smooth

A surprise scribble done on a whim, and I did not expect this myself. The drawing progress felt very smooth and sleek, almost like it felt more natural to draw characters in this style over my "usual" serious mode.

It got cold very quickly and the fog was there, moving thickly around us, shutting us in on all sides. The smooth swell rolled out of the fog, crawled under the raft with a swallowing movement and rolled back into the fog the other side. .... Albert picked it up by the neck and looked at it, and it began to screech and flap one wing. Let it go! I shouted. Everything looked so terrifying with the fog and the black water and the bird creeping around and screaming that I was beside myself and said: give it to me, I'll hold it in my lap, we must make it well again. - Sculptor's Daughter by Tove Jansson #dailydrawing #tovejansson

A collection of plump red apples is artfully arranged in a bowl. The apples are depicted with vivid colors and smooth textures.

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A captivating exploration of form, this work features an imaginative flower with a distinctive, almost sculptural head. The smooth, folded petals suggest a soft resilience, like a fleshy, protective helmet, while delicate antennae reach tentatively toward the light. The long, winding stem and minimal leaves anchor the drawing, creating a strong vertical movement. Rendered in a mix of colored pencil and graphite, the piece uses subtle shading to give the subject a remarkable three-dimensional quality, making it pop against the neutral background.

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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.

Chairs are more than wood or iron. They are metaphors, quiet keepers of what it means to be present. They wait, as Wendell Berry might say, for us to “make a place to sit down. Sit down. Be quiet.” I draw them because they embody the humblest love—affection, as Berry calls it, that “gives itself no airs.” In their stillness, chairs hold the weight of relationships, the churn of thought, the grace of silence. They are where we meet, where we linger, where we become. These three drawings are offerings—sketches of chairs that invite connection, reflection, and the slow work of being. Each is a small sacred place, as Berry reminds us, not desecrated by haste or distraction, but alive with possibility. Drawing 1: The Coffee Shop Chairs Two wooden chairs face each other across a small round table in a coffee shop, their grain worn smooth by years of elbows and whispered truths. The table is a circle, a shape that knows no hierarchy, only intimacy. These chairs are for relationships that dare to deepen—for friends who risk vulnerability, for lovers who speak in glances, for strangers who become less strange. They ask for eye contact, for mugs of coffee grown cold in the heat of conversation. Here, sentences begin, “I’ve always wanted to tell you…” or “What if we…” These chairs shun the clamor of screens, as Berry urges, and invite the “three-dimensioned life” of shared breath. They are the seats of courage, where presence weaves the delicate threads of togetherness. Drawing 2: The Sandwich Café Chairs In a sandwich café, two wooden chairs sit across a small square table, its edges sharp, its surface scarred by crumbs and time. These chairs are angled close, as if conspiring. They are for relationships of a different timbre—perhaps the quick catch-up of old friends, the tentative lunch of colleagues, or the parent and child navigating new distances. The square table speaks of structure, of boundaries, yet the chairs lean in, softening the angles. They wait for laughter that spills over plates, for silences that carry weight, for the small confessions that bind us. These are chairs for the work of relating, for the patience that “joins time to eternity,” as Berry writes. They ask us to stay, to listen, to let the ordinary become profound. Drawing 3: The Patio Chair A lone cast-iron chair rests on a patio, its arms open to the wild nearness of nature—grass creeping close, vines curling at its feet, the air heavy with dusk. This chair is not for dialogue but for solitude, for the slow processing of thought. It is the seat of the poet, the dreamer, the one who sits with what was said—or left unsaid. Here, ideas settle like sediment in a quiet stream; here, the heart sifts through joy or grief. As Berry advises, this chair accepts “what comes from silence,” offering a place to make sense of the world’s noise. Its iron roots it to the earth, unyielding yet tender, a throne for contemplation where one might “make a poem that does not disturb the silence from which it came.” This is the chair for becoming, for growing older, for meeting oneself. These three chairs—one for intimacy, one for the labor of connection, one for solitude—are a trinity of relation. They are not grand, but they are true. They hold space for the conversations that shape us, the silences that heal us, the thoughts that root us. They are, in Berry’s words, sacred places, made holy by the simple act of sitting down. My drawings are but traces of these places—postcards from moments where we might remember how to be with one another, or how to be alone. So, pull up a chair. Or three. Sit down. Be quiet. The world is waiting to soften.

Smooth sea, a sailor’s best friend

I think we all have been there. Its not that I don't like socializing, but I have anxiety when I'm placed in a large group of people. But once I get to know ya, its smooth sailing from there.

Hi, completed in pencil. Softest 4B. Layered technique. Without any use of blending tools. Just the silky smooth pencil in hand bringing out the texture of the 300lb Bristol Vellum.

The idea is to show a figure crossing over two ` scripts’ with a bilingual suggestion. By standing in between worlds, we see opposing viewpoints. Many artists have incorporated typography as symbols in their paintings since the 60s, but no one has attempted to approach lines in this `written’ manner. How different it is are the two writing styles of the East and the West; one with angular lines while the other in a smooth flow! This work juxtaposes the symbolism of cultures – script. At the same time, it questions the need to grasp the full meaning of the script to appreciate the aesthetic flow of calligraphic lines.

Kaju Katli or Kaju Barfi is an Indian sweet that is made of crushed cashew nuts and sugar. Illustrated the delicate, sweet and rich Kaju Katli, showcasing its tender layers of smooth cashew nut paste enveloped in an intricate lattice of glossy, golden sheets.

Illustrated an irresistible combination of three overflowing, creamy, smooth scoops of strawberry, vanilla and chocolate with crunchy sticks accompanied with a warm, rich, and gooey chocolate brownie topped with chocolate sauce

Smooth rock found on beach, painted w acrylics

Before I got into digital painting, I was putting together digital collages. I love digital collages, but most of them are a bit too literal/pop art for me. No diss on pop art; I create a lot in that style. But, I wanted to make a smoother, more blended collage for my profile pic.

Mechanical pencil on smooth cartridge

This year's First artwork is this one. I love to sketch Vintage car bodies. They are so curvy and smooth like butter

A fun drawing to do. I usually do a lot of crosshatching, but for this one I went for the smoothness, better to capture the light, I suppose, where crosshatching can be a little distracting. Or look like hair! As some have said.

Sucrosian Pin-Up Gals ...

Cold Beer. Hard Graphite. Smooth Paper.

The Woman Puppet from Rome. A clay or plaster of paris puppet head that was glossy and smooth. This painting of the woman pupped is regal and dignified. It shows little animation or dramatic expression. It is unlike most of the others, say for its counterpart

The countryside is a place far away from the city, peaceful and cool. My hometown is also on the outskirts of the city. Every summer vacation home to visit, I enjoy a cool and fresh air. Both sides of the road are straight dikes with fields, smooth green lawns, and beautiful vast fields. In my hometown, there are bamboo and banyan trees for shade every summer afternoon. Farmers work hard to cultivate and cultivate vegetables. Young people about the same age as me, come home from school and still have to take care of buffaloes and cows. People in the countryside live frugally, spontaneously, but full of love. They know how to care for each other in the village love.

As usual I struggled to get a true likeness, but that notwithstanding, I was still pleased with the result. HB, 5B and 9B graphite pencils on smooth cartridge drawing paper, size A3.

Graphite on Bristol board smooth

Graphite on Bristol board smooth smooth

Graphite on Bristol board smooth

Little Teddy. Drawn with my trusty 0.03 and 0.05 fineliners on A4 smooth cartridge paper. That face!!!