Tag Archives: drawing

Recent Artwork by Jess Miller

by Jess Miller


Artist: Jess Miller

“Making figure and portrait sculpture is really about chasing the shadows and profiles of the sitter. I don’t think about making a ‘successful’ piece when working – in fact I try not to think at all. Instead, focusing intensely on looking at the sitter, I let the work make itself as I try to capture what I am seeing.”

Jess completed an honours degree in art and design at Liverpool University in 1991. Since then she has continued making and learning about art. For the last ten years, her main focus – in both sculpture and painting – is a fascination with the human figure. She believes that we express our unique, personal narratives through body language and, in her figure and portrait work, Jess tries to connect the sitter with the viewer through the energy of her mark-making.

She exhibits annually with Crouch End Open Studios and was an active member of the North London Artists Network until it closed at the end of 2015. She has also exhibited in the New English Annual Open at the Mall Galleries for the last few years. She teaches regular painting and sculpture classes in North London.

Website: www.jessmillerart.com

Twitter: @JessMillerArt

Instagram: @jessmillerart

Classes: www.artstables.co.uk/all- classes



Stories and Faces

by Nicola Paton

Amy Winehouse

Dead eyes, inspired by Giles Duley photography

Snoop Dog

The Poodle, inspired by Tim Flach photography

A gentleman called Allon

Portrait of my brother Richard

Zombie Boy

Tommy the jeweller

Dinos Chapman

The aging process

Ranulph Fiennes

Homeless man inspired by Lee Jeffries


Artist: Nicola Paton

My name is Nicola Paton and I’m from Birmingham in the UK.

I re-found my passion for creating pieces of artwork eight years ago and dedicate any available spare time to my hobby, which gives me so much pleasure and fulfilment. My medium is charcoal and pastel, but my true love is charcoal, it allows me to re-create the emotions of the human face and capture the story behind the image. Recently I’ve been enjoying the challenge of experimenting with animal portraits which I intend to introduce more to my art collection.

Being a self taught artist has allowed me to discover my own individual and unique style. My inspiration comes from photographic images which I transform into one off pieces of artwork. My portrait vary from famous to the unknown and take between one to six months for completion. I’m always pushing the boundaries with my art and feel I’m evolving with each piece I create.






Platinum Lint

by Ana Bayon


Artist: Ana Bayon

Ana Bayon is a Argentine draftsman living New Hope, Pennsylvania. She studied fine arts in Buenos Aires and New York. Her work was recently featured in the contemporary drawing publications  ‘Strokes of Genius – 8’ and in the upcoming ninth edition. Her work was also selected for the book  “Art Journey: Portraits & Figures, The Best of Contemporary Drawing.” Her work is in collections throughout Philadelphia area.

Instagram – @platinumlint


From Line to Life

by Gavin Garcia

Ana – oil on canvas

KB Bed

KB with cushion – pen and paper

Life model I – pen on paper

Lying with her – Mono print


KB II – pencil on paper

Ana portrait – mono print


Drypoint, self-portrait

KB with cat – pencil on paper

Where there used to be a theatre.

Neil Young


For Francis


Artist: Gavin Garcia

I am an artist and a musician from Gibraltar, living and working in London. Within my work I try to explore the human form through the study of individuals whilst hoping to create images which capture the vulnerability and beauty of people. At times I focus on the surrounding landscape and its encompassing attraction, be it man made or crafted by nature. By drawing, painting and printing I use the strength of line as well the power of colour to create images that hold meaning.

Website: www.gavingarciaart.com

Facebook: https://www.facebook.com/gavingarciaart

Twitter: @gavinkgarcia

Video to recent interview: https://www.facebook.com/gbcthehub/videos/1168111816606273/


Art is just feelings…

by Juan Barquero









Juan Barquero-meet













Artist: Juan Barquero

French. Born in Chile. I live and work in France currently.
“Everything is spontaneous, without sketch or scenario. Just feelings.”

Celebrating the gentle contours of the female body with fine, sensual, fluid lines that reference an unrestrained dance, Juan’s drawings provide a seductive entry point to an intense oeuvre, introducing enduring themes of sensuality, corporeality and temporality.





Postcolonial Thoughts: Thoughts on Pedagogy of the Visual Artist

by Christopher Hutchinson


noun, plural pedagogies.

1.the function or work of a teacher; teaching.

2.the art or science of teaching; education; instructional methods. http://www.dictionary.com/browse/pedagogy


This opinion has developed from years of experience teaching visual art on the collegiate level and recognizing that there are an increasing number of  students that want to be art majors–and the majority consider themselves illustrators.   Most of these students come to introduction art classes ill-equipped and advised.  This article is an exploratory investigation into such a student’s attitude and pedagogy.

This trend was confirmed recently during a visiting lecture to a mixed media classroom of high school students that overwhelmingly wanted to be illustrators.  The classroom of students had their portfolios and every student had the same bad habits that they will have to unlearn to become successful in the average college visual art foundation courses.

Note 1-Illustrators struggle in drawing class


Many of these high school students believe that illustration is an easier, freer, and cooler path to eventually produce their own cartoon/manga. In the very beginning of a student’s visual art journey, one should be open to many mediums and processes.  Elementary  through undergrad should be a fertile ground of experimentation with everything visual.  Each medium and field has its champion or interest that leads to further development, a development that cannot be fulfilled with just illustration. Any young artist that has not explored these with the same lust for creating is missing out.  Settling on illustration/animation in 9th grade is the equivalent of saying “hotdogs are the best food ever and there is nothing you can say to change my mind.” In the high school years students should become a fan of art and other processes.  They should be open to receive and consume all aspects of art to eventually make informed decisions.  Experiment with everything such as watercolor, etching, oil paint, drawing–especially drawing.

Note 2- Doodles are not drawing studies

In art, a study is a drawing, sketch or painting done in preparation for a finished piece, or as visual notes. Studies are often used to understand the problems involved in rendering subjects and to plan the elements to be used in finished works, such as light, color, form, perspective and composition. https://en.wikipedia.org/wiki/Study_(art)

Many of these self-proclaimed illustrators/animators cannot draw and have a very difficult time in introductory drawing classes on the collegiate level. These students often do not perform as well as students who are taking the course as a elective.  The elective students have not built up years of bad habits.  Elective students have not built up years of ego so they have the patience to receive proper information.


By focusing on illustration/animation as a student’s initial point of interest, bad habits get ingrained and affirmed for years.  Students are actually training themselves to have extreme contrast as a form of reality, but in reality contrast is not nearly so common.  They end up using super black sharpie markers and mechanical pencils, with no understanding of the many levels of gradation and value there are.

Sharpies and mechanical pencils are not the tools of someone interested in drawing. This problem is evident when these students attempt a a simple value scale.


At best, the years of copying their favorite X-Men characters leads to lineweight.  But surprisingly, many of these students’ linework also lacking.

Lineweight is a term that describes the relative ‘weight’ – strength, heaviness, or darkness – of the line against the background or support. It is governed by the pressure on your drawing tool as you make your line – whether this is decreasing or increasing the pressure on the tip so that it leaves behind more or less medium – or altering the angle so that more of the tip is in contact with the paper. http://drawsketch.about.com/od/drawingglossary/g/lineweight.htm

These doodles might as well be scribbles due to the fact that learning the nuances are not learned, rather they are crude lines void of aesthetic.  The doodles of these students are not learning when the majority of what they are practicing is copying a flat image, not looking at life. Those doodles are not studies.

These students’ doodles represent another major problem on the collegiate level: not being able to finish a work of art.  They have many sketchbooks of doodles without a portfolio of large complete pieces.  The work for years without ever completing anything. The point of the study is to learn to finish.  These students end up with a huge ego and years of unfinished work.  Ego comes from completion, not hype.

Note 3- Copying a style is not creative or unique

Students that claim to be interested in illustration/animation are not actually interested in drawing or art making.  They are interested in developing a “style unique to themselves.”  This usually means they want to copy a specific type of style and change the accessories of the character to make it “unique.” Most of these students come with this in mind as a valid pursuit of a career.  This is a huge mistake.  Copying a style is not a creative or artistic choice and definitely not unique.

Note 4-Pedagogy

After a little critique and probing of the high school classroom portfolios, the real reasons began to emerge as to the motivation behind wanting to become an illustrator.  What came up was excitement about the narrative, the movement, and the color of illustration.  Here is where pedagogy can have a huge effect with some additional probing, some additional recommendations, and support.  If a student is more interested in narrative, they need to be more equipped as a writer.  If a student is more interested in movement, then what kind of movement–physical movement or illustrated movement? If color–interested in what kind of color–muted, saturated, color application?

This new crop of self-proclaimed illustrators and teachers have to explore and challenge what illustration really means.  Many of these students, when they come to to the collegiate level, end up changing majors due to being ill-equipped artists that believe the skill of copying is an art form. They are very impatient students and expect quick results. There is a reason art classes are 3-5 hours long. Artmaking is not for the someone interested in quick results.

Christopher Hutchinson 2Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.

Without the Darkness We Cannot See the Stars

by Evre Başak

Evre Başak -01-the great Jupiter

Evre Başak-02-The Moon

Evre Başak-03-The sun

Evre Başak-04-Spaceborne

Evre Başak-05-Insider

Evre Başak -6-The Bound

Processed with VSCOcam with m3 preset

Processed with VSCO with m3 preset

Evre Başak-09-Far-From-Hell

Evre Başak-10-Awaken

Evre Başak -11-Old-Man-of-Storr

Evre Başak-12-Stonehenge


Evre BaşakEvre Başak was born and raised in Istanbul, a grand old, culturally diverse metropolis in which exists a rare example of how antiquity and modernity can blend together in perfect harmony. She has been drawing and painting ever since she worked out how to hold a pencil. Since graduating from Mimar Sinan Fine Arts University 7 years ago, she has been a professional senior fashion and print designer. Meanwhile she has continued to refine her drawing and painting skills while maintaining a consistent output of original work. Examples of her work have been exhibited at The Marmara Pera Gallery, Milk Gallery, Mtaär Gallery and at Mimar Sinan Fine Arts University. In 2008, she won the international design award, “The Future of National Textile Design Award”.

Evre’s artistic passion is nourished by the mysterious power of Mother Nature, the animal kingdom, the universe; and the dark, fantastic romanticism and captivating characters found throughout history and in fairytales. She is trying to capture the positivity, beauty and romance of “the darkness” in order to show that without it, we cannot see the stars.

email: evre.basak@gmail.com

website : http://artofevre.com

facebook : https://www.facebook.com/artofevrebasak/?ref=aymt_homepage_panel

instagram : http://www.instagram.com/artofevre/

twitter : http://twitter.com/evrebasak

pinterest : http://pinterest.com/evrething/art-of-evre/


Rotating Selves

by Eleanor Adair and Gabriel Vilanova

The Rotating Selves project comments on the traditional artist/model relationship in art and how this materialises online, with neither the artist or model meeting in real life

It began through a series of messages on Twitter between Scottish artist Eleanor Adair and Spanish artist Gabriel Vilanova. Both had been following each others’ art and had felt a connection due to their focus on figurative drawing. When Gabriel suggested they try to find a way to work together, Eleanor proposed the idea of rotating a series of portraits between themselves online.

Both artists began by creating a self portrait taken from a photograph that was kept hidden from the other. This self portrait was then forwarded to the other artist who created a new portrait from the image. Once completed, this got sent back to the original artist who created a further portrait from that. This rotation continued until a series of 10 portraits in all were completed, five of each artist. As neither artist was able to see the original photograph, the portraits developed solely from the other artist’s interpretation.

Eleanor 4 strip_a


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gabriel strip_b


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Thoughts on the virtual collaboration process:

Eleanor: For me the potential to work virtually with an artist whose work I felt a real connection to was incredibly exciting. The idea that we could both create portraits of one another, despite having never met, was one I really wanted to explore. So, the project began with us agreeing on some concepts, that we would both begin with a photograph of ourselves and from this draw a self-portrait. We’d then send this drawing to the other artist who would create a portrait from it, before it was sent back and so on, until we had a set of ten portraits, five of each artist. Neither artist was able to see the original photograph, so that the portraits developed solely from the other artist’s lines.

I was intrigued by the concept of developing my own lines from Gabriel’s, of giving over my face and watching someone else move it around and seeing myself and my art emerge through another artist. How would our styles differ and would we pull or push each other in our own directions? And there was always the prospect that we would push each other into places we wouldn’t normally explore. Initially I had wondered whether keeping the project to drawing would reflect limitations, that it would somehow feel contained within a medium and be a lesser form of what it could be if we painted. Actually what’s happened is that its shown me the vast scale and potential for drawing, that you can convey a huge amount in line without paint. What was amazing was seeing Gabriel create not just different factions of me, but my whole family within my face. I’d recognise my mother and father, myself as a child or how I looked when I was feeling differently. But it was also inspirational in the way his lines generated new ideas for me in how I responded in subsequent drawings.

Gabriel: I’ve always admired portraiture as a genre. Especially when it’s not commercial, when the only client is the artist himself. It’s then the art becomes truly and freely driven. I’ve always appreciated Velazquez in this respect, especially his series of dwarf paintings which are beautifully free and visceral, where the sole purpose seems to be to capture the souls of those portrayed.

How the project emerged with Eleanor was that we discarded superficial notions of portraiture. This was needed to submerge ourselves completely into the introspective process of self-portraiture. This introspection was enhanced by the added vision of the other artist, so that through a process of visual feedback, two artists who don’t know each other in real life and know little about each other’s lives, who don’t share a common language, were able to connect. The result was a discovery of each other through invisible and unconscious elements that emerged as a visual language.

I’ve no choice then but to thank Twitter for the ability to connect with Eleanor and share this soul searching process together.

Eleanor: Online is generally seen as the lesser version of something authentic and I wanted to work around that idea and try to produce something substantial. I think we’ve commented on the traditional artist/model relationship within art and hopefully managed to be inventive through a virtual space. It’s nevertheless a very real space in terms of how we perceive each other and the life we’ve given each other through our lines. A self-portrait for me isn’t about what I look like, but recognising myself in something, and I feel this is a connection that’s definitely been made through Gabriel’s work.

For more about the project, including a look behind the scenes, click here


Eleanor Adair is a Scottish figurative artist whose work is concerned with issues of self-consciousness and identity. She has exhibited internationally and has no formal art training. She currently lives and works in Scotland.

Website- http://eleanoradair.com/
Twitter- https://twitter.com/eleanoradairart
Facebook- https://www.facebook.com/eleanoradair.co.uk

Gabriel Vilanova is a multidisciplinary Spanish artist who specialises in both traditional and digital painting and drawing. He trained in the visual arts in Granada and also works with photography, illustration and design.

Website- http://gabriel-vilanova.blogspot.co.uk/
Twitter- https://twitter.com/GaitoVilanova
Facebook- https://www.facebook.com/gaito.arte



by Freddy Kirsheh

Angelic thought - digital painting

Angelic thought – digital painting

Concentration - Digital painting

Concentration – digital painting

Dany - digital painting

Dany – digital painting

Herz-Jesu-digital painting

Herz-Jesu – digital painting

Horse by the sea- Digital painting

Horse by the sea- digital painting

Modern global sensations - digital painting

Modern global sensations – digital painting

Moments of creativity - digital painting

Moments of creativity – digital painting

Palettre Spectra - Digital painting

Palettre Spectra – digital painting

Peace Dove - Altered water colors

Peace Dove – altered water colors

Peace of mind - digital painting

Peace of mind – digital painting

Sans parole - altered water colors

Sans parole – altered water colors

The greatest Creation- digital painting

The greatest Creation- digital painting

SHATTERED SELVES - 2014 Mixed media- drawing & digital painting

SHATTERED SELVES – 2014 Mixed media- drawing & digital painting

What Could Be In Woman's Heart - digital painting

What Could Be In Woman’s Heart – digital painting

Why you stone me - digital painting

Why you stone me – digital painting


Freddy Kirsheh Profile picsArtist: Freddy Kirsheh

Place and Date of Birth:                Damascus / 19.05.1953

Lives in Vienna

Fine Arts,  BA  degree  in interior design

Working  in  Interior  Design Decoration and  graphic design

His interior design and artworks works  was in: Damascus, Beirut, Cairo, Sharjah, Dubai, Athens, Paris, New York





Beauty of Line

by Jerry Shawback

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Jerry ShawbackArtist : Jerry Shawback

Jerry Shawback uses drawing as his primary form of expression. He studied communication design in Los Angeles at the Otis Art Institute of Parsons School of design, a division of the New School for Social Research. Jerry worked as a freelance designer, commercial artist, and animator for the entertainment industry.

After a ten year hiatus from the art world, Jerry returned to painting in 2007,  as a primary focus producing a series of self portraits encompassing various artistic motifs, while maintaining an underlining vision, cohesion and emotional honesty.  The artist’s self portrait series explores identity through multiple approaches to the same subject matter. Stylistically varied, they reveal the strange and vulnerability essence of the human condition. Jerry is now working on a series of paintings and portraits exploring self through images of others.

His affinity for people, observation of life and strong draughtmanship is apparent in his depiction of the human form and informs Jerry’s painting. Other influences include: Rico Lebrun, Egon Schiele, Francis Bacon, Lucien Freud and his mentor Cornelius Cole III.

Jerry has been sharing his works on paper daily on social media, documenting the lives and experiences around him. Exploring the subtle beauty of line through a continuing study of the human form is a common thread that permeates all his work.




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