using color pencil or lead pencil for original artwork of subject matters such as Sci-fi, Fantasy, Horror, Comics, Fanart, NSFW, Surreal art, Whimsical art, Abstract art, and Tattoo designs. Sizes range from 8.5x11, 9x12, 11x14, 11x17. The Commission rate starts from $20 and up. if interested leave a comment or jungmeister4@yahoo.com MY CALENDAR FOR SALE: https://www.artwanted.com/artist.cfm?ArtID=115637&Tab=Calendar
Done 2019 with lead pencil on 11 x17 bristol paper. If you are interested in purchasing this original artwork for $80 and also I do private commissions. Leave a comment or contact me at jungmeister4@yahoo.com (Shipping fee will apply) Also I have my 2023 Wall calendar up for sale $19.95 with my artworks through Artwanted.com art community website. Click or copy / paste the link below and would be appreciated if you can support me on the calendar https://www.artwanted.com/artist.cfm?ArtID=115637&Tab=Calenar
Image posted by copyright owner: Kiều Thiện Trường Image Uploaded: October, 12, 2019 Email: aocopyright2022@hotmail.com The image's is edit and perfected by me, so I'm the copyright owner of this image's, absolutely do not copy the image. Copyrighted and protected by the DMCA Digital Millennium Copyright Act
I loved and love just putting down color. This is from November 2019. That is one way to use the acrylic paint when you poured to much onto your palette.
Illustrated with Ink and Ink-Pens. Inktober 2019 Urh.-Nr:1811955 Copyright by Carolina Matthes
To me,drawing muscular bodies isn't simple (I wish it was)so I had to use a reference (of course, nothing wrong with that!)it was really difficult coloring however was fun!the old sketch I drew is from 2019 I was literally 17,I drew him with a really long neck.What inspired me would surprise anyone;A Disney Prince but I don't remember which one.Dezeo like most incubuses lust after women and take every bit of their energy.Dezeo however becomes fascinated with adult Glenice (probably of her red hair)and becomes obsessed with her,he is relaxed and less volatile than Malvada The Succubus.which makes him a less dangerous foe but still a threat.Dezeo is defeated after 3 days and is banished to hell by Gerard
I drew Zilsti and Zizavy for the first time along with the other two in early-mid 2019 when I was 17 so the original drawing is really old,its from my original sketchbook I forgot about,i'll upload a few more drawings from there soon and redraw them.I changed the designs of the other imps especially Malicia (the yellow one)her hair being tied suits her the best
Artwork & Copyright by artist Mary Cassatt on May 20, 2019 in Los Angeles, California, United States of America. Work email: marycassatt.arist@outlook.com