Crikey, I’ve lost my mojo!

"Emmi" - Colour and graphite pencil drawing (detail)

I often use this blog to give a bit of the back story to each of my drawings; where my inspiration comes from and how the illustrations came to be.  I’d love to have a great back story to this piece but .. well… there actually isn’t one   I started this drawing late last year when I had four or five unfinished drawing “failures” hanging about.  Failures is probably too harsher word but illustrations that just hadn’t come together and consequently I’d lost any desire to finish them.  I felt like I had completely lost my mojo.

After taking a bit of a break I decided that the best way to rebuild my confidence was by drawing something that I am comfortable with and that I know I do quite well.  Take the easy road!  A graphite pencil portrait of a pretty girl!

I normally do my works on A3 (297 x 420mm) Arches paper but for this one I needed more space so I busted out the rarely used A2 (420 x 594mm) paper.  I find A2 a bit too large and awkward to manage.  And when you have an A3 scanner it can be a complete bitch to scan A2 and match up the two halves seamlessly.

I started with the graphite pencil face and then the hands using my usual Tombow mono pencils.  Initially I wasn’t planning on doing anything other than the face and hands but since it was going along quite well and my confidence was up I decided to add some colour.  I have no idea why I chose to draw them in colour pencil I think it was just an intuitive thing at the time.   It didn’t even cross my mind that my last effort with colour pencil had been a little painful.


(Now I am going to crap on about colour pencil for a while, so you can just skip to the end to see the final image if this is all a bit boring.)

I started with an underdrawing using complementary colours; green pencil for the red flowers, red pencil for the green leaves and purple pencil for the yellow flowers and buds.  With my last colour pencil drawing I had difficulty getting sharp, crisp, edges.  Once again the colour pencil queen, Carrie L Lewis, has come to my rescue with her conveniently titled “How to Draw Crisp Edges with Colored Pencils”.  Read her blog for a more comprehensive explanation but in short; mark the outline before you start shading and ‘draw a light outline with every colour you use on that area’.  Why didn’t I think of that!

I used my Prismacolor Premier pencils to outline the red flowers in Kelp Green and then shaded in the darker/shadow areas in the same green.  I outlined again in Crimson Red being careful to travel as exactly as possible along the initial green line.  I repeated the Crimson Red outline with each layer of colour I applied.  You’d think this would be a pretty straight forward and simple process but truthfully I got better at it the more I did and my last flowers look a hell of a lot better than the first couple.  It takes a bit of a steady hand to trace accurately over the line below each time.  The more accurately you can do it the more crisp the edge will be.  Again I added more shadow in Crimson Red and Scarlet Lake for the centre.

To be honest, I really only used three colours on the flowers.  I’m seriously starting to believe that the LESS colours you use the better.  Creating ‘red’ with only three colours (one of which is not even red!) is more effective that using six different colours.  Maybe that’s just me!  Maybe a more experienced artist uses a lot of different colours I don’t know! (Maybe the colour pencil companies are a scamming us with their box sets of 72 different colour pencils and in reality you only need 2 reds, 2 blues, 2 greens, 2 yellows, 2 browns and black and white?… conspiracy?)


Flower-no2-v4.jpg(The top photo is one of the first flowers I did and the bottom photo the last one.  I think I got better!)

For the leaves and the yellow petals I followed the same process of tracing over the outline carefully with each colour I used.  It really did help me get a crisper, sharper, outline.  As with the red petals I continued to use a fairly limited palette starting with a complementary colour.


In my last colour pencil piece I liked the stage where some white paper was still showing through.   I prefer this over pushing it to the limit with as many layers as possible and removing all signs of the white paper.   This piece does lends itself well to that ‘style’ as I imagine it is a white blouse with the flowers and leaves embroidered on top so naturally there may be some white fabric peaking through.


Initially I had planned to add hair.  I struggle with hair a lot so I decided to leave it until the very end.  Now I kind of like her ‘hairless’.  I don’t know. What do you think?  Am I just being lazy!?



George’s American Virgin

Graphite and digital art illustration

If you’ve been following my blog you’ll be aware that this year I am embarking on creating my own… how shall we call them…dream? imaginary? projects and clients.  Last week I finished my step by step smokey eye beauty illustration featuring the lovely Matilda from Maya Organic Beauty Therapy.  This week it’s… beer labels!.  Yes, beer labels.  A bit of jump I know from makeup to beer but I am nothing if not adaptable.

There is a bit of beery back story to this one.  My husband has been an avid home brewer since before we were married.  As he likes to remind me I knowingly and willingly married in to this lifestyle.  And I don’t even like beer… at all (which I remind him that he knowing and willingly married in to).

He recently introduced his friend, George, into this weird world of yeast, hops, conditioning, carbonation, gravity. mouth feel and fermentation (I have no idea what these terms mean, I have merely heard them enough to absorbed them in to my vocabulary).

In honour of George’s first brew they asked for a specially designed beer label.

The guys came up with the name “Maiden Voyage”.  Because it was George’s first brew: “Maiden” and because the ‘Brewery’ is a 1921 train carriage that sits in our backyard (long story – not relevant to this long story).


The brief was annoyingly suprisingly specific: a hot chick wearing a train drivers cap with an American flag (in reference to this beer being an American Pale Ale).  And she had to have big boobs… naturally.

Miss Deadly Red is an English model who I first came across on Instagram @missdeadlyred.  As soon as I heard busty beer wench – she came to mind (I hope she’s not insulted by that).  The original image is based around a photograph from Miss Deadly Red’s Instagram account.  Mind you, agreement to the final image was struck only after SEVERAL drafts and there’s not much resemblance to Miss Deadly Red in the finished product.


I ended up not going as “busty” as the boys would like.  But I did get a lot of the other elements they wanted in; the American flag in the background, the train-drivers cap; and she’s even sporting a vintage American Express Railway Company badge with her name “Georgie” and “01” (in reference to this being the first batch of Maiden Voyage).






As this will ultimately be a beer label and really no bigger than 10cm x 10cm, the colours need to be quite strong and crisp.  I’ve gained a bit more confidence working with Photoshop after my last project so decided to try my hand a digital colouring again.  And here she is…FINAL-V2

I was under severe time pressure to get this finished before all the beer was drunk! and I only just made it!  If I had a bit more time there’s a couple of things I would fix.  My main problem is I feel like the top half of the picture dominates because the background and the cap are such strong colours.  I did end up deepening the colours on the denim overalls and the badge but I still think the bottom half is a little ‘soft’ in comparison to the top and gets a bit lost.

Also the skin colour is a bit off.  I am pretty woeful at matching or picking colours.  If I pick what I think is a good skin colour it is likely to end up being a weird green-grey shade.  I did discover that you can look up hex codes online for all sorts of things: skin. eye colour, denim!. I used  It is a really helpful a shortcut.


Overall the brewers were pretty happy with “Georgie” and I now have a list of about ten upcoming brews in need of labels!

Cheers 🍺🍺🍻🍻

Photo credit 1/

Beauty illustration – Perfecting the smokey eye

Graphite Pencil and digital art illustration of Matilda

Last week I completed my graphite illustration of Matilda.  You can read about it here.  This week it’s time to put my Photoshop skills to the test and see if I can perfect that old classic – the smokey eye.


It’s pretty rare for me personally to go to the trouble of putting ANY makeup on these days, let alone taking half an hour to master a smokey eye look.  Now days it’s no makeup or my Homer Simpson makeup gun is set to whore.  Seriously I am that clueless about makeup!


Fortunately, Emmi and the girls at Maya Organic Beauty Therapy know what they are doing and wrote me a step by step guide smokey eye tutorial.  With my guide in hand it was time to tackle Photoshop.

Into the Wormhole

Now I am only slightly more adept at Photoshop than I am at makeup application.  I have had Adobe Photoshop and a Wacom tablet and pen for about seven years but everything I’ve learnt has been through trial and error.  My skills are pretty basic but, to be honest, I have no desire to become a digital artist anyway.

I do occasionally watch a YouTube Photoshop tutorial but I either get bamboozled by the tech speak or, having the attention span of a gnat, tune out after about five minutes.  I have recently discovered Draw with Jazza who keeps it simple and to around 20 minutes per tutorial (I am yet to get past the 10 minute mark but that’s my issue not his! – New Years Resolution = learn to focus).

Photoshop is a wormhole.   I step in at 9am and then few moments later I am disturbed by a dull headache from being hunched over staring at a computer screen (without my glasses on), only to discover that it’s now 4pm!.  I sit back and look at what I’ve achieved and then….


….and here we are back where I started at 9am but for the addition of some blue eyes.


The ability to remove all trace of what you’ve done is kind of what’s good and bad about Photoshop.  It is brilliant that if you mess something up, it’s not quite right or for whatever reason you don’t like it… voila…  you can just hit delete and in seconds remove all trace that it was ever there.  You can’t really do that with traditional art works.  Yeah you can erase it or paint over it but you can only do this so many times.  At some point you have to call time, there has to be an end, a finish point.  The paper won’t take any more erasing or any more layering of pencil.  Any more paint and things will just turn muddy brown.  There is a point where it is as good as its going to get and you have to stop.   With Photoshop…


And so panned out my first three days of trying to ‘makeup ‘ Matilda.  I’d work all day long only to get to 4pm to discover that I didn’t like it any more and in a moment of frustration delete everything.

Finally I gave myself an ultimatum.  This was it.  Last day.  Wherever I get to today that is it.  Let go of my perfectionist tendencies and call it finished.

web-final.jpgStep by Step

When I was a child I always wanted to be a graphic artist (and a vet, and a pilot, and an architect, and… you get the picture) but my parents “encouraged” me to study sciences, go university and get a “real” job.  I ended up as a police officer?!?.  I am not quite sure that was what my parents had planned!

Anyway I digress… I wanted to be a graphic artist.  I love designing layouts.  I can’t explain it but something fascinates me about layouts. I am a layout nerd.  Hence I came up with several different, increasingly complex versions for my final step by step tutorial.  And when I say complex I mean complex, there were arrows, connecting lines, different fonts, close-ups, colours, shapes …

In the end the most simple version seemed to be the most effective.





Graphite Pencil and digital art illustration of MatildaI also have to say in retrospect, while it was not my intention, this has ended up a very similar layout to Kimberley McCone’s beauty illustration I mentioned in last week’s blog post.  I guess it must have stuck in my head.  So I herby gratefully and respectfully acknowledge the inspiration Kimberley’s works has given me and the amazing-ness of her talent!

This project was really just for my practice anyway and I have no intention of using it in any commercial sense.  (But hey if any makeup artists out there do want a collaboration, you know where to find me!)

Photo Credits 1/

New Year: New Goals -Time to get some perspective!

Last year I achieved some pretty serious personal goals and a couple of artistic ones.  I started my blog, embarked on a couple of collaborations ,which will hopefully come to fruition later this year, and generally committed a lot more time to my art.

This year (apart from cracking the elusive 1000 followers on Instagram).  I want to do more collaborations and commissions.  I suppose it is a bit about moving my art from “hobby” status in to something more like a “job”.

Secretly I have always had this unfulfilled desire to be a commercial artist.  To have people contact me with fabulous projects that just cater perfectly to my style of illustrating.  Calls from Gucci or Alexander McQueen to head to Europe and illustrate their latest runway collection from my front row seat next to one of those Kardashian people.  Or perhaps Vogue magazine want me to illustrate the top five breakout models of the 21st Century.  Hey, Beyoncé wants a family portrait?  Sure just let me check my calendar (or should that be get your people to contact me people Bey).

I know, I live in a fantasy world.  I suspect the reality of commercial illustration is a hell of a lot different to a fully paid trip to Milan, where I bash out a couple of illustrations, have cocktails with Karl and Anna and then head home, first class of course.  No doubt it’s a hard slog, some crappy, boring, ordinary jobs and not a lot of money!

I have, in the past, been requested to do a couple of small projects and I find the reality of having to draw something that somebody else wants you to draw a little frustrating!  I wanna draw what I wanna draw not what you want me to draw! (No, I don’t want to draw your baby!… unless of course it’s dressed in Dolce and Gabbana … then maybe I’ll think about it.  Oh Blue Ivy, Rumi and Sir can wear whatever they want Bey)  Truth be told I would probably be a pretty sucky commercial artist but I can still dream from time to time!

So I figured if Gucci ain’t coming to me I’m going to Gucci.  Well kind of…  I’m making my own “dream” projects.

“Yeah I’ll be king when dogs get wings
Can I help it if I still dream time to time”

– It’s Good to Be King – Tom Petty

The Beauty Pitch

I have been a bit keen to try my hand at some makeup illustrations.   You know a bit like MAC makeup have but something slightly more sophisticated or “arty” than just a one-dimensional template.

I think lots of creatives get inspired by other creatives but it is important to give credit where credit is due!.  For this project I am totally inspired by the work of New Zealand artist, Kimberley McCone, (top left and Sandra Suy (bottom left   (I think the images on the right are also Sandra Suy’s but they are not referenced on Pinterest).

So I pitched my concept to my lovely beautician, Emmi, who owns and runs Maya Organic Beauty Therapy.  She was totally onboard, although I sensed a bit of trepidation at the thought of posing makeup free.  Fortunately one of her staff, Matilda, happily volunteered (or had her arm twisted… I’m not entirely sure what went down!).  When I received Matilda’s makeup free selfie I was absolutely gobsmacked at what a natural beauty this girl is!  And I feel a bit sheepish adding makeup to her already gorgeous face!

Catching the light

I have to confess that this is my second attempt at drawing Matilda.  The first one I messed up and managed to make Matilda look a bit… strange!  It seems so obvious now where I went wrong but at the time I couldn’t figure out what the problem was and persevered with it far longer than I should have.  Clearly her left eye is like a centimeter higher than her right and a bit smaller, giving her a very “wonky” eyed look!


Once I’d accepted that I would have start all over again I was determined to fix those eyes up.  I felt like it was more than just the height difference that had messed me up.

Matilda had taken a selfie with her mobile phone for me to use as a reference photograph and I had a feeling that maybe this was the source of my problems.  I did a bit of research to try to figure out what was going wrong and hopefully rectify things.

First off ‘the closer a camera is to your face, the larger your nose looks, the smaller your ears look and the more slope is applied to your forehead’  Secondly, if the camera is close to your face (i.e. arms length) and you look directly down the lens you may end up looking cross-eyed!

Finally, catch lights are the reflection of the light source on the surface of the eyes.  Catch lights can be different shapes, sizes and brightness depending on the light source itself.  There can be one in each eye or multiples, but they should be the same in each eye.  The most natural look is a round catch light.

The conventional position of catch lights is at 10 or 2 o’clock.  Allegedly the earliest portrait painters found that the most pleasing balance resulted when either of those positions was used.  Catch lights below 9 or 3 o’clock can look unnatural.  No catch lights at all will make the portrait a bit dead eyed.

Since the eyes had caused me so much trouble the first time round I went for the most conventional and allegedly aesthetically pleasing look; one round catch light in each eye at 2 o’clock.



Second times a charm … almost

Second time around went a bit better but I ended up doing a lot more shading and detail to the entire face than I had initially planned.   My original idea had been to keep it quite simple and just detail the eyes, mouth and perhaps a little bit of the nose but once I start I can’t stop.

I didn’t really know what to do with the hair.  I didn’t want to spend too much time on it as it as it isn’t the focus of this drawing (I’ll hit my hairdresser up when I want to do a hair portrait which will be like never).


I did this picture of Dutch model Daphne Groeneveld ages ago.  She had platinum blonde, almost white hair, styled in elaborate braids and dreadlocks.  On that occasion rather than try to draw the blonde hair, I focused on emphasising the low lights or shadows in the hair.  It gave it a more stylised effect rather than a realistic one but it was quite effective.  As Matilda has very blonde hair I thought I would try the same idea.

final-blog1.jpgIt’s all about Perspective

I am still not entirely cool with her eyes.  As my husband pointed out – ‘it’s all about perspective”.  If you compare the full face portrait with the close up, the cross-eyed look only really becomes apparent from a distance (i.e. in the full face portrait).  I guess I have learnt a valuable lesson about using selfies as a reference photograph and I will take a bit more care in the future.

Part 1 is complete and now to add the “makeup”.  My Photoshop skills are a bit limited (and my makeup application skills even more so!) so this will be a new challenge… stay tuned!


The Tools

Arches Drawing Paper 185gsm smooth A3

Tombow mono drawing pencils 

Staedtler Mars Lumograph black 6B 

My top 5 illustration of 2017

This is a bit of a self-indulgent blog post to celebrate the end of the year.  My best bits… according to… me!

I was aiming for a top ten but to be honest I could really only manage five drawings that I was sufficiently pleased with to call my top illustrations for the year.

So here they are in no particular order (okay “Stella” is my fav, but after that …)

Stella - gouache and graphite pencil illustration
“Stella” 2017
Alisha Nesvat for Mani - graphite and pencil illustration
“Alisha Nesvat for Mani” – 2017
fashion illustration of Lindsey Wixson in Chanel
“Lindsey Wixson for Chanel Fall/Winter 2013” – 2017
Fashion illustration - Eudon Choi Spring 2018
“Eudon Choi Sprint 2018” – 2017
Graphite and pencil illustration
Untitled – 2017



I am adding in one more illustration as a special mention.  This illustration of Alisha Nesvat in Rodarte Spring 2018 is a bit of a love/hate one for me.  I really like the concept, the composition, the negative space, the hands.  BUT …execution let me down with the flowers and the gold background.  If I had of got those elements right this would be my favourite illustration of the year.  Oh well I like to think either way I always learn something out of the process.

Fashion illustration Rodarte Sprint 2018
“Rodarte Spring 2018” – 2017


Merry Christmas everyone.  See you next year

Alison xxx

Myer Fashions on the Field National Winner 2017 – Crystal Kimber

If you’ve been following my blog you’ll know I have been involved in racing fashion for the last two years as a judge at my local Fashions on the Field.  To be honest I don’t know an awful lot about “racing fashion” but I know what I like and it is always great fun to be part of these events.

There are so many fabulous artists attending racing events here in Australia and live sketching the fashions.  This is such an incredible skill and I’m a bit jealous truth be told.  I am dead hopeless trying to draw anything under pressure let alone in a few minutes or even half an hour.  I don’t think I’d be able to draw anything that looked even vaguely human in a few minutes!

So I’ve taken the luxury of time (its been over a month since the Melbourne Cup!) to sketch the national winner of the Myer Fashions the Field 2017: Crystal Kimber.  Crystal is a Fashions on the Field enthusiast and designer from Melbourne.  She also has a great website where you can follow her fashion adventures:  This particular outfit that won her the National title was originally her grandmother’s skirt which was refashioned into a stunning dress.

Collage_Fotor.jpgImage credit Getty images for the VRC

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The Perfectly Pink Princess Kirsten

John Galliano Spring 2018 Runway

Lets Get Real! Really!

I have been really trying to push my drawing skills to create more realistic portraits.  Learning to draw freckles, pimples, wrinkles, scars, facial hair and so on has been a challenge for me but one I have really enjoyed exploring.  Although I sometimes get asked to, I’ve always avoided drawing friends, family, work colleagues etc for fear of… well… failure I suppose (What if it looks nothing like subject! What if they hate it! What if I don’t /can’t finish it!).   As a consequence I pretty much exclusively draw fashion models.  While there has been a rise in models with more ‘interesting’ faces (sans facial hair surprisingly) at the end of the day they are still models and still fit within fairly confined and traditional standards of beauty, which can get a little boring!

As well as being an artist, I own and operate a hot yoga studio on the south coast of Australia.  It’s a fairly small community which keeps my yoga business pretty modest but on the plus side I get to know all my students really well.  We’ve kind of become a little community of odds and sods that like to get hot and sweaty together.


Kirsten has been one of my students from the very beginning.  Kirsten is one of those great people who always has a smile on her face no matter what is happening in her life.  I knew she was up for anything and would be more than willing to pose for me.  She was a perfect first choice as she had no expectations and was happy to be captured “warts and all”.  There’d be no pressure from Kirsten to produce anything and whatever I did produce she would still be smiling.

“Don’t let fear or insecurity stop you from trying new things. Believe in yourself. Do what you love. And most importantly, be kind to others, even if you don’t like them” –  Stacy London

Extraordinary is the New Ordinary

I wanted to combine my love of fashion with “ordinary” non-models  The idea to put everyday people in designer fashion is not a unique one of course, everybody’s doing it (Gucci, Chromat, J Crew, Eckhaus Latta, Rebecca Minkoff – oh but not Victoria’s Secret – clearly they did not listen to a word I said last week!)

I also wanted to create ‘alter egos’ for my subjects. Or, if not alter egos, extensions of their current personas (.. extra egos? extended egos?).  Kirsten is very much a pink and purple person.  I would never describe her as “princessy” but sometimes I think if she had an excuse to be a princess for a day she would embrace it wholeheartedly!

When I saw John Galliano’s Spring 2018 collection, with its pretty pink embellished dresses, disheveled hair, drunken eyeliner and slightly askew tiaras I knew I had found my quirky, not quite perfectly pink princess.



The best intentions

What seems like a BRILLIANT idea in my head doesn’t always translate so well to paper.    It takes a certain quality to pull off a tiara made essentially of pipe cleaners and not look like a crazy cat lady.  Unfortunately as soon as I stuck the tiara on my sketch of Kirsten she looked bat-shit-crazy not super-model-chic.


I certainly have a greater appreciation of what models actually do other than act as a coat hanger with a pretty face. I had plenty of photos of Kirsten posing in a very cool and pouty modelesque way but truth be told they just didn’t represent the Kirsten I know.  Kirsten has the most amazing smile that lights up her face.  Somehow I had to “keep the Kirsten” without turning her into a caricature.  (Then again it wouldn’t be a John Galliano show if the models didn’t look just a bit crackers).

I wanted to take a little bit of liberty and create kind of what Kirsten these ladies (and hopefully gents) would look like if they were actually made up to strut the catwalk rather than just being unexpectantly ambushed before their yoga class and railroaded in to having their photo taken makeup free in gym sweats!  I wanted to find a balance between retaining the true nature of their character while adding a bit of glamour!  So glossy lips, long thick lashes, hair extensions were required.  The Galliano collection has some fantastic slightly wonky winged eyeliner looks that I also wanted to include.  The difficulty was striking a balance between the reality and fantasy.

John+Galliano-eye-makeupPhoto credits: The Impression


I must say it is a tonne of fun to be drawing someone who is smiling back at you!  It’s such a fantastic change from having a slightly surly looking chick giving you stink eye all day long.  You can’t help smiling yourself when the person you are drawing has an ear to ear grin!


Blending Blues

Once upon a time I lived the life of a kept Western housewife in the Middle East (before my brain exploded / imploded? from boredom).  I know we’re going off on a tangent but stay with me, there is a point to this.   I passed my days doing yoga, getting my nails done and occasionally attended art class.  During these art classes I met a lady who admired my graphite work and told me it was/ I was good because I didn’t do any blending.  Apparently blending was strictly forbidden in her classes and considered the domain of cheaters, slackers, lazy shits who couldn’t be bothered taking the time to apply layer upon layer of crosshatching.  Prior to this I’d never really thought an awful lot about the merits, or not, of blending.  I simply chose not to do it because… well I sucked at it!  I figure if it works for you do it; if doesn’t don’t.

Of late I have been getting increasingly frustrated with trying to render large areas of skin.   My current method is to use graphite pencils layering them in a cross hatching fashion or in a circular motion.  Circular seems to give me a better finish. Still I noticed particularly with this piece I am not getting a smooth enough finish for my likings.  I’ve played on the fringes of blending with a couple of pieces but never really committed to it.


I was not really not happy with the way Kirsten’s neck was looking. What to do?  What to do? I consulted JD Hillberry – aka “the Godfather of Graphite”.  In his book JD recommends using a 3B and F graphite pencil for the large value areas and then smoothing the strokes with a tortillon.

I bit the bullet and did it.  Now I know why I don’t like blending!  I worked so had to get graduations of tone and I feel like blending, yes it smooths everything out, but I loose those graduations.  I also feel like you loose any sense of texture from the paper. And yes I understand that ‘smoothing’ by definition probably means removing texture!  My blending just ends up looking smudgy and very uniform in tone … blah.


Before and after.  Now these photos are awful, awful, awful! I know (the Instagram goddesses are cringing – at least chuck some filters on it sweetheart).  The top is original bottom and the bottom is blended (the area between her necklace and dress).  Interestingly I can’t tell much difference in these close up photos but to the naked eye you can definitely see a difference between the two areas.


From this long shot you can see a little better the blended area in comparison to the non blended.  You can see how much darker the blended area has gotten without me adding any more graphite.

I persevered and finished off the rest of it with a H pencil and blended with the tortillon.  I was so unhappy with the finished result – it looks too dark and really rough.  I went over it  lightly with a 2H and 5H just to try to bring a bit to text back.  I think this looks pretty rubbish actually.  If anyone has any suggestions how to fix it let me hear ’em.


I’m still a bit nervous of how this is going to turn out.  I want to add colour and glitter to the tiara and dress I but I fear the more “external embellishment” I add I risk the end result looking quite “crafty”.  Nothing screams crazy nutter lady like a hot glue gun and a bedazzler. Maybe simple is better. Then again maybe the bigger the glitter bomb I throw at it the better I can distract the eye from the shitty graphite work!  (As the saying goes – you can’t polish a turd but you can roll it in glitter!)

Well I will keep you posted!  Maybe I can salvage something from this!