In ANU museum in Tel Aviv.
The Costume of the King ( I don't know which king, I couldn't read the plaque) by Leon Bakst was without a person inside. I made him up. So now it is a costume of a dancing King.
https://www.instagram.com/p/CthTwxZJjVY/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==
Created using pen and ink, this drawing mimics a fine art painting I saw in a museum. I loved the figures and their fluid movements, so I doodled it down in my sketchbook and later inked it in for a refined black and white artwork. Check out more on my website ArtsyDrawings.com!
I stumbled across this old mill some years ago while walking in Drefach-Felindre. The area was once a hub of the wool industry, and now houses the National Wool Museum. I only managed to discover its name when I was doing a Google search as at the time of drawing, it was up for sale as an 11 bedroom property!
Zoomed in shot of "Pattern Interrupt". 2020. Size: 32" x 40" / Micron pens on archival museum board. This piece was all drawn freehand - no rulers or measuring tools were used to create this artwork.
The tables were covered in white paper. Crayons, pastels, and smooth sticks waited quietly. Then came Lucy’s glittery purse—her 8-year-old hands had filled it with stones to pass along, one by one, to the strangers around the table.
We traced them. Pushed them. Held them.
Then we let the colors lead:
-Red for emotion.
-Yellow for curiosity.
-Blue for memory.
Each color came with music, with story, with space.
At the Museum of Wisconsin Art, we made marks not for meaning but for presence.
Thank you to Ann Marie and MOWA for the invitation and trust. And thank you to the participants—some new friends, some old students—for showing up and making lines that listened before they spoke.
Watercolour pencils and gouache on A4. I did this today at a Urban Sketchers meet up in the National Museum of Scotland - although, I guess, strictly speaking it does not fulfil the urban sketching requirements :D
This is an old Formula 3 race car built by Joseph Potts ltd, Lanarkshire, in 1952. They have it in the National Museum of Scotland, where I drew this a couple of weeks ago as a part of Urban Sketchers meetup (as it’s too cold to go outside yet). This is pretty mixed media: pencil, watercolour pencil, white gouache and some acrylic markers. Drawn on spot.
Elias Rosenshaw 11/16/2023
Filtered digital collage of photography, digital patterns, pixel art, and pen & pencil on paper.
Text paraphrased from my friend Lydia.
Drawings are studies of statues I photographed:
Horse's Head, The Parthenon Sculptures, The British Museum, London, UK
The Bassai Sculptures, The British Museum, London, UK
And this is my only contribution to mermay.
It doesn't look very good, I know. But I'm glad to draw a mermaid for the first time on mermay, I dreamed about it when I could only draw squiggles. I drew it for half a month, and during this time, I even managed to come up with a deep (don't shoot) lore.
According to my idea, Eddie needed some sunken cargo (and not only him). Amber offered her help in exchange for some relic of her people, which is stored in the Gotham Museum (even being a mermaid, she is an opportunist). Eddie told her to go to hell and tried to get the cargo with the help of his robots, which Amber successfully sabotaged underwater to pressure him into the deal.
In this drawing, Eddie's ran out of luck and got himself roughened up and almost drowned (definitely not Batman this time). Amber saved his skin. No gratitude is expected yet, but this is the least of their problems. Jean advises Amber (they are not at odds in this AU) to leave the polluted waters near Gotham before something happens to her and her health, but she is stupidly stubborn when it comes to the Riddler (and her goals).
