This page features drawings I’m currently working on—unfinished pieces that still have many hours ahead of them. These works-in-progress offer a glimpse into my creative process, from the first lines to (hopefully) the final details.
By sharing these images, I invite you to see how a piece evolves over time. You’ll witness not just the progress, but also the pauses, changes, and mistakes along the way. It’s all part of the journey.
Artists often share their work-in-progress (WIP) to connect with their audience, reveal their methods, and document the transformation from concept to completion. These photos aren’t studio-quality—just quick snapshots taken with my phone—but they capture the raw, behind-the-scenes reality of creating art.
I hope they give you a sense of how I work: the choices I make, the revisions I wrestle with, and the slow build toward something complete.
My Drawing Tools & Materials
To achieve the precision and detail in my work, I rely on a carefully chosen set of high-quality tools:
- Paper: Strathmore Bristol – Smooth Surface
- Pencils: Staedtler Mars Lumograph & Faber-Castell 9000 Series
- Erasers: TomBow Mono Zero, Derwent Electric Eraser, Faber-Castell Kneaded Eraser, Faber-Castell Eraser Pencil
- Blending Tools: Blending stumps (various sizes), tissue paper
- Extra: Sanding paper and soft tissue paper
- Sharpeners: Jolly Herbert Electric Sharpener, Metal Long Point Sharpener
- Easel: Talens Studio Easel
These essentials help me maintain the clarity, texture, and tonal depth that define my drawings.
30 July
I began my drawing of the dead mole I came across while walking in Hestercombe Gardens. He was perfect—untouched, without a single scratch. What happened to you, Moly?
As you can see, I taped the drawing onto a piece of multiplex wood. I started by sketching a square grid, and for those tricky little paws, I added diagonal lines for guidance.
These lines won’t stay long—they irritate me immensely. But with my poor eyesight and thick glasses, I really need them, at least for now.
August 4
Made some progress on the ground near the mole today. Still contemplating whether to take it into hyperrealism or keep it slightly abstract. For now, I’ll let it rest in soft greys — somewhere in between clarity and suggestion.
August 7 – On My Way Down 😊
Since I’m right-handed, I usually start at the top left and make my way down to the bottom right. Today I added more definition to the rocks—loving how the textures are starting to take shape!
August 21 – Observations from the Sketchbook
Time for some mole research, which I should have done earlier… I begin by studying the details: What’s the structure of its bones like? How does the fur lie—does it flow in a single direction? And those paws—what an unusual shape. The nails, the nose, even the teeth—all these tiny elements help me understand what I’m really seeing before I draw.
The front paws are particularly fascinating. Broad and flat, with a texture almost reptilian, yet scattered with fine hairs—clearly built for digging. The hind legs are smaller, contrasting sharply with the powerful front limbs.
When I draw, I usually start with a 2B pencil and work my way up to an 12B if needed, or down to an 8H when just a whisper of grey is enough. I couldn’t do without my trusted tools: the Tombow Mono Zero and my electric eraser. These let me explore form and shadow with precision.
August 23
It’s late. My eyes are heavy, and a headache is quietly settling in. The last thing I worked on tonight was laying in the undertone for the head — just enough to hint at what’s to come.
August 24
Progress continues, but I’m still not satisfied with the face—especially the teeth. I’ve studied several reference photos and can see the prominent incisors, though they’re not clearly visible in the one I’m working from. Hmm… I need to sit with it a bit longer. Maybe tomorrow I’ll see it with fresh eyes.
August 28
His tiny face is as good as it gets—for now. It’s time to move on to the fur: hundreds of subtle shades, from grey to deep black. Once the fur, ground, and surrounding stones are complete, I’ll return to the face with fresh eyes.
September 2
Made more progress on the front paw today—focused on building contrast and deepening the shadows. The fur continues to be a slow, meticulous process. Working in only shades of grey definitely adds a challenge when trying to create depth… real headache material! 😉
September 6
More studio notes. Today I took the drawing off the easel—working on the lower part is always easier on a flat surface. From my drawing table, I have a clear view of the garden, which is both a blessing and a distraction.
I decided to add more detail to the stones beneath the Mole to create greater depth. Maybe I went a bit too far… or perhaps the upper section just needs a bit more darkness to balance things out. Still undecided.
September 15
The piece is nearly complete. There’s little left to do on the mole itself—just a few final touches—but there’s still a lot of ground to shape: earth, stones, and scattered sticks waiting to be built into the scene.
What fascinating paws—remarkably flat, yet clearly built for purpose. These are true working paws, evolved for relentless digging. Gardeners may cringe at the thought, but the mole plays a vital role in the ecosystem. He belongs to our grasslands. His only flaw, perhaps, is that he cannot see whether he’s tunneling beneath a lush green lawn or a wild, open meadow. To him, it’s all just earth—one continuous, silent world beneath our feet.
September 22
The work is done. A wave of relief washes over me — but with it, a strange, quiet question:
Did I really create this?
Am I truly capable of drawing like this?
Yes. I can.
In this moment, I couldn’t have done it any better.
And I’ll admit it: I genuinely like this drawing.
Then comes the silence. A sense of solitude settles in.
And with it, the looming question:
What will be my next subject?