I think I had the most fun with the trees on the top image, and shading Douglas with the azhdarchid on the bottom image :) I noticed i feel like I painted the trees a little too uniform??? but perhaps because I felt under pressure with so much overlap between them

Today is the last day to take advantage of this sale! Be sure to get in before it runs out.

Everyone talks about Burne-Jones the painter. The stained glass, the tapestries, the lush oils dripping with medieval fantasy. Nobody talks about his graphite. "Venus" is where you see his hand thinking. No color to seduce you, no gold leaf, no narrative crutch. Just a soft graphite pencil on cream paper and a figure built almost entirely from pressure control. The modeling is so faint it barely exists - he's not drawing shadows, he's suggesting the memory of them. The heaviest tonal work sits under the breasts and along the inner thighs, and even there we're talking about maybe three values total. The belly, the sternum, the shins - bare paper doing the work of skin. Then there's the dissolution toward the feet. The ankles dissolve into gesture. The toes are ghosts. The face, though, is finished enough to read: downcast eyes, closed mouth, that Burne-Jones melancholy that makes every figure look like she's remembering something she hasn't lived yet. A whole Venus conjured from almost nothing - friction between graphite and paper, and knowing exactly when to stop. Quelle: meisterdrucke.com

Definitely highlighted that I need to practice drawing clothing, currently I'm using too many soft edge shadows and it looks out of place to me. Tomorrow's study I'll focus on clothing

Few tonal thumbnail studies i did yesterday

In college we have started a print making unit with the theme of "doors". I have done a selection of beginning drawings + monoprints before we get properly into the lino print making.

My favourite album released by Get Scared, is Everyone's Out to Get Me

A colour comp and tonal study for an oil painting commission!