Pink tulips on toned tan sketch paper. This was my first time burnishing. I used the toned tan paper so that I could better see the effects of burnishing with a white pencil. I used Prismacolor soft core pencils.
Really enjoying experimenting with soft pastels. This piece was the first time I used Pastelmat. It's an amazing surface to use with pastels as it takes loads of pastel, the colour stays vibrant, and there's minimal dust
Some months ago, I uploaded a drawing of the front of our house. This time, I drew the back of the house---in the same style. Last time, I used a Pigma Micron 005 pen, this time, I used a Uniball Signo Gel pen---which made the drawing a bit looser. This is a large house in the Pacific NW Modern style (a late 70's incarnation) with characteristic big windows, skylights, and jutting angles.
BIC ballpoint stick pen drawing on Richeson bulk drawing paper. This started as a contour drawing and just got squiggly (not the original intent). This was clipped to my board for weeks and I would add a few squiggles from time to time when I wanted to make marks, but didn't have inspiration. It's just a bit under 15 inches (12x18 inch paper) and is probably about 25 hours of making little lines and squiggles. The reference was a Dreamstime royalty-free photo.
It's definitely been a bit since I've posted, sorry about that, things have gotten very chaotic very quickly. I'm officially less than a month out from graduation (the finish line is almost here!), which also means it's time for my teachers to cram in projects. Other than that, I'm happy to say I received two official art commissions! I'm hoping to get something set up to hopefully begin selling some pieces, but, for now, I'll have some pieces in a gallery soon. Things, things, things, and Tony's face. Part of a larger project, hopefully to be completed soon.
Man oh man, it's been a week. The chaos is strong with this one. It was really fun to draw this, there's something so calming about shading with graphite; it felt like the only time I was present this week. But hey, I suppose that's why art is here. As a side note, thank you so much for 70 followers! It's truly incredible to part of an amazing community of artists, and I genuinely appreciate everyone's support and feedback. Here's to creating more art!
Rad experience joining a local drawing group for the first time yesterday although I didn't realise how inconvenient my backpack was going to be, it made me slow to set up / pack up and a few of us had to organise a locker at the gallery as we didn't know backpacks weren't allowed so I spent most of today sewing a bag/sketchbook cover which fits an A4 sketchbook, pencils, id and phone and also has some backing in it so I can easily sketch on my lap without dropping my stuff all over the place. I'm going to do a bit more work on my weird comic book page tonight but in the mean time this is my sea serpent digitally coloured, he lives at Apollo Bay and likes to sleep camouflaged amongst the lifesaver rings.
Overview:
The title of this piece is directly inspired by the lyrics of the song "Rabbit In Your Headlights" by UNKLE. I liked the fact that I shook the static sensation of this shot using some vibrant colours and decoration. The subjects seems to be frozen in time, waiting for someone that will save them.
45/100 of my nature illo themed 100 Day Project. I started my challenge drawing only on my iPad but hit some bumps when I forgot my Apple Pencil in Florida (I live in California). With that, I have been getting reacquainted with my sketchbook which has been set aside for a few months until now. Feels good to get back into it. Everytime I come back to painting, I wonder why I ever paused in the first place.
An article/rant/annotation to an illustration. A #Hackney bar and its flies.
This picture is not as sad and blue as it might at first seem, I promise.
It is early in the week and the pub becomes the territory of the most outspoken drinkers. Raised somewhere between Churchill and Harold MacMillan, a night such as this is time for them to spin out a yarn of nostalgic fantasy. Encouraged by the lack of a crowd and with space to fill, statements start to fly.
In the opening rounds the barman athletically hits back with factual blocks and reality-check haymakers; statistics and personal experiences are given. Two histories cross examined, one where 1982 means Thatcher and the Falklands, the other renders Reagan and the AIDS crisis. Stoicism and national pride vs mental health and realism.
In the latter rounds the barman is fatigued, swaying on the backbar, glasses begin to stack up as form begins to drop. The older men seem stronger than ever.
The barflies come in close now, they scrutinise his generations work ethic and make wild political comments on poverty, immigrants and the minimum wage.
The barman is close to sheer bloody despair, he maintains his defence and focuses on breathing while maintaining his professional stance.
But at the end of the night the barman knows HE will ring that bell, they will politely leave and they will return again in a week and maybe, just maybe there will be a change, common ground or maybe at least polite silence.
But what these interactions have given despite the salt in the eye is community and an exchange between generations, culture and class of those participating. No home is ever straight forward, no relative without their good and bad traits and in a world where we often slide into echo chambers online or in our physical environments, the pub is still a place where society is family, face to face, pint to pint. Or maybe it's just a room with alcohol on tap?
When I read the first book of the "Outlander"-Series by Diana Gabaldon, I was really inspired by the idea of travelling in time through places like Stonhenge. This is what it looks like in my head.
Sometimes I feel like my drawing is similar to composing music. I start drawing just something and hope that it begins its own life.
In this drawing i start from the clouds and doesnt have any idea what it is gonna be at end.
The new Hasselblads are so dang out of my range! I can't even swing a used one. This is the first time using the oil brush in @procreate on a final illustration. I have to admit i didn’t want it to end.
This is the second oil painting I have ever made, and the first time I have attempted to create mountains, trees and bushes. I used just 3 colours for this: Raw Umber, Phthalo Blue and Titanium White. I learned a lot and had tonnes of fun at the same time.
Hello, this is me in sunglasses. My name is Tricia (they/them) and I live on the east-coast of US in Maine (which is up by Canada). I look forward to the cooler weather. My goal is to draw more insects and moons in the future. Hope you have a great day~
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) . ..............................
First real art of the year. It took longer than I wanted but I love how it came out. Guess that's what happens when you put time into your projects - go figure. Just a little Copy Cat art from a beautiful, innocent, charming film - Ponyo. What's your favorite Studio Ghibli Film?
A quick group portrait I made to try making a timelapse of the process. The timelapse is posted to my instagram account. This time, I used brown and yellow bister ink on watercolor paper. Normally I paint the monsters themselfves, but now I used negative painting to create them.
