My name is Jenny Lebedev.
I am a multidisciplinary artist and illustrator, Making painting on canvas and digital platform, video, photography, drawing. Graduate of the Department of Multidisciplinary Art at Shenkar.
I recently finished illustrating the second children's book. I also accept commission projects and work with the client in close communication. I make digital art work for postcards, prints, incl. producing prints.
In the field of art I deal with conceptual art on the topics of "nothingness" and the existing emptiness, awareness of the air.
This is a digital drawing of a species I came up with. This is also my first attempt of making a base. I'm very pleased with how it turned out and I plan to only get better. Please do not use or claim the species as your own. I worked hard and all things I create are cherished and made with lots of care. Because I have a base, I'm open to color ideas. Please comment if there are any colors you would like to see on my Mikisu. Thank you!
Starring The Beach Boys: Good Vibrations (1967). Featuring Joy Division's Unknown Pleasures (1979). Let me tell you a story about a tragic genius ahead of his time. About a songwriter who wrote his songs on a piano situated in a sand box. About a musician combining a variety of tapes to create this carefree beach sound. About a man who was afraid of the audience and who broke down under the pressure. Tricolor linoprint using one lino plate. June, 2020.
I did this drawing weeks ago and loved how it turned out, I used Copic markers, Microns, white gel pens, and Ohuhu markers. I did the sketch a different day then the coloring so I could take time to think about what colors I'd use in the artwork.
Pen and ink colored in Photoshop. It just felt to me that she was getting the morning news from the dragonfly. This image is used in my card game, "Wards of Meadowshire".
Sometimes the quickest drawings hold the deepest truths. During an after-sermon discussion about understanding the love of God, I found myself listening with one ear and drawing with the other. Frank, seated across the room, made a natural model—relaxed posture, thoughtful presence, and a face full of character.
With a pen in hand, I traced his form in a quick contour line, following the folds of his shirt, the tilt of his jaw, the stillness of his hands resting in his lap. Contour drawing asks us to see more than just the surface—it demands patience and presence, a slowing down until the line itself feels like prayer.
Frank became more than a subject; he was a reminder that the love of God is often revealed in ordinary moments and everyday people.
