View allAll Photos Tagged graphitepencil
Love the shape to this fruit! It has bumpy skin and a unique top-knot on the top of the fruit (hence the Sumo name...) It is very sweet, seedless and easy to peel.
I got some new pens today: a Sakura Micron Sepia set. I'm collecting quite a bit of pens now.
Galaxy s5
Decided to to use this tin to organize the leadholders that would otherwise be lying randomly on my drafting table. Blog entry.
I didn't know what to draw, so I picked up a poplar twig, I think it was, and drew it.
This study used only lines -- no blending, smudging.
I only drew to complete assignments, got talked out of going into an art major by my mother, didn't finish college, got married, had five kids, and am only now, at 50, starting to get back into drawing.
I'll be mostly self-taught -- I finished a pencil drawing class and decades later took a 6 week class as a refresher.
Pub "DessinsTactiques" illustrée d'un dessin police d'un maître-chien du RAID de la FIPN et de son Berger Belge Malinois d'assaut.
Site: www.dessinstactiques.com
Facebook: www.facebook.com/dessinstactiques
Blogged HERE
Inspiration Picture from here:
www.flickr.com/photos/kirstography/497639308/in/faves-355...
Charcoal on paper
Although Hopper later discounted his illustrations as "potboilers," he thrived as a commercial artist. He produced hundreds of drawings, and occasionally oil sketches, for magazines and advertisements between 1906 and 1925.
[Whitney Museum of American Art]
Taken in the exhibition
Edward Hopper’s New York
(October 2022 – March 2023)
For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.”
The city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. During his lifetime, the city underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed—yet his depictions of New York remained human-scale and largely unpopulated. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. Edward Hopper’s New York charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.
Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.
[Whitney Museum of American Art]
Taken in Manhattan
Illustration format A4 d'un binôme de plongeurs d'intervention du GIGN équipé d'un pistolet-mitrailleur FN P90 et d'un pistolet FN Five seveN en calibre 5,7mm. Le dessin original par David Andro a été réalisé sur format A3/crayons gris.
Facebook: www.facebook.com/dessinstactiques
Site: www.dessinstactiques.com
Illustration SRA3 d'une équipe ERIS (Équipes Régionales d'Intervention et de Sécurité), le "GI" de l'administration pénitentiaire intervenant pour des mutineries, transferts de détenus dangereux et prises d'otages. Ces opérateurs (ERIS 59) sont équipés de pistolets Sig Pro et d'un fusil d'assaut HK G36c ainsi que d'un bouclier balistique.
Dessin d'origine en format A3/crayons gris réalisé par David Andro.
Facebook: www.facebook.com/dessinstactiques
Site: www.dessinstactiques.com
А5, графитные карандаши, фотошоп.
Флешмоб Александры Дикой "Осеннее волшебство", сентябрь 2018. Тема - "Защитник уютных шарфов".
Like a rain forest that is comprised of multiple vegetative layers, each comprising its own microcosm, so does my purse. Blogged at: drawingonnature.blogspot.com/
Serial: 394-DSC03736 |
"The Black Church in a Winter Night" by Boris Savluc, is released under an Attribution-NoDerivs CC license. You can use it in any way as far as you will credit the author - Boris Savluc, and link it to www.savluc.com/boris.
A graphite pencil drawing I did of two jokers I think a good caption here is -
"There was an Irishman an Englishman and a Scotsman"
At first glance the Staedtler Ergosoft produced the darkest swatch while the other four produced fairly similar tone swatches.
Pub "DessinsTactiques" illustrée d'un dessin d'un opérateur du GIGN armé d'un pistolet-mitrailleur FN P90 en calibre 5,7mm.
Site: www.dessinstactiques.com
Facebook: www.facebook.com/dessinstactiques
Graphite and carbon pencil on paper. I used two unrelated stills from the Hitchcock movie 'Psycho' for this one.
Transparent and opaque watercolour and graphite pencil on paper
Although Hopper later discounted his illustrations as "potboilers," he thrived as a commercial artist. He produced hundreds of drawings, and occasionally oil sketches, for magazines and advertisements between 1906 and 1925.
[Whitney Museum of American Art]
Taken in the exhibition
Edward Hopper’s New York
(October 2022 – March 2023)
For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.”
The city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. During his lifetime, the city underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed—yet his depictions of New York remained human-scale and largely unpopulated. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. Edward Hopper’s New York charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.
Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.
[Whitney Museum of American Art]
Taken in Manhattan