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It's always better with cream :)

“Whirlwind 9”, an original drawing. Micron pens on archival paper. Size: 4” x 6”. Title, signature, and date in the back of the drawing. This drawing is the 9th in a series of drawings posted over a period of 100 days. The original post date on this drawing was September 9, 2020.

Anyone who has seen the film Blade of the Immortal should (hopefully) recognize this guy. I just loved his makeup and costume and had to draw him.

TheStephen Vattimo 7 mins The Three Witnesses Acrylic on Canvas Size :48"x68" Year finished: 2004-14 This painting illustrates three witnesses who are taking part in the salvation of a homeless person. the figure in the background is angled, this imposed by them being Positioned on second-floor balconies, symbolizing they are not humans, they are a higher class of beings. To the left side of the painting a demon and to the right side an angel of God . the kingdoms they serve are identified by the breastplate emblems of their armor. The demon has a dragon head overlaid on a pentagram. The angle of God has a lions head overlaid on a cross. The demon face is partly hidden by a hood which represents deception, where in contrast the angle of God is wearing nothing on his head that hiders the view of his face., representing honest. Angel is always involved in the affairs of the human race. The demon is warring against man to turn their heart against God, and lead them to destruction. God's angel is always warring lead mankind to salvation through Jesus the Christ, and lead him away from the path of destruction that comes from sinful living. The ally way is representing three kingdoms, to the left, the kingdom o Hell. The center road, the kingdom of mankind. To the right side, the kingdom of Heaven. The path of these kingdoms is represented by the direction of stairs. To go the way of Hell is to take the stairs down to the sub-level door. To the go, the way of heaven is to take the fire escape upward. The lighting and the condition of the structures of the walls also identify the nature of the kingdoms they represent. The kingdom of Hell is represented by the dark and crumbling wall. Man's kingdom is represented by a boarded up windowed wall that is a dead end. Symbolizing that mankind only has two roads to chose from, there is no such thing as a third reality. The left side of the paint is a cardboard box and a newspaper floor which serve as a makeshift shelter for the homeless man. The turned over bottle reveals which devise he had that lead him to a life of living in the street. The tipped over trash can which spills its trash onto the light source that is lighting the alleyway, which is in the shape of a cross, represents mankind's sin which Jesus The Christ paid in full the debt which God demand for the payment for sin which is death. So that The guiltless took the place of the guilty, that by faith in this truth all will escape Hell and enter the Kingdom of God as children and heirs of The Highest God. The Homeless man, who is dirty,ill-clothed, cold, tired, hungry, hopeless, symbolizes the condition of Mankind outside a flourishing relationship with God. The Christian witness is better dressed implying he is walking with God, and his life is blessed through God provision. The witness is showing compassion and the love of Christ to this homeless man by wrapping his arm around the shoulder of the dirty smelly homeless man. He points the homeless man in the direction of the path that leads to salvation through faith in the work of Jesus The Christ which is His work on the Cross, receive Jesus as his Lord and Savior. That through a relationship with the Christ, He can receive the guidance, the strength, the willpower to leave his old life of being a drunkard and living in the street. Because in Christ old thing pass away, and all thing are made new. The light that falls on the Christian witness and the homeless man and opens up in the shape of the cross in the alleyway, comes from a heavenly source outside the picture. Written by Stephen J.Vatttimo June 16, 2014

Drawing with colored pencils

Exploring different methods and ideas

Trying out henna vines..

Grey skies bring out beautiful greens

Starting of a small painting...by request:)

Firefly & Luna Moth

A cat doodle I made a while ago.

I am an art teacher with a master’s degree—trained by brilliant professors who believed that art could do more than decorate walls. I offer safe spaces for teenagers to grow—nourishing soil where their imaginations can take root. And yet… I am assigned to hallway duty. This is compulsory education, after all. So I sit—posted like a sentinel—watching young lives stream past. “Get to class,” I say with a smile and a nudge. The system wants attendance; I’m hungry for presence. Armed not with a whistle or clipboard, but with a pen— my scribble’s soft insurgency. The hallway stretches out like a geometric hymn. Columns and corners chant structure. Teenagers swirl past—half-formed galaxies of limbs and laughter— their orbits chaotic, their gravity pulling time forward. I begin to draw. Not their tardiness, but their motion. A shoulder. A blur of sneakers. A tilted head chasing freedom. Feet flickering like seconds. Each mark a pulse. Each smudge a breath. My paper becomes a seismograph of seeing— trembling gently through the mundane. This isn’t about making art for a frame or a feed. It’s about refusing to leak away in the fluorescent hum of obligation. It’s a quiet mutiny against the clock. I do this on long car rides, too (passenger side, mind you). Letting the lines grow wild, jagged, and unapologetic. Not for polish— but for presence. This is how I remember I’m still alive. Still growing. Still watching. Still choosing to see. Because sometimes mental health looks like a piece of scrap paper, a moving pen, and the simple, sacred act of marking time with wonder.

And thus ended another month… onto Samhuinn month we go!

pencil

Pencil work

Narwhals and musicality collides in a tale of who-knows-what.

Whale songs (yet again).

Louise Bourgeois (1911–2010) “My life has been regulated by insomnia,” Bourgeois told an interviewer in 1993. “It’s something that I have never been able to understand, but I accept it.” Bourgeois learned to use these sleepless hours productively, propped up in bed with her “drawing diary,” listening to music or the hum of traffic on the streets. “Each day is new, so each drawing—with words written on the back—lets me know how I’m doing,” she said. “I now have 110 drawing-diary pages, but I’ll probably destroy some. - From Daily Rituals: How Artists Work by Mason Currey “I am not what I am, I am what I do with my hands...” ― Louise Bourgeois “Every day you have to abandon your past or accept it, and then, if you cannot accept it, you become a sculptor.” ― Louise Bourgeois #dailyrituals #inktober #LouiseBourgeois @masoncurrey

Meadhbh in front of wall of plants. 2024, Ballpoint pens on 5” x 8” (10” x 8” Double page spread) acid free Moleskine sketchbook paper, Adobe Photoshop.

2020, Ballpoint pen on 9” x 12” archival paper, Adobe Photoshop.

Good Ol' Pluto. :3 Drawn with a few brushpens, and colored with Posca markers.

Pencil sketch

Please give me any tips in the comments below of how I can improve my outfits in the future!