19 years old yet I still have to do my best to become a professional artist and well...successful animator one day to release about 6 animated series!i finally made a birthday drawing for myself!and a scrumptious cake too! honestly I don't feel like Im 19 but thank goodness I had a fun time!and a delicious dinner!
I haven't uploaded in awhile, simply because I'm not doing much that's - interesting. Just lots of exercises. I did this spontaneous pen sketch of my husband the other day and was pretty pleased.
Our Dining Room is my favorite room in the house. Every family meal we eat at home happens there - breakfast, lunch, and dinner. Meal times are our sacred family time to share our day, our thoughts, our struggles, our successes, etc. We do have a breakfast area. But aside from homework, projects, or reading the newspaper, the breakfast area doesn't get much use unless needed for overflow from the dining room when we have visitors.
Another attempt at people. Sunset Maundy Thursday dinner at Ocean Beach. My son added our beach wagon.
New sketchbook time? Yes it is. Experimenting with a new size this time around... I call this one “Miniature Eyes”!
It's 2019 and I am thankful for family, turkey dinner, and Rebelle 3! This Thanksgiving holiday I'm teaching my boys how to draw in Rebelle. They've watched me for years but they're finally old enough to draw on the Cintiq. They're going to love it. Artist friends, check out the Rebelle 3 demo if you haven't already! Happy Holidays!
"When this guy was chosen as a host he felt like such a winner. But what he didn't know is these things would eat him up for dinner."
So Mum goes for the phone and these guys slip out the door to see what Graham is doing up in the tree... I can't believe they'd just leave their food behind like that. I mean... look at it. Mmm.
"At 6 o'clock the window squeaks and mum calls time" from Graham's Up the Tree. It must have been strange for mbpardy to see his his story interpreted through my illustrations... but page by page these characters came to life, with both of our contributions somehow adding up to something bigger.
Dare to join this devious dinner? Melvin, Marigold, Morgana and Murial invite you to an evening filled with deathly excitement. Come and splurge on poisoned candied apples (which far outshine the pathetic apples of the evil queen), dragon roasted bone marrow, the most delicious pumpkin pies, chicken feed pot pies (a family recipe from the famous Baba Yaga herself), or a sinful devil's food cake (thank you, Uncle Mephistopheles). Maybe, my dear friend, a glass of wine or a vial of fresh, still warm blood will help to wash away all your doubts if to join or not- because what bad can happen with this splendid array of company nestled between the most beautiful blooming wisterias? Don´t be afraid! They don´t bite - at least not all of them.
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.
Let Us Consider from Rooster's Wife by Russell Edson Let us consider the man who fried roses for his dinner, whose kitchen smelled like a burning rose garden; or the man who disguised himself as a moth and ate his overcoat, and for dessert served himself a chilled fedora... #dailydrawing #watercolor #ink #illustration #poetry #russellEdson #dinners #moth #heartWantsWhatItWants
THE MARTIAN from Stories for Nighttime and Some for the Day by Ben Loory. "The three of them sit down to dinner. Halfway through the soup course, a Martian enters the room. It takes the astronaut’s napkin and lays it across his lap. Then it turns around and walks out. I thought you said you didn’t see any Martians, says the woman. Not on the moon, says the astronaut, no." https://www.instagram.com/p/CgwTsoXOVln/?utm_source=ig_web_copy_link
The Meeting Bell Medium : Pen and Ink On Bristol Board Size : 11" x 15" Year illustration was completed : 1987 This illustration was part of a collection of pen and ink rendering i did for a christian mission, for their pamphlet that was published to inform the community, surrounding churches, and the military post near by, of the services they offered, and about their ranch. Their main ministry is to the military service personnel and their families. They offer a weekly dinner followed by a Bible study. They offer a place where service personnel could spend the weekend at the ranch for free, with meals included. There would also be activities they could partake in , such as going to concerts, going to amusement parks, visiting national park for picnics and hiking. The ranch holds retreat for military personnel who are in training, who want to learn about the Bible , and enjoy good home cooked food, rest, and out door recreation in the country. This ministry also lends it's facilities too near by churches, and to the military chaplaincy, for luncheons. This ministry is a great work of God, share God's word, and love through hospitality. About the bell. I call this illustration the meeting bell, because it sat right out side the activity center, and when ever a retreat was being held, the bell was use to let the guess know when a meal was being served, or a Bible study was about to begin. If you study the bell you can tell that at one time it must have been housed in some kind of church or fire house, by the big wheel attached to it's side, so it can be rung by a rope. Then when it found it's self at the ranch , they must have had a arm clacker manufactured, To strike the bell to sound.
Scholars say it’s better to prolong your meal time, but how can you not gobble such a delicious dinner up in one sitting after a long day’s work? What kind of eater are you?
Ok, so I got in a huge obsession with Team Fortress 2. I drew the scout cause I got bored at dinner.