Progression 5 of 5. Final Drawing. Overall, satisfied with how this came out. I should have done a better job of the hard lines, especially around the skin. Also, my vision for the background didn't come out quite as planned, but I didn't want it to draw the eye more than the main focus, so I left it lighter and vague. There were a lot of Nike symbols in this piece!
Canvas mounted on wooden frame. Size: 25 x 30 cm Materials: acrylic, Chinese ink, brush, pen and marker. Is sold the original piece. For this reason, there may be slight differences from one piece to another.
Canvas mounted on wooden frame. Size: 25 x 30 cm Materials: acrylic, Chinese ink, brush, pen and marker. Is sold the original piece. For this reason, there may be slight differences from one piece to another.
Canvas mounted on wooden frame.
Size: 25 x 30 cm
Materials: acrylic, Chinese ink, brush, pen and marker.
Is sold the original piece. For this reason, there may be slight differences from one piece to another.
I love how these nesting dolls came out. I'm also into the Dakota Fanning inspired piece on the left. Dakota's character in The Alienist is a lot of fun. I'm glad she seems to have come out of child acting fairly unscathed. We don't hear a lot of stories of her gallavanting around LA, thieving & putting substances up her schnoz. That's a pleasant change of pace for a celebrity.
A commissioned piece of original artwork for a client that I drew which incorporates various elements of strength (as chosen by the client). It also illustrates that even in dark times a light will come shining through.
This piece began as a multi-colored abstract . . . but it was nowhere . . . nothing . . . and had no essence. So, I tried to take it in the direction of a landscape . . . and that was horrible. I gave the entire piece a whitewash using a white acrylic paint pen. And then the idea popped into my head to Doodle over the colored background. The title reflects the fact that the piece only came to life with the addition of the Doodles . . .
(fineliner pen on the back of a 55mm x 85mm business card) I accidently shredded this piece. It was a nice little drawing on the back of a business card, so it was annoying to lose it.
This week’s been an interesting one for socialising in my world, no denying it. If I’m not getting acquainted with new folks at work or at my art clubs, it’s reconnecting with people I haven’t seen in 20+ years… certainly informed today’s piece, without a doubt!
The story behind this is that when my little sister and I were kids, we invented a game called Blammer. You duct tape small trashcans to your back and try to slam a sock ball into your opponents basket. We used tennis rackets for defense. We used to terrorize our parents with all the running and yelling in the house. We're in our 30's now and try and play when we see each other. I call her Chicken and she calls me Ducky. Which is why we're are riding birds. One of my favorite pieces I've ever done. A birthday present for her.
A vibrant, hand-drawn marker illustration featuring a rustic wooden cabin perched on the edge of a tranquil lake. The foreground is filled with glowing green lily pads, leading the eye toward rolling green mountains under a bright, cloudy sky. This piece captures the essence of a peaceful summer escape and the beauty of lakeside living.
Then everything started shrinking. Every piece of furniture became elongated and narrow and disappeared towards the ceiling. There was something crawling under the rag rugs in the hall. It was also narrow and thin and wriggled in the middle, sometimes very quickly and sometimes very slowly.
- Sculptor's Daughter by Tove Jansson
#dailydrawing #tovejansson
A vibrant, hand-drawn sunflower illustration featuring bold marker strokes and a rhythmic, blue-sky background. This piece captures the energy of a summer day through an impressionistic lens, blending warm yellows and oranges with cool, textured blues.
In fact, she [Mummy] said after a while, we have gone into hibernation. Nobody can get in any longer and no one can get out!
I looked carefully at her and understood that we were saved. At last we were absolutely safe and protected.
This menacing snow had hidden us inside in the warm for ever and we didn't have to worry a bit about what went on there outside. I was filled with enormous relief, and I shouted, I love you I LOVE YOU, and took all the cushions and threw them at her and laughed and shouted and Mummy threw them all back and in the end we were lying on the floor just laughing.
Then we began our underground life. We walked around in our nighties and did nothing. Mummy didn't draw. We were bears with pine needles in our stomachs and anyone who dared come near our winter lair was torn to pieces. We were lavish with the wood, and threw log after log on to the fire until it roared.
Sometimes we growled. We let the dangerous world outside look after itself, it had died, it had fallen out into space. Only Mummy and I were left.
- Sculptor's Daughter by Tove Jansson
#dailydrawing #tovejansson
24x30 canvas A weathered steer skull fixed against a wagon wheel, drawn in graphite, charcoal, and ink, evokes the grit and resolve of westward migration. The skull stands as a quiet emblem of endurance, sacrifice, and survival, while the wheel anchors the piece in motion and passage. Westbound ’49 references the year many headed west in search of promise, capturing the stark beauty and cost of that journey in restrained black and white.
In this memory-driven piece, Patmore reconstructs the bathroom from his third-grade elementary school, capturing the sterile brightness, the tiled repetition, and the institutional reminder to “WASH YOUR HANDS.”
But the scene is not pristine — a leaky sink, an out-of-order stall, and a taped-up sign reveal the quiet decay behind childhood places we assume were orderly and safe.
Patmore blends nostalgia with unease, transforming a simple restroom into a study of what it means to grow up: how the lessons we learn early (“hygiene,” discipline, responsibility) stay with us even after the walls begin to crack. The small pop of blue tape emphasizes the DIY fragility of rules meant to guide us.
This piece stands at the intersection of memory and maintenance — of spaces, of bodies, and of ourselves.
This piece critiques the modern tendency to hide identity behind brands and consumerism.
* Visual Focus: The mask is partially obscured by a fitted baseball cap, with the bill pulled down to cover one eye. The cap itself is a symbol of brand identity and fast-fashion culture. The uncovered eye retains an unsettling, almost mechanical gaze.
* Symbolism:
* The Cap: Represents the societal practice of hiding behind brands and allowing consumerism to dictate self-worth and block out unwanted truths. The act of seeing is deliberately curtailed.
* The Mask: Emphasizes that the consumer identity is often a façade-a manufactured mask that prevents others from truly
"seeing" the individual, while simultaneously restricting the individual's full sight of the world.
This portrait is the darkest in the series, examining the internal malice that persists even when communication is restricted, illustrating that evil doesn't require a loud voice.
* Visual Focus: The mask's mouth is horrifyingly held closed across the center by surgical thread and a needle, which only covers half of the wide, unnerving smile. The stitching reveals a set of sharp, feral teeth underneath. Disturbingly, a pair of prominent horns protrude from the top of the mask's head.
* Symbolism:
* The Stitched Mouth: Represents the idea of selective silence or the censorship of truth. The fact that the stitching only covers half the mouth highlights the "half-done" nature of modern morality. The revealed sharp teeth suggest that even in silence, the capacity for vicious, cutting, or "devilish" speech remains barely contained. Showed directly on the piece by the date being misleading.
* The Horns: A classic, unambiguous symbol of the Devil or pure malice. This is the figure's core identity—it suggests that even while hiding behind a neutral mask and being partially silenced, the individual's "tongue like the devil" and evil intent are still very much present, emphasizing the inherent corruption and hypocrisy behind the facade.
"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.
it's from my studies of the masters, here implying to Herblock the famous editorial illustrationist from the 1900s. studying his art and implementing my art style on top made me really hooked to this piece. I hope you all like it.
