Drawn using 0.03 and 0.05 fineliners, this one is for a book cover so cannot reveal the finished image yet! I do love trees, they are so fascinating to draw.
It's cool how the internet can bring people together from far away places to make things. "Graham's Up the Tree" is based on a true story from the life of author mbpardy ... He's in Australia - I'm in Seattle area. When he posts these images at his page I see comments from people who grew up with real life versions of these characters I drew -- People that actually looked out the window and saw this little guy high up at the top of a tree... where no one else could go.
Currently exploring image making with fountain pens: immediate mark making, no pencil, no eraser. I'm enjoying the discovery process and embracing the stray mark made with semi-blind contour and continuous line drawings.
These are watercolor and pencil and ink drawings. They are 5 of 10 images of my hand from a child's board book from which I peeled the laminated pages and exposed the underlying cardboard. I have always struggled with a very large Port Wine Stain birthmark, and periodically make art about that, this one of two books this year.
Adobe just released a new drawing and painting app Fresco for the iPad. Here are few experimental images. I have to say I am impressed with the natural media brushes and the interface.
Take it how you want. You either give everything to social media, or it takes everything from you. In the end, you are left naked and hollow. I wanted to make this a simple composition at its core. The image is more about the message.
Times Square took forever to put together, I think the perspective is off just a bit. Overall, I think I did well with shading and depth. I am also improving on drawing/painting the human form. I wish I could trust in shapes and form and go a bit more abstract, but I think that will come with experience.
I call this work Lost Koi because I painted it in the 1990s. Gave the original to a friend who was terminally ill and thought I would never see it again. Then I found it on a old computer. I had to work a lot with the image. I hope it loads.
Color Pencil over Gesture. It was a contemplative day in the art classroom. Students were drawing self portraits and I had time to join them. Our discussion was on 'Reflection'. The image we see of ourselves in the mirror is not what people see when they look at us. They see the reverse. The mole on my cheek is on the other side of my face, if you were to look at me in person. This leads to discussions of perception and reality. It can be fun and humbling. We cannot live only by sight. We must have a faith of some sort. This reminds me of the Michael Feldman Public Radio Program called: "Whad'Ya Know?" It opens with the audience shouting: "Whad'd Ya Know?" and Michael replying: "Not Much! You?". We do not know much, I think, as much as we like to pretend that we think we do.
Zahra Sedighi-Hamedani sits in prison in Iran, sentenced to death for being a lesbian. Digitally painted with pencil brushes and textured overlays to produce a watercolor-type image. Shading tones and background are meant to represent the Kurdish flag.
Kierkegaard said we undersand life by looking back, but we must live life forward. On a trip to the Chicago Art Institute with a group of students, I penned the students behind me and then I penned the rapidly moving images I saw through the front window of the bus . I still do not understand life except that perhaps it is full of energy and art and love.
This is no landscape you could ever stand in.
No observational drawing, no safe horizon line.
This chalk experiment is a dream unfolding in color: a golden field lit from within, a scarlet seam of fire at its edge, and a storm-heavy sky pressing down with ancient weight.
It feels like a place between worlds—where the conscious and unconscious meet, where memory and imagination blur. Some might see a battlefield, others a meadow after rain, and still others a veil between life and death. That is the beauty: the painting does not tell you what it is; it invites you to confess what you see.
Psychologists say we project ourselves onto images like these. So—what do you notice first? The light? The darkness? The burning red?
Perhaps that is not about the drawing at all, but about you.
Sometimes, a good goodbye is also a fresh hello.
As we wrapped up our "Sacred Spaces" paintings, I asked our student teacher to design a one-day project—something playful, earthy, and engaging to ease the class into her care. She brought mud. Literally.
Using mud and simple stencils, students pressed images—flowers, insects, wings—onto the sidewalk behind our school. There's something timeless about making marks with the ground itself. It felt ancient and immediate at the same time.
These prints won’t last long, but maybe that’s the point. A fleeting image, a shared laugh, a new hand guiding the next phase of learning.
Art is about making marks. Not all of them need to be permanent.
A big fan of the Star Trek universe and was especially impressed with the final run of Picard. This is the new Enterprise in action, heavily damaged but winning a battle against a Klingon Bird of Prey. I wanted a unique angle and decided to flip the starship upside down. It's space; why not. Digitally painted in Rebelle 6 with watercolors, pen, and oil brushes, and meant to have a classic/watercolor feel. This is not AI nor is any part of this AI.
The product of a collaboration with a very good friend of mine's; I did my usual squid thing and he supplied the Mr Oizo homage-themed collage bits! Check out his work here: https://flynnsego.bandcamp.com/
