A gallery for all my digital drawing, painting, and more. All artworks here are 100% human-made, by my hand, from beginning to end.

"Lena", digital painting, A4. Unofficial art for character from "1,000 Jumps Too Far".

"Her Holy Farsightedness", digital painting, A4. Unofficial art for character from "1,000 Jumps Too Far", and an indictment of those who use the human instinct for spirituality to advance their own personal power.

"Commander Haft", digital painting, A4. Unofficial art for character from "1,000 Jumps Too Far".

"Caspar", digital painting. Character portrait.

"Dmitri", digital painting. Character portrait.

"Finnian", digital painting. Character portrait.

"Lewis", digital painting. Literally Lewis Brindley but in the style of some of the other portraits here.

"B. B. Fleecing", digital painting. Character portrait.

"The Marked One", digital painting. Character portrait.

"Shawnee", digital painting. Character portrait.

"(Woman of) Grace", digital painting, A4. Portrait of a friend.

"Adagio for Dmitri", digital painting. Character study across ages.

"Matthias", digital ink. An exploration of an older style (like what we see with some of the older Redwall books) in a more budget-friendly, yet still beautiful, form.

"Goober Ferrets", digital ink and wash.

"Mystic Mountains Mimicry", digital painting, 18x24-inch digital canvas. My attempt to mimic one of Bob Ross' most famous paintings, and one of my first digital works (hence it being in a different style from the works above).

"Arcology", digital painting, A3. First attempt digitally applying skills learned during the Bob Ross project (plus the greebling techniques popularized by LucasArts)  in another context. Made for homemade RPG module "The Invisible Hand".

"Arcology" close-up.

My favoured process is to work carefully off reference images wherever possible.

When it comes to portraiture, I'm a firm believer in having bold under-drawings and either expressive or moody colours (depending on tone desired). Layering is done carefully, with the deepest shadows and boldest highlights often saved for the end.

Cartoon characters, meanwhile, currently use a method of boneless refinement where I start with a very rough "pick-up-sticks" sort of sketch, and then refine the linework with each pass until it looks good. Once the linework is fine, colour is applied.