This is an original drawing / painting of a hippopotamus, or “hippo” for short. It’s a mix between a drawing and a painting, because parts of the hippo are drawn with pen and markers, and other parts are painted with paint pens and watercolor. Thin blue pen lines were used to sketch the initial drawing of the hippo, and other layers of marker and ink were applied after that. Washes of plain water and muted watercolors were then painted over the marker, which adds subtle gradients and shadows to the painting. Some of the lines were blurred, but a second layer of markers was then used to sharpen the drawing back into focus. Stark contrast between the bold black lines and pale colors adds tension to the drawing. Lastly, silver and white paint pens were used to add highlights, and shimmering specs of paint help to lead the eye of the viewer around the hippo. Unfortunately the effect does not translate well to digital reproductions of the drawing / painting.

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These four drawings of lions were created with charcoal in 2002. Each lion is roaring fiercely, in a depiction of their natural inclination to hunt and strike for food. They represent a struggle for survival through raw power, not to be confused with perhaps the more anthropomorphizing emotions of anger or rage. That is the symbolism intended for each piece of art.

Each lion drawing was uniquely constructed, starting with thick black lines of dark charcoal. Layers of white chalk and pastel colors were endlessly drawn over one another to create textures and the energetic patterns of their tussled manes. Heavy black charcoal was used around the eyes to draw focus, and the mouth has contrasting stark teeth with a dark interior to help them stand out. Color palettes consist of warm and cool colors, or harmonious and contrasting palettes. But each mix of colors adds something unique to each drawing amidst the similar compositions of the lion’s face.

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This bald eagle watercolor drawing / painting was created in 1998 with a mix of watercolors and salt. The eagle was drawn in first with some light pencil marks. Then various washes of brown and yellow colors were dabbed in to create feathers, eyes, and the beak. For the sunlit background, a wash of water was first applied to the canvas. Color was then added to the page in concentric circles around a large puddle of yellow, and the water blurred and blended the colors together. While the paint was still wet, salt was thrown on the background, which gives the painting texture and a unique crystallized look. This helps to separate the background from the painting of the eagle.

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These two Lion Drawings were created at two different times, in 2 different mediums. The first lion art was drawn in charcoal in about 1997. Heavy black charcoal, and rich red and sienna colors were used in a limited palette. Some of the white highlights are just the white of the paper, while white chalk was used extensively in other areas of the drawing. The heavy lines and deep black shapes help to enhance the power and fierceness in the lion’s pose.

The second lion drawing was made with Pens and Markers in 2003. A quick pen sketch was drawn, and then a black silhouette was filled in around the profile of the lion’s face. Gray markers and splashes of red and blue color were used to add an offbeat contrast of colors not normally seen in a lion, which gives the drawing an abstract surreal feel. White paint was also used for highlights. On each layer of the drawing, the pen and marker lines always reflect an uneasy intensity in the art.

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This is a watercolor painting of a lizard, also known as an “Anole”. The little lizard was sitting on the patio in 1997, so I grabbed some watercolors and quickly painted in some basic shapes. Sometimes they act like Chameleons, because their skin changes color to reflect the colors in their environment. This one took on the grays and browns from the cement, however I took some artistic liberty in adding a few abstract splashes of color to represent the leaves and water around the lizard. This also helps set the lizard apart from the background. White highlights in the painting, around the lizards face, were created by leaving sections of the white paper untouched by the watercolor.

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