Adam & Andrea

I think it's done! I have lowered Adams bangs and defined the area on the right side of his face.

Here is a big jump from the last scan to this one. I didn't want to stop and scan! There might be some minor tweaking to do but I do believe it's almost done!

Adam's face is very angular. It makes it much easier to get shadows and placement! I will be softening them up yet. But it's coming along.


Okay, with the help of my son, (he has an excellent critical eye) I am attempting to get Andrea look a bit younger and more of a likeness....

I continue to bring 3-dimensionality and form to Andrea's face. I am going to move over and start on Adam's features as I want to build both faces tonal features as consistently as possible.


I start by creating a very light outline of the facial features of both Adam and Andrea. This is used as a guideline for placement and positioning of the features. I start with a 2B .5mm mechanical pencil and create the eyes. I use the 2B lead to shape and shade the form of her face. Using a chamois I smooth out the graphite and then lift out the highlights with a kneutgummi eraser. This eraser is much softer that the Blu-tack that I typically use. It lifts the graphite much easier and works well for this feature.

This is Adam and Andrea.

Tiger Lilly

I think this is completed! It is easy to overwork a subject like this, so I am going to stop before I lose the freshness. The background is left very rough and gives just the impression of stems and leaves.

I am working my way around the flower. I have to concentrate on making sure the pedals flow consistently and smoothly to the center of the flower. Not always easy to accomplish. I have had to make continual modifications of the white seam as well as the edges of the pedals to to keep the flow looking natural.....

I erase the white seam of each pedal with the white eraser. I then start working in the detail of each pedal using a F .5mm mechanical pencil. The subtle changes of values is important to create depth, while keeping the velvety texture. I work the background at the same time as I draw the pedal. I will be keeping the background blurred and indistinct.

It might seem odd to draw a flower in graphite. The brilliance of color to represent the subject matter is tempting. I feel flowers are an excellent subject matter to explore in graphite. The soft gentle pedals against a textured and abstracted background lends itself well to contrasting textures, light and shadows and the whole gambit of drawing exploration.

Flowers can be treated as studies, still lifes, or incorporated into landscapes. The possibilities are as endless as the varieties themselves.

To create the soft look of the pedals, I use the same technique as I use for skies. I cross-hatch the pedal using HB lead, then chamois the area smooth. I erase the over-smear to a crisp edge using a white plastic eraser.

Red Rock Canyon

I have been requested to post some detail shots of the tree.
So here are a couple of close-ups:









I'm not sure how much farther to work this drawing. I have a feeling I am finished, but I will let it sit for a few days and see if anything calls out for more detail. ENJOY!

I've worked some more on the background mountain range. It's tempting to put more detail in but it really needs to remain fairly non-distinct. The branches on the ground are also slowly taking shape as well.

I am working the background in before I get to the edges of the tree branches. I want to make sure the background is going 'behind' the tree. You can see the background bushes increasing in size adding depth to the scene. I have also sketched in the branches laying on the ground. This tree is so hardy...even the broken branches are still green with needles.

I am starting to lay in the background. Using a 4H chisel point clutch pencil, I start layering the desert ground. With a F .5 mm mechanical pencil I start to draw the small bramble bushes in the background. I have darkened the branches in the the shaded areas and it seems to be helping to bring life to this unique tree.

I am ever so slowing making my way through the tree. This is very time consuming as there is so much rich detail I don't want to miss! I have been working on this drawing off and on since January. But in the last 3 days I've made a bit of progress......

Last fall my husband and I vacationed in Las Vegas. While Vegas didn't hold much interest for me with all it's neon lights and gambling, we spent a couple of days outside of town. Red Rock Canyon is just 15 minutes west of Vegas and is truly a beautiful wonder to behold. This cedar tree is not very tall - perhaps 10 -15 feet, but what a rustic character it is!! I start the drawing by lightly cross-hatching a layer of graphite using 2H down for the sky. I then chamois this smooth. Using a white eraser I lift out just a hint of clouds. I start the tree's needles at the tip and am concentrating on the dark sections. I am using negative drawing to 'draw' around the trunk areas, leaving them white.

Tennessee Barn - Continued

It' s been a while since I've had the opportunity to work on this one. I think I am done with it but the grass may need just a touch more...

Hawthorne Tree Study

This is a Hawthorne tree that resides in North Yorkshire England. My good friend, Mike Sibley, was so kind to take photos of some local trees for me. It is a small tree but has so much character with it's old knarly bark and knots and distinct leaves with small red berries.

This was drawn on Arches Watercolor paper, hot press. Size is approximately 9x12".

Barn Commission

I believe this one is ready for a signature. I have laid in the grass and the lane gently curves into the picture...leading the viewer right into the scene. The tree shadow blanketing across the lane adds interest as well.

This is coming along nicely. I have the fence lines in and the driveway is starting to take shape. The grass is slowly taking form as well. The foreground tree on the left wraps the scene nicely together.

I've got the garden planted! This sure brings back memories of all those garden fresh vegetables...cabbage, carrots, beans, tomatoes and corn. I've started on the fence work and the lane as well....

I've drawn in the silo. It has a metal dome with lots of sun reflection. The silo itself is a brick one. Consistent with my approach, I do not draw every single brick. Instead I draw just enough to give the impression of bricks. I am careful to indicate a curve to give the silo a cylindrical shape. I continue with the trees in the background and the shed to the left of the building.

There is a maze of fences to decifer in the front part of the barn. I will have to look closely at the photo reference to see where they go.....

The barn is next... I have added just a few wispy clouds in the sky. Just enough to add interest, not enough to compete with the rest of the scene.



Since I am left-handed I work from right to left. For me that is a natural progression. It might seem a bit backwards to most people. I have decided to include just a few of the round hay bales but they disappear into the trees on the right. The background tree line and field are added as well.

I start by creating an outline of the barn and surrounding elements. I then create a smooth, toned sky.....

The size of this image 17.5 x 10".

I enjoy doing commissions for people. But when the subject matter includes a old family farmstead, it is even more enjoyable. This one is no exception!

My client provided me with a couple of photos of a barn. She is giving this drawing to her mother for her 75th birthday. What a beautiful barn and a wonderful gift....

Here are the two reference photos that I am working from. The panoramic is of the barn just before it was torn down. The black and white is how they all remember it looking like. I will be combining elements from both images to create an image from the past.....

Tennessee Barn

I've had to set this drawing to the side for just a bit, but promise to get back to it soon!!!

Fellow artist, Gregg Stone, shared a wonderful photo he had taken of a Tennessee barn. I've been itching to draw it ever since he sent it to me. This drawing is currently on my easel while I have been 'meeting the public' at Barnes & Noble.

Barns in Iowa don't weather (age) like this one! This has such rich beautiful darks. It's the darkest I've ever attempted in a drawing. I have much of the barn face completed and will be starting on the background soon!

Enjoy!