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
#27 Plants vs Zombies fanart - This was an old piece I drew during a live stream on magma.com a few years ago. I got around to finishing it last night in ibisPaint and then made some color adjustments in Photoshop. I stink at coloring in my opinion and I usually don't color my line drawings because I get a little bit antsy staying in the lines. The following characters I drew are: The Tree is named Mourning Wood - which is a mini-boss from the game Terraria, the sunflower is from Conker's Bad Fur Day, The Piranha Plant is a recurring enemy in the Super Mario franchise, Peashooter and Puff-shroom are from Plants vs. Zombies, Ivysaur from Pokemon, Water Lily Siren from Shantae, the toon witch Samantha from the tv show Bewitched (intro), and Godzilla.
Behind the Russian Church there is an abyss.
The moss and the rubbish are slippery and jagged old tins glitter at the bottom. For hundreds of years they have piled up higher and higher against a long dark-red house without windows. The red house crawls round the rock and it is very significant that it has no windows. Behind the house is the harbour, a silent harbour with no boats in it. The little wooden door in the rock below the church is always locked.
Hold your breath when you run past it, I told Poyu. Otherwise Putrefaction will come out and catch you. Poyu always has a cold. He can play the piano and holds his hands in front of him as if he were afraid of being attacked or was apologizing to someone. I always scare him and he follows me because he wants to be scared.
- Sculptor's Daughter by Tove Jansson
#dailydrawing #tovejansson
Grandfather was a clergyman and used to preach to the King. Once, before his children and his children's children and his children's children's children covered the face of the earth, Grandfather came to a long field which was surrounded by forests and hills so that it looked like Paradise. At one end it opened out into a bay for his descendants to bathe in.
Then Grandfather thought, here will I dwell and multiply, for verily this is the Land of Canaan.
Then Grandfather and Grandmother built a big two-storey house with a sloping roof and lots of rooms and steps and terraces and a huge veranda and placed plain wooden furniture everywhere inside and outside the house and when it was ready Grandfather began to plant things until the field became a Garden of Eden where he walked around in his big black beard. All he had to do was to point at a plant and it was blessed and grew until it groaned under its own weight.
- Sculptor's Daughter by Tove Jansson
#dailydrawing #tovejansson
The Tool Bench marks my 50th canvas—completed exactly one year to the day after I finished my very first one. This piece is a tribute to work, memory, and the quiet corners where both creativity and responsibility live.
Drawn entirely freehand, it’s built like a snapshot of a lived-in workspace: mismatched tools, worn wood, scribbled reminders, and the little personal things that actually make a place yours. The clipboard holds a “Honey-Do” list that never seems to end. The Polaroid-style sketch of my wife sits taped to the wall like a reminder of why the work matters. The shadows on the back wall match the tools lying on the bench—suggesting a moment in progress, a task paused, life happening between motions.
In “I Love Lamp,” Ty Patmore blends nostalgia, humor, and subtle unease into a surreal domestic scene where time, space, and memory feel slightly off-center. A lava lamp—softly glowing with drifting shapes—sits on a worn wooden table, acting as the sole beacon of warmth inside a room that is quietly falling apart. The wallpaper peels back to reveal fractured brick beneath, as if the structure itself is shedding its old skin.
A melting wall clock drips down the surface like time losing its grip, while a framed picture of a UFO drifting over pine trees hints that even the outside world may not be quite right. Every object bends reality just enough to make the viewer question whether this room is comforting… or unsettling.
Up on a hill, deep in Deadwood
Lies an old shack, that fosters no good
Inside this shack floats a very old being
To seek it out, is to regret such a meeting
A blue floating skull, who brings sweet promises of doom
Sits all alone in a dark four corner room
Why is the reason, this being is there
Why does it beckon one to come near
Its lonely and bored
So it calls out to you
The skull was once mighty and powerful too
Causing great pain on subjects like you
The beast of an age
Caught by a mage
imprisoned in here
no longer to torment the world and spread fear
But just being caught wasn’t enough
It stifled its power but its will, was left uncorrupt
The skull, now a seeker of dreams
Destroyer of love, life, and of schemes #embracingnightmares
"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.
A variety of colorful and delicious looking pastries and cakes are displayed under a glass dome, resting on a wooden base. The arrangement includes an assortment of treats, such as cupcakes and slices of cake.
This is a digital rendering of a drawing I have recreated several times. The original was a doodle done in high school and has since been done as a painting, a tattoo design, and now as digital art. My inspiration was 'A Midsummer Night's Dream', classic cartoons (Woody the Woodpecker), and pinup art styles.
A vibrant assortment of rainbow watermelon slices is arranged on a wooden serving board, featuring colorful triangular and round shapes. The contrasting colors against the neutral background create a lively and appetizing display.
Patron Saint of Woodpeckers and Hangovers. And possibly headaches. I think I remember reading that woodpeckers probably all have headaches, even with their tongues and flexible skulls.
I have a headache.
#patronSaint
