this is a traditional illustration in colored pencil and copic marker of Venom swinging over a city street drawn on an Amazing Spider-man blank sketch cover. See more at Sketchcardsandcovers.com
"I cried because I had no shoes,until I saw a man with no feet....life is full of blessings,sometimes we are too busy to count them"-anon #count ur blessings :)#aristina.z #originals #autodesk sketchbook
"The moment one gives close attention to anything,even a blade of grass it becomes a mysterious, awesome, indescribably magnificent world in itself."Henry Miller #aristina.z #originals#Digital art#autodesk sketchbook #
Took awhile but was worth it in the end, around 3 or more hours to complete, I originally worked on it during an Art Jam in Magma, then finished it off in Infinite Painter,
For the HD Version check out my DeviantArt Link
https://www.deviantart.com/amarond/art/1310184722?action=published
This is the second oil painting I have ever made, and the first time I have attempted to create mountains, trees and bushes. I used just 3 colours for this: Raw Umber, Phthalo Blue and Titanium White. I learned a lot and had tonnes of fun at the same time.
Two wicker chairs in the sun.
One for the waiting,
one for the hoped-for.
The table between them
holds its silence,
its place set for bread or talk.
I draw what is here—
lines quick and unerasable—
and what is not here,
her presence,
waits with me in the white of the page.
After 1.5 hrs of experimenting...
It wasn't easy to decide on what body shape my character should have. Through an "intuitive approach" of shifting anatomical proportions, it was still decided to remain on an avian's concept instead of a wyvern's. Wyvern can be kept to the wyvern... The phoenix needs something more like an bird's, after all.
p.s: I also have to remember to keep the neck shorter...
The Tool Bench marks my 50th canvas—completed exactly one year to the day after I finished my very first one. This piece is a tribute to work, memory, and the quiet corners where both creativity and responsibility live.
Drawn entirely freehand, it’s built like a snapshot of a lived-in workspace: mismatched tools, worn wood, scribbled reminders, and the little personal things that actually make a place yours. The clipboard holds a “Honey-Do” list that never seems to end. The Polaroid-style sketch of my wife sits taped to the wall like a reminder of why the work matters. The shadows on the back wall match the tools lying on the bench—suggesting a moment in progress, a task paused, life happening between motions.
I know I do a lot of facial images, but I love playing around with expressions. But I know I need to work on body and maybe some interactions with characters.
