I've been drawing since I was old enough to hold a crayon. My mother said that the first thing I ever drew was a cat! After that, pretty much anything with four feet and fur was on my radar. Evenso, there's a small but growing collection of humans and abstracts in the body of work.
I started out with pencil (graphite and colored pencil) and ink, but as a young adult discovered water-based paints. SO much faster to paint with a brush than a single pencil tip! So I often mix watercolor, ink and colored pencil to get the effect I want.
Pastels found their way into my world much more recently, and I truly love the direct application of color with my hands. But I find myself painting more and more often with acrylics - they feed my need for vibrant color and speedy application.
I've always loved dogs, and loved playing with them at my friend's homes. When I was 10, we finally got a dog of our own, and I was puppy-crazed all the way through middle school. I also admire the wild cousins (wolf, fox) but I seem to put them into 3D forms. So the dog - the trusty companion - gets the big nod here.
I can't say enough wonderful things about horses. It's why they dominate my sculpture stable! But I started by drawing and painting them, and collecting models of them when I was a kid. My sister and I would create elaborate tack out of yarn and felt, and we always pestered our parents for rides on the merry go round. And heaven was the annual company picnik at my father's colleague's ranch - because HE had a real live horse! I love showing my love for these great beasts through color and flair.
I'll admit, landscapes are traditionally one of the first subjects a classically trained artist masters. However, they remain one of my less-visited subjects, except as environments for the critters I usually paint. Nonetheless, I immensely enjoy being in the great outdoors, and I tend to let my activity - and the camera - help commit these views to memory.
The human form is traditionally the most difficult to capture on paper and in sculpture. I feel I do well enough, though the bulk of my figure work is done as practice at keeping hand and eye co-ordination going. Here are a few that rose to the top of the heap.
I love flowers, and little vignettes of color and texture. But I do tend to work them in as environments for my animal subjects. Here are a few that survived as full-on still life works in their own right.
A true abstract has no reference to anything in the real world, so it relies solely on good design (color, balance, motion, etc) to live. Since most of my work is representational, I enjoy this change of pace from time to time.