Sublime Jazz

”Sublime

“Sublime Jazz”, 40″ x 26″, pigment print and acrylic on canvas, 2013

This painting was created as part of my creativeLIVE Intro to Photo Painting: A Creative Approach Using Corel Painter X3 workshop. My inspiration was a photograph (below) that I took of Gwenda and David dancing to the music of the Danny Brown Trio at Bruno’s Pizzeria Cucina on the Fillmore during the Fillmore Vintage Couture Ball. I love the way that Gwenda and David were lost in their own world as they moved to the sublime jazz… hence the title of the painting. Thanks to the Danny Brown Trio, Gwenda (of ArtAmbassador.net) and Dave for their unwitting inspiration!

”Jeremy
Original source photo

”Jeremy
Start of the digital painting on the set of creativeLIVE

”Jeremy
Post-print painting on the set of creativeLIVE

November 12, 2013

”Jeremy
David and Gwenda dancing in front of painting at the Verdi Club, San Francisco, March 2015

”Jeremy
David, Gwenda and I in front of painting at the Verdi Club, San Francisco, March 2015

Live iPad Painting at Opening of
David Hockney: A Bigger Exhibition
de Young Museum, San Francisco

”Jeremy
Performing live iPad portrait sketching at the opening (October 25th, 2013) of the historic and epic “David Hockney: A Bigger Exhibition”, the largest exhibition ever at the de Young Museum, and the biggest exhibition of Hockney’s art in the United States since 2005. (Photo: Stephen Somerstein)




The two iPad drawings shown above were inspired David Hockney’s work iPad drawings in the de Young show. Both these drawings were both created in the exhibition using the Sketch Club app with the Adonit Jot Touch stylus. The first one, which I spent about two hours on, was based on the replay video video showing Hockney’s process of building up a painting from start to finish. Every time I looked up I saw a different stage of the painting which made an interesting subject changing with time. Thank you Robert for kindly taking the video of me painting. By contrast the second one was created in the last ten minutes of the show, sitting in front of one of Hockney’s large scale iPad prints. The guards almost had to push me out of the gallery! The inspirations for both of these were from paintings that were part of Hockney’s ensemble of works entitled “The Arrival of Spring in Woldgate, East Yorkshire in 2011 (Twenty Eleven) Version 3, 2011-2013”.

I taught two show related iPad art workshops, “Paint on the Go! Inspired by Hockney”. The workshops drew upon ideas, themes and inspiration from the show, and included a guided tour of the Hockney show in which I highlighted the lessons we can learn from Hockney in the context of drawing and painting on your iPad. We then applied these artistic and thematic lessons to painting in the exhibition itself, much to the fascination of onlookers, as you can see from the photo below show student Henk Dawson painting in the show:

”iPad

About Hockney and the “Bigger Exhibition”

It was visiting the “Bigger Picture” David Hockney exhibition at the Royal Academy in London, January 2012, and experiencing the impact of his large iPad paintings, as well as video replays of his iPad paintings, on display in such a traditional environment that kick-started my exploration in earnest of using the iPad as a serious fine art tool, after twenty years of digital painting on the iPad’s big brother, the Macintosh computer. Besides the opening of the Hockney show at the de Young Museum, I’ve subsequently performed live iPad painting at the Smithsonian American Art Museum’s America Now! Innovation in Art event; at the Seoul Museum of Art as part of their Digifun Mobile Art Festival; at the flagship Apple Stores in Regent Street, London, and in San Francisco; at the Oxford Internet Institute, Oxford University; at the SIGGRAPH Studio in Anaheim; at SEMA, the worlds largest custom car trade show in Las Vegas; as well as at other private and public events. You can see some of my iPad artwork at https://jeremysutton.com/ipad-mobile-art.

David Hockney is one of the greatest and most well-known living British artists. To see examples of his work and learn more about him see HockneyPictures.com, the Artsy Hockney page and his Wikipedia entry. His work has spanned a wide range of media, subjects, styles, points of view and size. Over the years he has worked with oils and acrylics on canvas, pencil, charcoal and watercolor on paper, color xerography, photographic collage (“joiners”), polaroids, multiple camera videos, and digital painting on his computer (Quantel Paintbox, TimeArts Oasis and Adobe Photoshop with Wacom tablet), iPhone and iPad (Brushes app), including synchronized digital video replays of his iPad drawings. His subjects have ranged from the iconic Los Angeles swimming pools to portraits and figures of himself, his family and friends, as well as interiors, still life studies and landscapes. The paintings you see at the top of this page are, on the left, an iPad self-portrait of Hockney and his iPad, and on the right, a plein air iPad painting of woods in Yorkshire. His style has varied from natural color high realism to non-natural color (with a tip of the hat to Fauves like Henri Matisse). His exploration of depicting the moving and ever-changing three dimensional world in static two dimensional artworks (with the exception of his video installations) has included juxtaposing and arranging multiple images into single artworks, making series of works of the same subject over time and seasons (in the spirit of Claude Monet), and taking themes and subjects and abstracting from them in series of works (such as his series based on Claude Lorrain’s “The Sermon on the Mount” with cubist inspiration from Pablo Picasso). He has pushed the boundaries of the size of his paintings, both traditional and digital, working on larger and larger artworks, many divided up into multiple canvases on a grid system. The “Bigger Exhibition” at the de Young Museum was a historic review of the work he created over the last decade, since the completion of his book “Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters”. It included huge prints of his iPad drawings and fascinating replays on screens showing his process and actual brush strokes. His example encouraged everyone to be free, take risks, look intently, draw from life and seek to express multiple vantage points in our work.

To learn more about Hockney and the exhibition please see these links:

Love Life: David Hockney’s Timescapes – talk by Lawrence Weschler at the de Young on October 26, 2013 – de Young Museum YouTube channel. Excellent overview talk. (video)

David Hockney 2009, A Bigger Picture – BBC presentation of Bruno Wollheim’s documentary on Hockney’s preparation for the Bigger Picture show at the Royal Academy, London. Great insights into Hockney’s working methods. Shows him in action. (video)

David Hockney – Painting The Tunnel – excerpt from the bonus material that came with Wollheim’s documentary, re-edited by Anna Rusbatch. Shows the progress and process of Hockney painting a single plein air painting. (video)

de Young Museum Press Release

Art review, Hockney at the de Young: changed views – San Francisco Chronicle

How David Hockney Became the World’s Foremost iPad Painter – Wired magazine

iPad art gains recognition in new Hockney exhibit – AP exhibition review

David Hockney — bigger, bolder, brighter, digitized – San Jose Mercury News

Artist David Hockney’s iPad and iPhone artwork goes on display at the de Young Museum – San Jose Mercury News

iPad art gains recognition in new Hockney exhibit – York Daily Record

He’s Back, in a Defiant Blaze of Color – New York Times

iPad art gains recognition in new Hockney exhibit – Yahoo News

Pop Art Legend’s iPad Ingenuity – Associated Press (video)

Finding Hockney Art Locations in the Yorkshire Wolds

David Hockney Chronology

Jazz Four

”Jazz
Series of four paintings as they were being painted in my studio, each 24″ x 36″, pigmented ink and acrylic on canvas

”Jazz
Framed and on the wall…

I call this series “Jazz Four”, even though strictly speaking it is “Jazz Two or Three + Blues One or Two”. The series of four portraits depicts legends Duke Ellington, Billie Holiday, Louis Armstrong and BB King. The series is being created for Dan, who selected the subjects and also the song themes for each subject: “It Don’t mean a Thing (If it Ain’t Got that Swing)” – Duke Ellington; “Strange Fruit” – Billie Holiday, “What a Wonderful World” – Louis Armstrong and “The Thrill is Gone” – BB King. In each case the words and sheet music for the song is woven into the composition. The portrait of Duke Ellington was inspired by a photograph taken by Reggie Jackson, the great uncle of my friend and amazing jazz singer, Kim Nalley, who kindly gave me permission for its use. Thank you Kim!

There is a story behind each portrait: the elegance and pride of Duke; the pain, pathos and beauty of Billie; the outer/inner conflict of Louis, playing a song about joy and yet looking pained and whilst being a State Department-sponsored Jazz Ambassador to the world facing such discrimination at home; and then BB’s unadulterated passion and joy as he sings the blues about the thrill being gone….Each one a complex tapestry of emotion that tugs at our own hearts.

”Jazz

October 2013

Repose: A Single Line Scribble

”Repose

19 3/4″ x 25 1/2″, brown sepia Faber-Castell pen on fine art paper

This drawing is a fifteen minute single line “scribble” life study of Daisy. For the duration of this pose I kept the pen moving on the paper in a scribble manner, adjusting the density of the scribble according to the relative lightness or darkness of the value or tone I observed. This is a great loosening up exercise both for your arm and body as well as for your line itself. I drew this standing up with the paper vertical on an easel and looking between the paper and the model, never stopping the movement of my hand on the paper.

”Repose

This drawing will be on display at my Fall Open Studios, Sunday, October 27 (11am – 6pm).

October 2013

Portrait of Joyce, for Danny

”Joyce

My good friend and super talented trombonist and singer, Danny Armstrong, asked me to create a portrait of his late wife Joyce from a photo he had. I asked him for some samples of her hand-writing to include in the painting, and he sent me images of some very touching notes she had written to him. I used all these, plus a photo I took of Danny playing at Club DeLuxe, and created this portrait. You can see Danny and I picking the framed painting up from the framers (below). Though I never got to meet Joyce in person, I felt like I got to know her a little bit during the process of painting this portrait. Danny plays with one of my favorite local swing bands, Lavay Smith and Her Red Hot Skillet Lickers. He has sat for his own portrait a couple of times. You can see one of them by clicking here.

”Joyce

October 2013

Looking Down Divis’

”Looking
Looking Down Divis’
2013, Pigment ink on canvas
40″ x 60″

This painting depicts the magnificent view looking down on the San Francisco Bay on a sunny afternoon the top of Pacific Heights. That afternoon Peggy and I drove down to the Marina to see the last race of the America’s Cup. With traffic we ended up seeing the only the top of the sails sailing away to the finish line! In the end what was most memorable was this incredible view looking back at the Bay on the way home. The painting was created freehand using Corel Painter X3 with a Wacom Intuos Pen Tablet and a couple of new custom brushes I had just made (Trail-off Bristle Brush and Camel Hair Bristle), and manifest physically as an archival pigment ink print on canvas. Having recently walked around the wonderful Diebenkorn exhibition at the de Young Museum a few times prior to painting this, plus my admiration of Matisse and the Fauves, influenced my choice of colors and composition.

I made two versions of this painting: a taller narrower version shown below and a shorter version shown above.

”Looking
Looking Down Divis’
2013, Pigment ink on canvas
44″ x 100″


This painting was displayed at my iPad painting performance at the opening of the “David Hockney: Bigger Exhibition” in the de Young Museum, October 2013

”Jeremy

”Looking

Air Painting! A Revolutionary New Way to Paint

 

 
Self-portrait, air paint, first portrait ever created from life with air painting, 11/29/2012

Painting in the Air…Literally

Imagine painting in the air, literally… That is now a reality. Since 2012 I have been experimenting with, and helped shape, cutting-edge prototype air painting technologies, working closely with different hardware and software developers. One of the technologies I have explored is the amazingly powerful combination of the revolutionary new Leap Motion Controller, the world’s most accurate 3-D motion-control technology that accurately maps the movement of your hands and fingers in three dimensional space, and Corel Painter Freestyle, a simplified Leap Motion-enabled version of the phenomenal paint program Corel Painter that I have been using for over twenty years.

See the Epson video of me air painting at the SIGGRAPH conference, Anaheim, CA; the Vimeo video featured on the Leap Motion blog; my air painting presentation at the ideaCity conference, Toronto; plus the BBC article.

More recently I have been exploring air painting with other software such as Leap Motion-enabled Ethereal on the Mac platform; with a custom prototype using Kinect technology; and with the Leap Motion combined with the Oculus Rift for VR 3D air painting.

 

 
 

Paradigm Shift

In January 2007 I was a speaker at Macworld and had the pleasure of sitting in the hall when Steve Jobs introduced the iPhone. I see the introduction of the Leap Motion control of computers as an equally significant paradigm-shift in the way we interact with our devices. Just as kids now take touch screens for granted, in a few years they will also take motion gesture control for granted. Painting in the air has a quality of magic… a cross between being a magician, a dancer and a symphony conductor! I am reminded of Arthur C. Clarke’s Third Law: “Any sufficiently advanced technology is indistinguishable from magic.” This certainly fits the bill!

 

Portrait of Lisa, air painted from life and then printed out on canvas, San Francisco, 3/24/2013. Music: “Valse Sans Nom” by Trio Garufa.

What struck me as I painted the portrait of Lisa and also the still life, both shown above and both created 100% using only movement and gesture of my hands in the air, was (1) the level of fine control of the quality of line I was able to achieve using movement in the z axis, equalling or even surpassing the level of pressure control I have using a pressure-sensitive Wacom pen tablet, and (2) how much I liked the quality of marks I made through motion in the air, and how there was a playfulness and looseness to the line quality that was different to the type of marks I would make either using a Wacom pen-tablet or traditional physical media.

On Wednesday, July 24, I gave a presentation on air painting at the world’s largest conference devoted to computer graphics, SIGGRAPH. I also presented air painting in the SIGGRAPH Studio

The Background to Air Painting with
Leap Motion and Corel Painter

I became aware of Leap Motion in May 2012 and immediately saw the potential for a new way to paint. That same day I contacted both the Corel Painter team and Leap Motion, introduced them to each other and subsequently worked closely with both companies to help shape the resulting Painter product powered by motion gesture input from the Leap Motion device. I am a named inventor on Corel’s pending patent application for controlling color selection using gestures in a vision system. In March I demonstrated painting in the air with Corel Painter Freestyle and Leap Motion in the Leap Motion Experience tent at the South by Southwest (SXSW) Interactive Media Conference, Austin, Texas, where Leap Motion officially launched their product.

 

Demonstrating air painting in the Leap Motion Experience, plus air painting in the air, literally, at 30,000′ on a Southwest airline plane coming back from SXSW (the first ever air painting at that altitude).

 

While demonstrating at SXSW I was asked if painting in the air is tiring on my arms. I painted for three full days, each day for about five or six hours, and had no problems with arm fatigue. It was my legs that got tired standing for that long! I positioned the Leap Motion controller device low enough that my arms and hands remained most of the time in what I refer to as “dance position”, that is a comfortable position with a slight bend in the elbows. Here are a few links related to the SXSW air painting demonstration:

Press Release from Corel published in ImagineFX magazine

Forbes video from SXSW

Vine video taken at SXSW by Steve Garfield

Instagram photo taken at SXSW by Steve Garfield

Article in the Verge

More About Corel Painter Freestyle

Corel Painter Freestyle allows you to easily select brushes, textures, commands and choose hue, value and saturation, to know where your cursor is in hover mode and to finely control your entry through the painting plane, all through hand movement and gesture. I can even save my files, clear the canvas and finely control the brush stroke quality, size, opacity and movement, and then be able to easily choose from 24 million colours, all with movement in the air and without touching anything. It takes a little practice to get used to, but once you do get the hang of it and sense of where the 3D painting zone is in space, it is absolutely brilliant as well as fun.

The Very First Air Paintings

The self-portrait you see at the top of this page was created on November 29th, 2012, and is, to my knowledge, the first painting from life ever created with 100% air painting. I was using early prototypes of both the Leap Motion controller and a Leap-enabled version of Corel Painter. A few days after this self-portrait I created the first ever air painting portrait of another subject from life:

 


Portrait of Chris, air paint, 12/1/2012

Annette & Hanson’s Wedding Day Collage

”Annette

Double Happiness

2012

Pigment ink and acrylic on canvas, 62″ x 20″

“Working with Jeremy was an absolute pleasure. His work is outstanding and his service and attention to detail was absolutely AMAZING. Hanson and Annette were blown away by the artwork that Jeremy framed and delivered to them. They said that they had never seen anything like it. We feel that working with Jeremy and gifting this to our great friend and mentor in the photography industry was the BEST gift we could ever give. If you want some thing over the top custom and fabulous Jeremy Sutton and his fabulous smile and master craftsmanship are definitely the way to go.”

Mary Fisk-Taylor, M. photog., Cr., CPP, ABI, API

Hayes & Fisk the Art of Photography

“Wow! That is very cool! That is different and unique. As a professional photographer I have seen a lot of things and I have never seen anything like that. I love the dance and the shuāngxǐ – Double Happiness. That’s absolutely gorgeous.”

Hanson Fong

I recently had the pleasure and honor of being commissioned by Mary and Jamie to create a very special wedding present, a Wedding Day Collage Painting, for their good friends, world-renowned wedding photographer and international instructor Hanson and Annette. The painting encompasses and captures the significant moments and symbols of their wedding day, including the beautiful and touching tea ceremony with their mothers, their wedding cake and flowers that Annette designed, the bamboo that Hanson arranged, the table settings of their family table no. 2, their first dance, and the Double Happiness Chinese character. It was a great joy to see the expression of surprise and pleasure on their faces when they first saw the painting! They loved it!

I shall be using this artwork as one of the examples in my new Painter Collage Techniques DVD.

”Jeremy
Jeremy, Annette and Hanson with painting just after the unveiling (photo by Peggy Gyulai)

”Hanson
Hanson and Annette enjoying the painting after hanging it on their wall

”The
The Tea Ceremony with their mothers

”Table
Table setting of the family table No. 2

”The
The shuāngxǐ or Double Happiness character symbolizes the joy and harmony of the wedding couple

Jeremy

January 25, 2013

“Endless Dance” Art Exhibition – A Tribute to the Golden Gate Bridge & The City by the Bay

Endless Dance: A Tribute to the Golden Gate Bridge & The City by the Bay is an exhibition of twenty five artworks, mostly paintings on canvas with a couple of works on paper, that are on exhibit at the Embarcadero Conference Center, on the P (Promenade) level of the Four Embarcadero Center building, San Francisco 94111 (see map). It is on the corner of Embarcadero Center and Drumm Street in the Financial District, next to the Hyatt and opposite the Ferry Building. There is a parking complex in Four Embarcadero. It is easy to get to via Muni, Bart, bus and tram. The regular Conference Center hours are from 8:00am – 5:00pm. If you’re in the area please stop by during these business hours. The Reception on March 21st went very well, with about sixty people attending and me giving a guided tour of the paintings, explaining some of the stories and background behind them. One of the special guests who attended was Elvy, the subject, with her late husband Guillermo, of the painting that lends it’s title, Endless Dance, to the show. The picture below shows Elvy and I standing in front of “Endless Dance”. Elvy is an artist herself (ElvyVera.com). The story behind Endless Dance is very special and is explained in Stephanie Wright Hession’s wonderful write up in the Chronicle.

”Elvy
Elvy and I in front of Endless Dance

”Reception

The artworks range from a 10′ x 7′ depiction of the Golden Gate Bridge created in celebration of it’s 75th birthday, to a series of portraits of Artistes who performed in the Cirque du Soleil TOTEM show, created as live performance art when I was painting in the Tapis Rouge VIP tent while they were in San Francisco. Every painting has a San Francisco connection. The title for the show, Endless Dance, reflects the diversity, artistic richness and dynamism of the city, an endless dance where iconic symbols like the Golden Gate Bridge set the backdrop for an incredible range of talented people, some who have lived here all their lives and some just passing through. This show reflects my interest in dance and you’ll find that as a recurrent theme in much of the work, spanning Lindy Hop Swing, Argentine Tango, Flamenco and Modern, all strongly represented in the city.

All the works in the exhibition are for sale. Please ask at the reception for a price list. Also don’t forget to ask to try out the 3D viewing glasses! You’ll be amazed at the 3D layering, movement and detail you’ll see in many of the artworks when viewed with the 3D glasses. Signed Gicleé fine art prints on heavy weight cotton rag paper (24″ x 20″) of any of the images you see in the show are available for $175 (plus tax and, if you wish, framing). If you are interested in purchasing any of the artworks, or a fine art print, or commissioning a painting, or would like to hire me to create live painting / portraits at a special event, then please email me.

Below are some photos of the reception and the exhibition:

”tiit
Tiit, Ingrid holding her new baby Elli, and I in front of San Francisco Heart

”Barbara,
Barbara, Elli, Ingrid and Lara in front of San Francisco Heart

”The
The Golden Gate Bridge and bridge inspired calligraphic works on paper

”tiit
Tina and friends in front of The Golden Gate Bridge

”Lights
Lights on Mid-Market and San Francisco Heart

”Looking
Looking at San Francisco Heart with 3D glasses (it is surprisingly interesting to do this!)

”Ingrid
Ingrid showing 3D details she has observed in San Francisco Heart to Jeremy

”Impassioned
Both depicting couples dancing Argentine Tango, Impassioned and Endless Dance, namesake for the exhibition

”Impassioned”
The Hyatt sign visible out of the window beyond Impassioned

”Swing
Swing Out and Cityshapes – Metal

”Swing
Yurong – Cirque du Soleil Unicyclist

”Jazz
Jazz Ambassadors and Cityshapes – Island

”Jazz
In front of a painting honoring the Jazz Ambassadors, jazz musicians sent around the world by the State Department to represent America in the ’50s and ’60s.

”Rick
Rick and His Buick Beauty and Summer Afternoon

January 24, 2013

Sketching Artworks from the Paley Collectionat the de Young Museum, San Francisco

”Sketch

This week I had the pleasure and inspiration of sketching beautiful artworks from The William S. Paley Collection: A Taste for Modernism at the de Young Museum, San Francisco. I’d like to share a few of my sketches with you, all drawn in a 9″ x 9″ Fabriano Artist’s Journal (see Studio Materials). I enjoyed sketching in the square format pages. The paper has a nice subtle grain.

I started off with a quick pencil sketch of Alberto Giacometti’s painting of his wife Annette, painted in 1950 a year after they married. I was fascinated with the way he left in all his construction lines, compresses the figure width-wise and picks away at the lines just like he does in his sculptures. The direct translation between Giacometti’s paintings and sculptures is remarkable, each seeming to echo the other, and both evoking a lot about the process. As I stood there drawing, another museum visitor was discussing the painting and used the words “struggle” and “ambiguity”. These words seemed very apt in describing the essence of the painting and what I strove to capture in my sketch.

”Sketch

The next painting that caught my eye for sketching was a colorful still life by Pierre Bonnard from 1939. At first glance it looked more like a Matisse than a Bonnard, replete with the vivid Fauvist choice of colors and color contrasts, the flattened perspective and strong pattern and abstract compositional elements. Bonnard and Matisse were close friends, both fascinating colorists. I used a limited set of Caran D’Ache Neocolor Aquarelle pastel sticks (also listed in Studio Materials) to make this sketch.

”Sketch

Turning to my left was a very different and much more muted Bonnard painting, a reclining nude from 1897. I loved the strong single contour of the figure that wound its way across the wide shallow canvas. I made a few quick pencil marks and tried to capture the quality of the lines as simply as I could.

”Sketch

As I walked into the next gallery in the exhibition right infront of me across the far wall of the gallery was a small but striking painting by Bonnard’s friend Henri Matisse, “Seated Woman with Vase of Amaryllis” (1941). I decided to start sketching this painting from half way across the gallery where I could only see the rough forms and no detail. I purposely left my glasses off so the picture was slightly out of focus. This allowed me to just work with the large abstract qualities of the composition before getting carried away with reproducing detail. After about twenty minutes I moved closer and then started working over my initial rough sketch with a little more detail.

”Sketch

Finally the guard announced the museum was closing. With just a couple of minutes left I sat myself in front of a large dramatic Pablo Picasso painting, “Boy Leading a Horse”, 1905-6. I then made a very fast two minute single line contour drawing (i.e. without lifting my pencil up). I always enjoy this exercise – a great discipline in intense observation combined with continuous movement on the paper.

”Sketch

”Sketch

I went back to the show on the last day of the exhibition and made a final sketch of André Derain’s Bridge over the Riou (1906). This magnificent Fauvist work was created just a year after the first Fauvist exhibition. Using the same Caran D’Ache crayons as earlier, I sat on the bench facing the painting and, between the crush of last-minute “catch the show just before it closes” visitors between me and the painting, I was able to catch enough glimpses of the painting to sketch. I looked at it as an abstract and didn’t worry about what the color strokes, dabs and shapes represented. I started with a bright red crayon, mapped out some basic forms and went from there. You can see in the two photos and short iPhone movie below the progression of the sketch. I found that later in the sketch I wished I’d left more empty space. It’s tough trying to add lighter color over darker when using pastels and crayons, better to recognize early on where you want the light values to stand out.

”Sketch

”Sketch

I hope you enjoy these quick sketches. Please feel free to email me a small jpg now and then of any gallery sketches you make. We can learn a lot from sketching paintings. I find sketching from an actual original artwork is a completely different quality of experience compared to sketching based on a photograph of the same artwork in a book.

Happy sketching!

Jeremy Sutton

December 28, 2012