Tag: flowers

  • Spring Vetch

    Spring Vetch

    This study captures a spring field in Georgia, where the greens and yellows feel like they arrived overnight. I used India ink to build the colors in layers, following an Impressionist approach where the depth emerges slowly through repeated marks rather than solid lines. Against that translucent ink, I used acrylics sparingly as a solid, opaque counterpoint.

    I applied them specifically to the purple vetch in the foreground and a few select leaves to give the eye a place to land. The cold press paper captures and holds the ink exactly where I want it, keeping the pigment in place while allowing just the smallest edges to blend into the tooth. It’s a fast, rhythmic way to work that records the spirit of the place without getting bogged down in every individual blade of grass.

    Technical Details:

    • 8×10 140lb cold press
    • Sakura Pigma pens
    • Faber-Castell Pitt pens
    • Acrylic swipe
  • Flowers and Undergrowth

    Flowers and Undergrowth

    I am sharing a new piece today that steps away from the ink and mixed media for a moment to focus entirely on pure pencil work. There is a specific kind of quiet intimacy that comes with a graphite study—it feels like a direct, unfiltered look into the sketchbook.

    This drawing is a study of the wild, tangled details of the undergrowth. My main goal was to play with extreme contrast and negative space. By heavily shading the background to create a deep, soft, almost hazy shadow, I was able to push the untouched white of the cold press paper forward. This allows the delicate petals of the flowers to catch the light and practically glow against the darkness.

    To keep the composition from feeling too heavy, I used sweeping, thin lines for the tall grasses. That fine linework gives the piece a lot of kinetic energy, which balances perfectly against the heavier, more textured shading in the centers of the blooms.

    It is a quiet observation of the forest floor, relying entirely on shifting values to find the light hidden in the shadows.

    Technical Details:

    • Mitsubishi graphite pencils
    • 9×12 140lb cold press

  • A Visit to the Daffodils

    A Visit to the Daffodils

    This digital illustration presents a stylized garden scene, rendered with a vibrant yet somewhat muted color palette and a distinct layering of textures and lines. The composition features terraced brick walls supporting lush greenery, including rounded purple bushes, various trees depicted with differing levels of detail, and patches of bright green lawn. Figures are sparsely placed within the landscape, adding a touch of narrative ambiguity. The overall effect leans towards a contemporary take on landscape art, blending elements of graphic design with painterly washes of color and a deliberate flattening of perspective. The artist employs a combination of precise linework and more gestural, almost abstract applications of color, particularly the energetic bursts of pink in the foreground, creating a dynamic tension between representation and abstraction.

    The illustrative style and focus on simplified forms and expressive color evoke connections to several art movements. The flattened perspective and bold use of color resonate with aspects of Post-Impressionism, particularly the decorative qualities found in the work of artists like Édouard Vuillard. Simultaneously, the graphic quality of the linework and the layering of distinct visual elements bear similarities to aspects of Pop Art, recalling the screen-printed aesthetic and interest in everyday scenes seen in the work of David Hockney. The combination of natural subject matter with a stylized, almost graphic execution creates a unique dialogue between these artistic traditions.

    Technical Details:

    • Samsung Tab9 Ultra
    • Infinite Painter