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I’m often asked about my Bic pen drawings and how I do them. It starts with a good foundational drawing, the ballpoint pen part is just trying to colour within the lines. I try to do my best to explain the process, but the best way to show my progress is by posting my efforts to master pen drawings over the span of 3 or so years. I have been doodling/drawing with ballpoint pens as far back as I can remember - they were cheap, readily available and always lying around the house. It wasn’t until I was bored during a particularly long team meeting-conference call (around 2016-17) that I started to think about the possibilities of ballpoint pens as serious portrait illustration tools. My first experiments with full colour ink portrait drawings were rather crude, but that’s the point of learning new techniques—as long as the curiosity and the love of drawing is there, you can transfer that skill and passion into any medium. Remember, the most exquisite drawings and paintings you see didn’t materialise fully formed, they started out as failed experiments. Failure after failure after failure. It’s important to remember this when you get discouraged (I've failed spectacularly over the years). The only difference between the accomplished artist and the beginner is hundreds of hours of practice. Talent can only get you so far. It’s the hard work that you do behind the scenes that makes your work look effortless. Keep doodling. Keep learning. Stay curious.

Lindsey's prompt: Master of Ceremonies

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Study from Pierre-Narcisse Guérin masterpiece "Aurora et Cephalus"

Fineliner scribblings on a back ground of paper... . . . ... . . . . . . ..... . ... . . . . . ...... ... . . A rabble of sozzled birds on a tightrope of joy heading towards the puppet master up above. . . .... . . ... . .... .. .... .. ... . . . . Prints are available (16 out of 20 at the time of going to press) . ..............................

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.

This is a reproduction study only of a very famous Monet piece. I am not selling this. I learned how to do art according to the traditional methods of studying great masterpieces. I did this in soft pastel,but the origional is done in oil I think.

#embracingnightmares

A sketch of one of the greatest video game characters that ever existed.

Painting done on canvas with Arteza and Master's Touch acrylic paint

Imperfect Lines, Honest Presence This sketch is not perfect—and that’s exactly why it’s alive. The bold figure, the dissolving hat, the tilted chair: all of it feels unfinished, fleeting, caught in motion. It’s what the Japanese call wabi-sabi—finding beauty in the imperfect, the impermanent, the incomplete. But there’s something deeper here too. A quick sketch is not just what the eye records. It’s what the soul permits. To draw without fixing, without polishing, is to admit the world will not hold still for us. Life slips past. The lines break off. And yet, somehow, the essence remains. When you sketch this way, you are not the master of the moment—you are its guest. The pencil does not carve permanence; it pays attention. The act of drawing becomes an act of being present, of honoring what is already vanishing. So here’s a challenge: grab a pencil and sketch someone near you in sixty seconds. Do not erase. Do not perfect. Let the lines falter. When you finish, ask yourself: What truth did the imperfection reveal? Perhaps presence itself is the real art.

There’s a lot of waiting in life. Waiting in lobbies. Waiting on answers. Waiting for braces to tighten, kids to grow, hearts to heal, or prayers to be answered. I sat at the orthodontist, watching dollars tighten on tiny wires, and made this sketch. A tree. A house. A street. Color helped the moment breathe. I remember once hearing a chess master say, “There is no waiting in chess.” It confused me—wasn’t there always a turn to wait for? But he explained: “There’s no waiting. Only planning. Plotting. Analyzing. You’re always thinking.” I once repeated that to a FIDE master. He got mad. Maybe because waiting and patience aren’t the same thing. We can be still and deeply active inside. We can pause without being passive. And then there’s Lindsey’s voice in the back of my head: “That sounds like a first-world problem.” “Speak life.” “Be thankful. Rejoice always.” And she’s right. So here’s to filling waiting time with something creative. Something kind. Something that turns a delay into a doorway.

This cool frog monster is a master inventor. Here he is riding through town on his homemade motorcycle.

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"Nowhere Fast" is a compelling still life that blends mundane domesticity with surreal, slightly ominous undertones. The scene is anchored by a wooden table where a spilled glass, a pack of matches, and an ashtray with a smoldering cigarette suggest a moment of interrupted pause or quiet, long-term stagnation. Dominating the foreground is an oversized, weathered cigarette carton boldly labeled "WARNING", its subtle but unsettling presence hinting at a consumption that leads nowhere. In the background, a vintage RCA television set displays a stylized amanita mushroom, a recurring symbolic motif that adds a layer of psychedelia and altered perception to the otherwise drab setting. The earthy, muted color palette and soft lighting create a feeling of weary introspection, capturing a sense of being perpetually stuck in a cycle. The piece masterfully uses everyday objects to explore themes of vice, time, and the quiet, slow march toward an uncertain destination.

So, I drew my BSD OC character, Noa. Trying anime after learning new things. I'm not really happy with her hair. I need to think about her design more. "Did I request thee, Maker, from my clay. To mould me man?" A foreign ability user named Cohen and his sister Noa visited the Agency. Cohen has the ability "I," which allows him to temporarily animate any objects. For example, tables, chairs, statues, etc. But he must manually "unanimate" them. The weakness of his ability is that objects left animated for too long will go insane. He came to the Agency because his brother, Levi, stole their family heirloom - a golem, the best matter with which "I" works in symbiosis. Cohen is dying of an illness. He must pass on his ability to another, but finding the golem is a priority. The main plot twist, of course, is that his "sister" is the animated golem. She does not know about this since the master ordered her to forget and believe in her familial relationship with him - the golem unquestioningly follows the orders of the master and this includes subconscious self-deception. Noa is an ancient creature, but her age matters little because when her master "turns her off," all the memories she has lived are erased from her memory. With a new "turn on," she needs time to gradually gain an independent mind and begin to feel. Unfortunately, this process is rapid enough to cause terrible problems with controlling emotions and feelings, which always lead to blind violence on her part when she can not cope with herself... In some ways, she is naive, but she highly values ​​life and human life in particular. Human beings amaze her with their complexity and their achievements. And life in general is full of exciting colors and aspects for a once inanimate object. However, there is a person who will do anything to prevent Noa from gaining freedom, and it is not even Cohen... "I" is a reference to a chapter name from Gustav Meyrink's novel "Golem." Characters are not based on any writer, but they have references to "Golem" chapters' names.

Immanuel Kant (1724–1804) Kant’s biography is unusually devoid of external events. As Heinrich Heine wrote: The history of Kant’s life is difficult to describe. For he neither had a life nor a history. In actual fact, as Manfred Kuehn argues in his 2001 biography, Kant’s life was not quite as abstract and passionless as Heine and others have supposed…. If he failed to live a more adventurous life, it was largely due to his health: the philosopher had a congenital skeletal defect that caused him to develop an abnormally small chest, which compressed his heart and lungs and contributed to a generally delicate constitution. In order to prolong his life with the condition—and in an effort to quell the mental anguish caused by his lifelong hypochondria—Kant adopted what he called “a certain uniformity in the way of living and in the matters about which I employ my mind.” This routine was as follows: Kant rose at 5:00 A.M., after being woken by his longtime servant, a retired soldier under explicit orders not to let the master oversleep. Then he drank one or two cups of weak tea and smoked his pipe. According to Kuehn, “Kant had formulated the maxim for himself that he would smoke only one pipe, but it is reported that the bowls of his pipes increased considerably in size as the years went on.” - From Daily Rituals: How Artists Work by Mason Currey #dailyrituals #inktober #ImmanuelKant @masoncurrey

Charli forced Luca to paint his nails orange

This drawing was an attempt at drawing something grotesque as well as a study of a side profile of a person. Alukah is a Hebrew word that means "horse-leech", a type of leech with many teeth that feeds on the throats of animals. Inspired by Jungi Ito's "Slug Girl" and "Leech Woman" from the film Puppet Master.

Let me know what i should work on.

This is my first post, so I'll keep things pretty basic. "Jester" is his name, but I like to refer to him as "The Ringmaster". He's my own creation, but he's inspired by the funtime animatronics from FNaF. This is also a stylized take on him. I'll post what he really looks like soon. He's comepletely sentient, and runs a pizzaria. There are shorter animatronics in the pizzaria, which he created, with the purpose to perform and entertain the people who come there. The shorter animatronics are not sentient, or possesed. At least, not yet. I'll also post pictures of these animatronics one day, hopefully in the next two days. I haven't really fleshed out what kind of story I'll make for him, but I'll use him eventually. Drawn with FireAlpaca. Edit: That's supposed to be a lollipop for his (your left) hand.

Painting done on a 24" x 36" canvas with Arteza and Master's Touch acrylic paint

Black Jaguar White Tiger foundation which drawn in crazy colors

"A wyvern whose only desire is to be loved, despite a frighteningly monstrous nature and bleak origin. A master of encouragement, childlike mischief, wing hug offers, and bypassing the laws of reality in outrageous fashions."

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This is a pumpkin carving of the infamous Nautilus submarine, owned by the pirate captain Nemo . Who sunk ship that supported war, ramming them with his submarine. In this tale Nemo's ship gets attacked by a monstrous giant squid. I caved this design at the Chadds Ford Historical Society's Great Pumpkin Carve contest and event. This is a live carve event. Artist have no idea what kind of pumpkin they will be given to carve. No knowledge of shape, color, size, or condition. Competitors must create their design with manual hand tools. Cavers have 6 hours to create their master pieces, to be considered to qualify to be judged, to compete for the prize. The size of the average pumpkin is from 200 to 400 pounds, and their wall are about 5 inched thick. It took me 6 hours to carve my pumpkin design. Stephen J. Vattimo 10/18/2021