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+ Gallery sections +
+ Industrial +
+ Figurative +
+ Landscapes +
+ Portrait +
+ Animals +
+ How my drawings may emerge +

Drawing gallery sections

Here are some of my drawings. They are mostly done with charcoal on rough watercolor paper or on ingres paper.

Industrial (7)
Industrial and buildings
Figurative (9)
Landscapes (5)
Portrait (8)
Animals (3)

Industrial and buildings

Click on thumb images to see larger versions.

Zollern II/IV
Zollern II/IV, charcoal on paper, 42cm x 60 cm
Very Large Array
Very Large Array, charcoal on paper, 32cm x 23 cm
St. Pauls
St. Pauls Cathedral, charcoal on paper, 42cm x 30 cm
Tower Bridge
Tower Bridge, charcoal on paper, 32cm x 24 cm
Gullfaks A
charcoal on rough watercolor or drawing paper


Click on thumb images to see larger versions.

Wooden beam
Birth of Venus
charcoal on rough watercolor, ingres or drawing paper


Click on thumb images to see larger versions.

Hamnoy, Lofoten
Hamnoy, charcoal on paper, 59.4cm x 42 cm
Quiraing, Isle of Skye
charcoal on rough watercolor, ingres or drawing paper


Portrait 1
Portrait 2
Portrait 3
Portrait 4
Portrait 5
Portrait 6
Portrait 7
Portrait 8
charcoal on ingres or drawing paper


Click on thumb images to see larger versions.

charcoal on rough watercolor, ingres or drawing paper
watercolor crayons, pastel chalk on ingres paper

How my drawings may emerge ...

Here is an example of how my charcoal drawings may typically evolve. The drawing is based on a picture of the Norwegian oil rig "Gullfaks A" located in the North Sea (operated by StatoilHydro). The final result is also shown in the gallery above. I have chosen a rough mould-made watercolour board of natural white colour manufactured by Hahnemühle (200 g/sqm, sheet size 24 x 32 cm or 9.4 x 12.6 inch). In my view this paper has a nice texture for drawings of (industrial) architecture and is relatively resistant.

Step 1:
Initially I have sketched the main outlines. The very dominant structures have been partly traced from the back of the photo printout. Then smaller details have been sketched which are surrounded by larger uniform areas (like the sky, see also one of the cranes to the right as an example). In order to see some quick progress I then started filling some sky and sea areas even before all details in the middle part of the oil rig have been prepared. Light areas are worked out with the 'estompe' while taking very little charcoal powder (which is left on the estompe from blurring slightly darker areas). The first step displayed on the left took around 2h.

Step 2:
The second step was relatively short. Unfortunately, spare time is finite. For the skye and sea I rarely use the estompe. Such large areas are mainly filled using a tissue, Q-tip or the fingers. Only for the darker areas I directly use an extra soft Pitt charcoal pen directly on the paper and blurr it with the fingers. The whole work step was around 1/2-1h.

Step 3:
Another 1-1.5h.

Step 4:
Just 1/2h.

Step 5:
This again was a main step which lasted around 3h. The details in the inner part of the rig have been worked out while alternately sketching some outlines, adding shadows with a softer charcoal pen, blurring shadows with the estompe, then sketching outlines again and so on. Well, all these pipes, stairs, railings etc. are quite painfull.

Step 6:
The last step took around 1/2-1h. There is not much which has been added to finalize the drawing. Most importantly my initials and the date in the left corner. Some lines in the sea have been added and some little details completed which the artist seemed to have 'neglected' before. I spend the remaining time with staying up and stepping back, staring critical, then I sit down and correct some details.

Crane detail step 1

Crane detail step 6

Leg detail step 6

Here is another example:

Dr. Andreas Heinen
Last modified: Sat Sep 19 16:21:28 CEST 2009