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Ink on board, from BEAR BONES. New version of a drawing from earlier this year - this one is twice as big (24 x 70cm) and i'm way happier with the linework. Bad photo though, sorry.
Wasn't that satisfied with my old minifigure so I decided to do a new one, going all out with the details, doing all the linework and colour myself and even constructing a properly scaled helmet.
Drawn with a Pilot MYU 701 fountain pen (1974) with Iroshizuku Shin Kai ink in a Leuchtturm1917 journal
Rydal Cave, also known as Loughrigg Cave, is actually a former quarry working on the lower southern flank of Loughrigg Fell. It can be reached by a footpath from Grasmere to Ambleside. Just outside the cave are extensive spoil heaps and there is a another, less deep, cave a little further down the slope. The quarry produced good quality stone suitable for building work, the stone splitting in regular shaped blocks. The main cave has a fairly deep pool by the entrance but the interior, about 100 yards deep or so, can be accessed by stepping stones. I sketched the cave from the entrance, getting the basic information down quickly as it was fairly busy with many families queuing to use the stepping stones, and added a bit more ecolour and linework from memory while having a cup of tea at the end of our walk. The drawing fills half a page in my A5 size Moleskine sketchbook.
I could have done it all in one go but colours were added another day after linework completed for animation purpose. I am here anyway, my work place.
size : 350 x 350mm
Jannepaint inspired linework with a tweak to the colour merely because I thought it looked cooler than red.
Часы на башне Киевского вокзала остаются механическими, раз в три дня их вручную заводит часовщик, поднимая огромную гирю. А охраняют их четыре бронзовых орла.
This wide-rimmed, translucent-glazed dish, seen in the same Bruges shop window, is not quite what it first appears to be. Though it borrows surface elements from Japanese export porcelains—notably Arita Imari and Kakiemon styles—the hesitant linework, glaze corrections, and European form factor tell another story.
🔍 What It Isn’t
Despite first impressions, this is not Japanese porcelain.
The glaze is translucent, not tin-opacified like majolica or faïence.
The design is too geometrically plotted and lacks the fluid spontaneity of Japanese brushwork.
Motifs like the orange grape clusters and pinecone-like forms owe more to European folk or Arts and Crafts decoration than to East Asian originals.
🎨 Design and Technique
The central floral medallion feels almost heraldic, rather than organic.
The fan-like radial pattern and banded knot dividers suggest a Western stylization of textile motifs.
Colors include blue, red-orange, green, and black under a clear glaze, with visible pooling and uneven application—hallmarks of amateur or student production.
Probable Origin and Date
This is most likely a Japonisme-influenced studio ceramic, made in Europe—perhaps Belgium, the Netherlands, or Britain—in the late 19th or early 20th century. It may be the work of a student or semi-professional ceramicist, trained in one of the many decorative arts schools inspired by the Arts and Crafts Movement or Aesthetic Movement, where Japanese motifs were studied and reinterpreted with European sensibilities.
Comparative Traditions
Pilkington's Royal Lancastrian for stylized glazes and design.
De Morgan School pieces, especially from less experienced hands.
Dutch Hague School ceramics, known for blending Japanese and Art Nouveau influences.
Kunstgewerbeschule (Schools of Applied Art) works from Austria or Germany, where cross-cultural experimentation was encouraged.
✍️ Summary
An intriguing example of cultural translation in clay: Japanese-inspired, but distinctly European in form, material, and execution. It exemplifies the moment when Japonisme filtered into European teaching studios and decorative workshops, resulting in charming, hybrid works that speak as much of ambition and curiosity as they do of technical polish.
This text is a collaboration with Chat GPT.
B) eSketch w/Stylus 1.12.10
A creative artist friend Jeff BRADY being WOVEN.
He is an expert in pen & ink illustration and design.
WIP pic of me drawing my cats
kittens in mittens contest entry: www.spoonflower.com/designs/3719057
cat designs: www.spoonflower.com/collections/103479
Letterpress printed program for a wedding in the Colorado mountains. The gerber daisy illustration is a nod to flowers used in the floral arrangements for the ceremony, while the colors represent the three main colors used in the ceremony and reception. The booklet format with ribbon and eyelet closure enables the piece to feel like a gift, and gives attendees the pleasure of participating by unwrapping and opening the program. Aside from the wedding party, a description of events in the ceremony is also printed on the inside. The vertical linework surrounding the couples' names, by the way, mimics the texture found in the grosgrain ribbon, and give the interior spread an enclosed, intimate feeling once the ribbon is untied and the cover folded out of the way.
Drawn with a Platinum Preppy EF02 fountain pen with Iroshizuku Take Sumi ink in a Leuchtturm1917 journal
The Pontsteiger is based on a hourglass shape that lands like a half-open building block. Placing the block on 7-meter-high pylons, the view of the water is preserved and the courtyard is freely accessible. There is also a landing place for the ferry, a harbour and a café on the corner.
This project shows that you can also enhance the living environment. For example, the wooden ceilings with which the balconies are finished. These wooden ceilings give the building a warm atmosphere, while referring to the locations history of timber docks while dampening the sound from the ports. Or the rolling shape of the entrance pavilions, which helps to limit wind nuisance in the courtyard.
Architect: Floor Arons & Arnoud Gelauff (Arons en Gelauff architecten)
Location: Houthavens, Amsterdam, The Netherlands
Start Construction 2015-05-01
Construction Completed: 2018-12-28
Opening: 2018-09-05
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