My next monkey watercolor -well, mostly - there is a touch of acrylic paint on the eyes. I do not know why they are called red-handed - since they seem to have yellow hands.
I did this one in India ink and colored it with Winsor & Newton drawing inks. I love the vibrance and transparency of illustration inks, but don't use them too often because the colors are fugitive
My 100 day project has basically switched over from digital drawings to watercolor. This is a spread in my sketchbook from the transition. Took a few days but, I am starting to feel like myself when using the medium again. Just needed to reactivate some muscle memory.
Hello. This is my kawaii or just had a good meal ‘Fu Dog’ (fortune dog 福狗) - a sculptures you’ll find guarding the entrance of the Chinese temple. Well, although theirs named as Fu Dog, these creatures are not dogs at all, but lions - Lions of Buddha, to be precise. The male fu dog is usually portrayed as fierce and the wide open mouth is to let evil spirits out—and the sphere at its feet, its symbolise its role as protector heaven~~fu dog normally comes in pair, male and female, but I am too lazy to draw another one
Older picture I've done. At that time I wasn't used to using references, but instead I did everything from my head, as I imagined them. And this time I wanted to create a lonely arctic fox with a warmer atmosphere surrounding the animal.
My vision of the character ‘Smaug’ from J.R.R. Tolkien’s ‘The Hobbit’.
Pencil sketch, coloured digitally on IbisPaint X.
Here is a passage from The Hobbit describing Smaug’s appearance: “There he lay, a vast red-golden dragon, fast asleep; thrumming came from his jaws and nostrils, and wisps of smoke, but his fires were low in slumber. Beneath him, under all his limbs and his huge coiled tail, and about him on all sides stretching away across the unseen floors, lay countless piles of precious things, gold wrought and unwrought, gems and jewels, and silver red-stained in the ruddy light. Smaug lay, with wings folded like an immeasurable bat, turned partly on one side, so that the hobbit could see his underparts and his long pale belly crusted with gems and fragments of gold from his long lying on his costly bed.”
For Inktober this year, I am following along with Lisa Congdon’s CreativeBug course. I’ve made a few extra rules for myself for an extra challenge which includes trying to maintain a mostly black and white theme. Excited to see where it takes me.
David Lynch (1946-2025)
I like things to be orderly,” Lynch told a reporter in 1990. For seven years I ate at Bob’s Big Boy. I would go at 2:30, after the lunch rush. I ate a chocolate shake and four, five, six, seven cups of coffee—with lots of sugar. And there’s lots of sugar in that chocolate shake. It’s a thick shake. In a silver goblet. I would get a rush from all this sugar, and I would get so many ideas! I would write them on these napkins. It was like I had a desk with paper. “
- From Daily Rituals: How Artists Work by Mason Currey
“I don't think it was pain that made [Vincent Van Gogh] great - I think his painting brought him whatever happiness he had.”
― David Lynch
Thank you for all your amazing art!
#dailyrituals #inktober #DavidLynch #goals @masoncurrey
christmas ‘24 destination spent with my people - thankful for the few days of quality family time, endless memories made, the many many laughs, and the beautiful view we were blessed with from our airbnb! enjoy a little watercolor I did while there, a breathtaking view from the Ozarks!
Dmitry Shostakovich (1906–1975)
Shostakovich’s contemporaries do not recall seeing him working, at least not in the traditional sense. The Russian composer was able to conceptualize a new work entirely in his head, and then write it down with extreme rapidity—if uninterrupted, he could average twenty or thirty pages of score a day, making virtually no corrections as he went.
But this feat was apparently preceded by hours or days of mental composition—during which he “appeared to be a man of great inner tensions,” the musicologist Alexei Ikonnikov observed, “with his continually moving, ‘speaking’ hands, which were never at rest.”
Shostakovich himself was afraid that perhaps he worked too fast. “I worry about the lightning speed with which I compose,” he confessed in a letter to a friend. Undoubtedly this is bad. One shouldn’t compose as quickly as I do. Composition is a serious process, and in the words of a ballerina friend of mine, “You can’t keep going at a gallop.” I compose with diabolical speed and can’t stop myself.… It is exhausting, rather unpleasant, and at the end of the day you lack any confidence in the result. But I can’t rid myself of the bad habit.
- From Daily Rituals: How Artists Work by Mason Currey
#dailyrituals #inktober #shostakovich @masoncurrey
