Lore Wilson’s Portfolio

there are so many little details in this piece. it feels like i definitely started with the sketchcard that is most on difficult mode. hopefully i can finish it before i’m out of a place to stay on tuesday when i will probably go to the shelter… if i can get a bed. we’ll see. it’s all a maybe.

a sketchcard gouache painting of a pink rose. all of the surrounding leaves and foliage have been mostly painted but only the very saturated bright shadows in the petals of the flower have been tiled in with the rest of it just an initial wash of pinks and yellows and tightly drawn pencil lines. the sketchcard is mounted to a drawing board with blue painter’s tape.

yesterday’s work on painting the rose sketchcard. i made more progress with the petals today but forgot to snap a picture of it before heading out the door while i still had natural light 😣 so i will post that tomorrow, maybe side by side with the further progress i make on it then.

aww. thank you! 😄💖

thank you! 😊

a page of charcoal drawings on newsprint with four figure studies, two of them mostly line art of a tall man posing with a sword brandishing it at an angle in front of him as he lunges to the side in one pose and holding it out horizontally in front of him at eye level as he looks down its edge in the other. the other two figure drawings are tonally shaded with him half laying down legs akimbo in front of him and one arm holding some of his weight behind him with the other straight out in front resting on his knee and then in the final pose he is crouched down and slightly hunched over, one hand on the ground near his kneeling leg as his other strokes his chin with the arm resting on his knee. these were drawn 9-15 2025 signed LW. the final drawing is a waist up portrait that is larger than all the rest of the drawings on the page and sectioned off loosely in the left hand lower corner with far more detail and more fully rendered tonal value shading as the Black very muscular man from the figure poses stands holding the hilt of a large broadsword which is pointed down and resting on the ground out of frame. complete 09-19 2025 signed LW

another page of charcoal figure studies and a portrait study from last week using a @trueref.bsky.social photo reference pack! this time from their Classic Warrior: Idrissou set :)

i keep slowly getting this drawing closer and closer to done. i am probably over-rendering.

since the last post Dua’a and her sweet family have been further displaced from North Gaza to the South under continually worsening conditions. please help them stay alive.

www.gofundme.com/f/help-duaa-...

too many awesome poses to choose from. that is reason enough to keep drawing 😌✏️

a page of femme figure studies and a head drawing done in charcoal on smooth newsprint. there are four figures with long hair loosely drawn in using the reilly method as the jump with limbs akimbo, sist with hands on legs slightly hunched over on an unseen chair in two poses and on the ground with arms resting on bent knees in another. three more poses are drawn in with more tonal shading: a figure sitting sitting on the ground and leaning back to rest her weight in hands in two poses with two different femmes, a thinner one with long hair and another who has more voluptuous musculature with hair up in a bun from a different angle and one hand resting on her knee. the last pose is also drawn sitting on the ground with one arm resting on a bent leg near her knee with her hand posed under her chin while her other hand holds the foot of her other bent leg. then in the upper left hand corner of the page is a portrait of the person from the last two poses, smiling and hand gestured like a phone as she looks coyly off to the left. 9-13 2025 signed LW

a more recent page of charcoal figure studies from @trueref.bsky.social photo packs! I ended up jumping around through a few different photo sets from Alaina, Assian & Marissa Vivid Lights and Sapphire and will definitely be drawing more from those 🤩

so many awesome poses to choose from @trueref.bsky.social . i could fill up an entire pad of newsprint with studies from their reference packs and still have more to draw from for inspiration.

most were from the Bre demo starter pack but there is also one of Jess from the July pose challenge.

a page of ovoid mannequin figure drawing studies drawn in charcoal on smooth newsprint paper with femme figures crouching and sitting while posed with a sword, aiming a gun or guns, lounging and sitting cross-legged while holding a a cigarette. three of the drawings are dated 8/1, two are 8/2 and two more are 8/3 for seven in total. signed LW

a page of ovoid mannequin studies from last month that i’m just now getting around to posting as it took my brain awhile to write up some alt text. i really enjoyed working on these. mannequinizing helps to see the form three-dimensionally.

photo reference for the poses is from @trueref.bsky.social

TrueRef: Real references for real artists TrueRef is here to serve up monthly figure references for illustrators and photo editors—always free from retouching and never AI-generated.

As the TrueRef library continues to grow so does our need to keep our prices up to date and a reflection of what we've added to our service.

Is what I'd say if I just raised the prices of all our packs, but I didn't. Instead I lowered them!

trueref.io

A tonal charcoal drawing of a skull in full detail with a swirling black splash background behind it on a textured drawing paper. 9-02 LW 2025

A commissioned piece I finished a few days ago for a horror aficionado friend who loves and collects all things skulls. Not real ones of course…that I know of 👀💀

a practice warmup page drawn digitally in Procreate on a warm tan canvas background in dark brown pencil. a quick figure construction practice drawing using the reilly method as well as a closeup tonal portrait sketch of a woman with curly hair in a black hat and a black tactical vest with an attached IFAK (individual first aid kit) who is stretching her shoulder with her arm in front of her being held in place by her other arm. there is also a tonal figure quick sketch of the same femme in tank top, tactical vest, cargo pants and sneakers leaning way back as she holds a gun pointed towards the ground with one hand. LW 9/6/2025

a practice warmup page drawn digitally in Procreate on a warm tan canvas background in dark brown pencil. in the upper lefthand corner, taking up most of the page is a set of lines, circles and ovals of various sizes and then all along the right hand side of the page are several geometric rectangular perspective boxes, cylinders, and ovoid ellipses. at the bottom of the page are three quick figure construction practice drawings using the reilly method as well as a closeup tonal portrait sketch of a woman with curly hair in a black hat and a black tactical vest with an attached IFAK (individual first aid kit) who is stretching her shoulder with her arm in front of her being held in place by her other arm. there is also a tonal figure quick sketch of the same femme in tank top, tactical vest, cargo pants and sneakers leaning way back as she holds a gun pointed towards the ground with one hand. LW 9/6/2025

Digital shoulder warmup and drawing practice page from today as a way to try out a few poses from my new subscription to @trueref.bsky.social ^_^ I‘m gonna try to make a regular habit of this again. I have a feeling some of these drawings might end up becoming paintings somewhere down the line…

I’m really glad this project finally went to print in 2018. It took almost a decade because of funding but it was a fun book, paid well and Phil was a joy to work with. It was a good job. I am still grateful that I was brought on board for it and given time to produce at my best.

pencil art on a gray toned canvas for comic book cover of a young woman with a headband in a duster sweater and diagonally stripped sweater vest over a button up collared cotton shirt. she is coming out of a five-point star in space surrounded by circles meant to represent many moons and planets in a pastiche to a Smashing Pumpkins album cover, as requested by the author.

an underpainting of comic book cover of a young woman with a headband in a duster sweater and diagonally stripped dark sweater vest over a button up collared cotton shirt. she is coming out of a five-point star in space surrounded by many moons in a pastiche to a Smashing Pumpkins album cover, as requested by the author. the background is dark blue while she and the star, moons and planets are shaded in gray.

color flats got a comic book cover of a sandy blond young woman with a headband in a beige duster sweater and diagonally stripped dark purple sweater vest over a lavender button up collared cotton shirt. she is coming out of a golden yellow five-point star in space surrounded by many moons in a pastiche to a Smashing Pumpkins album cover, as requested by the author.

a sandy blond-haired young woman in a headband and a beige long duster sweater with a horizontally stripped dark purple sweater vest and a collared button up shirt peaks pushes aside a dark pink curtain to look out over a golden railed red draped theater balcony.

Process pics for the final cover with pencils, the underpainting and color flats along with a panel from the comic that I’d penciled several years before in my early twenties that I used for reference to remember what the character looked like. Took almost a decade for this project to see print.

A full-color comic book cover closeup of a young woman with long dark brown/black hair, wearing a bejeweled crown. She is bedecked in beaded and chained necklaces with gemstone pendants that she lifts up to look at with blood covered hands, her wrists blinged out with more bejeweled silver and gold bracelets.

A full-color comic cover of the young woman with long dark brown/black hair from issue one who is now in a plunged neckline purple dress, sitting woozily on a stone throne as if she just woke up. There is a ceremonial dagger being held threatening directly in front of her by a hand of an unseen person off panel.

A full-color comic cover of a casino setting where an undead Indigenous man on an undead horse is fighting a cop in swat gear while a pair of siblings with dark brown hair and blue eyes, a young woman and her brother who is holding a pistol, are having an angry disagreement in the foreground.

a color comic book cover of a blond young woman with a red headband in a beige duster sweater and diagonally stripped dark purple sweater vest over a lavender button up collared cotton shirt. she is coming out of a golden yellow five-point star in space surrounded by many moons and planets in a pastiche to a Smashing Pumpkins album cover, as requested by the author.

The comic book covers I penciled, inked and colored for the Vandals comic book miniseries from 2018, with the last cover being digitally painted in 2020 for the collected edition. Written by Phil Malone and published by Red 5 Comics.

A series of six different 2.5x3.5 inch sketchcards are taped up with blue painter’s tape on a drawing board, all of them have loose initial washes of watercolor paint blocking out the color on each. Captain Sisko in his starship uniform from a front view, his face partially in shadow, drawn 7-31 LW. A detailed pencil drawing of a reddish pink rose surrounded by leafy verdant green foliage, and by the petals of other roses that are cropped just out of frame only partially visible, drawn 8-7 LW. In landscape view is a bust portrait of Chapelle Roan in front of a microphone in a yellow puffy-sleeved dress looking away from the viewer towards the left. Her card has the least amount of detail and is not shaded in. Drawn 7-27 2025. Garak from Deep Space Nine, looking excited and happy in a striped shit with an open vest with jazz hands only partially visible drawn 8-3 2025. And two sketch card portraits of Superman, one is a front view of him pulling back a button-up shirt to reveal the Superman logo and the other card is a closer 3/4 view of him looking off to the left in his full uniform, both drawn 7-27 2025 LW.

A series of six different 2.5x3.5 inch sketchcards are taped up with blue painter’s tape on a drawing board. Captain Sisko from a front view, his face partially in shadow, drawn 7-31 LW. A detailed pencil drawing of a rose surrounded by leafy foliage, a wash of green watercolor already painted in, and by the petals of other roses that are cropped just out of frame only partially visible, drawn 8-7 LW. In landscape view is a bust portrait of Chapelle Roan in front of a microphone in a puffy-sleeved dress looking away from the viewer towards the left. Her card has the least amount of detail and is not shaded in. Drawn 7-27 2025. Garak from Deep Space Nine, looking excited and happy in a striped shit with an open vest with jazz hands only partially visible drawn 8-3 2025. And two sketch card portraits of Superman, one is a front view of him pulling back a button-up shirt to reveal the Superman logo and the other card is a closer 3/4 view of him looking off to the left in his full uniform, both drawn 7-27 2025 LW.

Various art supplies sit on a wooden table: A plastic box filled with 12 tiny jars of different colors of gouache paint, a plastic palette with a dab of each of the colors laid out on a dampened paper towel, another dry paper towel, a small jar of paint water, a Van Gough portable set of 12 watercolor paint cakes with an attached palette and six watercolor brushes in a variety of sizes and shapes, most of them round with one flat brush.

Last night’s adventure back into the world of watercolor and gouache painting. It’s been way too long since my last gouache piece, three years at this point, so much of this feels like a relearning process. I only got the initial washes in with watercolor but I’m gonna delve deeper into it tonight.

I need to look up the first gouache painting I ever did for a side by side comparison one of these days as I was struggling a lot more with the medium on that one. I definitely improved by leaps and bounds over the course of my time intensively studying with the Watts Atelier online program.

A gouache painting of a girl with brown hair and blue eyes in a white head covering with a purple lining and pink embroidery. Behind her is a a pink flower motif within three bands of pink stripes, a paint drip going down the page

A Zorn color palette gouache painting of an older gentleman in a black cap and a paisley black vest with a white undershirt and red tie. He has graying hair and a goatee on a purple splash background on white watercolor paper.

A black and white gouache portrait study painted on a white background with two thin black stripes behind the head at ear level The portrait is of a man in a newsboy style cap with large oval rimmed glassed and a fantastically dramatic handlebar mustache and a little bit of an under the lip goatee. The hair under his cap is short and trimmed. He wears a loosely knotted black neck tie with a dark gray and black paisley vest and just the hint of a white collared shirt underneath.

A full-color zorn palette gouache painting of a white femme/woman with hazel eyes and shoulder-length brown hair wearing a gray tank top against a radiating stained glass sun motif outlined in white against a darkish gray background, the same color as the tank top.

Four older gouache portrait paintings from back in my Watts Atelier Online student days, the first three of which were done using photo reference from their class workbooks for Gouache Phase One.

A young trans girl of about 8 wearing a fuzzy unicorn hat and a trans flag as a cape along with her gym clothes ( A t-shirt, gym shorts, knee high socks, and tennis shoes.) stands holding a soccer ball while surrounded by a wide array of her teammates, gathered around her to show support, with the closest girls each laying a hand on her shoulders affirming that she belongs with them. Big block letters at the top of the poster reads: TRANS KIDS BELONG Then more block letters reading: EVERYWHERE All in black and white digital ink.

A black and white inked illustration that reads: PLANT REVOLUTIONARY JOY With “PLANT” above ground in a field of grass and wild flowers with three large oak trees in the background. Underneath a thin stratum of dirt we see a deeper more intricate layer of earth cut away to reveal the root system underground overlayed by and intertwined with “REVOLUTIONARY JOY”, with PLANT and JOY mostly in large open block letters, except for the A in PLANT, which is fashioned to resemble a solid anarchist “A” in the center of the design. A seed bursts open and grows out of the O in JOY as well, blossoming into a flower above ground while simultaneously spreading it’s roots. There are four more seeds sprouting and going through the germination process all around it.

A digital ink drawing of an enby femme in a bed piled with quilts and blankets and books, an ipad strewn near the foot of the bed and a binder and a few notebooks closer to where they sit at the head of the bed in a cushy nest surrounded by pillows, reading a book titled “WE SEE IT ALL” by Jon Fasman. They look tired and stressed out. A coffee cup is on the windowsill behind them.

An inked poster reads "Rise Up" and "RESIST It's our only hope", showing several people of different ethnicities and backgrounds marching with raised fists, a spectrum of socially-minded signs behind them in a city where trees grow out of broken windows.

A few of my more political digital ink illustrations over the last few years. I have previously made a few of these available as coloring book pages as well as open to free use for protests, distributing, and wheat pasting. I may do so again soon. I will be sure to link to the files here when I do.

A detailed pencil drawing of a rose surrounded by leafy foliage and the petals of other roses that are cropped just out of frame and are only partially visible on a small 2.5x3.5 sketch card.

a photograph of an orangey pink rose surrounded by verdant leafy green foliage with other roses cropped just out of frame and only partially visible.

New sketch card that I just wrapped up the pencils for tonight! This one is getting prepped for gouache painting immediately. Turns out drawing flowers, particularly roses, is a lot more challenging than drawing portraits 😮‍💨 although to be fair I did go a bit overboard with the detail...

An Andrew Loomis painting of a young man in his twenties in a black dinner suit with a white flower in the lapel, a white buttoned shirt and a white bow tie. He sits on a table covered with an intricate cloth with what looks like a gold candle stick holder with two long candle-like lights with electric bulbs on top on the wall on one side behind him and a oval shaped piece of wall art partially in panel on the other side. He looks away from their viewer and to the left, head slightly tilted down.

A William Bouguereau painting, Study for the ceiling of the Chapel of the Virgin in La Rochelle. A young woman with a yellow head covering on her dark curly chin-length hair is wearing a black choker, a puffy white blouse with the sleeves pushed up above her elbows, a red belt only partially seen and a deep blue skirt as she leans on a piece of pottery that sits on a stone wall on top of a crumpled yellow scarf as her right elbow rests on the pottery with her hands clasped together in front of it. Behind her, painted in more loosely, is a lush tree and then even further in the background is the indication of a stone building with a large staircase.

a Nikolai Fechin painting, Portrait of an Unknown Woman. A Victorian era woman with dark brown almost black hair pulled up into a loose bun secured with a brown comb is wearing a puffy blue dress with white long sleeves and a high collar as she sits facing towards the left in a chair with her left arm draped over the back of the seat. The style is very loose and painterly yet also very realistic and virtuoso.

The graphite artist copies were drawn from the painted works of J.C. Leyendecker, William Bouguereau and Nikolai Fechin.

The Asaro head was developed by John Asaro to help artists learn the planes of the head and to take the guesswork out of shading. It can be found here: planesofthehead.com

A page of four charcoal studies drawn of the human skull, going clockwise from right to left top to bottom: a linear profile view of the skull with the shadows mapped out but not shaded in draw on 7/18, a full front view of the head with the tonal shadows all shared in drawn on 7/17, a 3/4 view of the skull facing towards the left with all of the shadows mapped out but not shaded in drawn on 7/20 and a 3/4 view of the skull with an upward tilt with all of the tonal shading added to the form drawn on 2/22.

A page of charcoal studies showing the face drawn from three angles: 3/4 view, front full view and profile side view facing towards the left all drawn in a linear lay-in style using rhythm abstraction lines known at “the Reilly method” mostly in ovals and circles and long sweeping curved lines indicating where the nose, eyes, lips, ears, brow, chin and forehead are located on the form. Labeled with an LW. Drawn on 6-29 2025.

A study page of graphite tonal head drawings from artist copies, Asaro heads and skulls. The top row is all 3/4 view looking to the left. From left to right: a skull drawn on 7/10, a classic Asaro gray planes of the head sculpture model and then an artist copy of a J.C. Leyendecker illustration of a young man with slick hair in a suit and bow-tie both drawn 7/12. The middle row is all front/full view heads: A skull drawn on 7/22, an Asaro head drawn on 7/25 and the an artist copy of a head drawn on 7/31 from Bouguereau’s painting of a girl with a cloth covering over her chin-length curly dark hair. The bottom row are all side profile view head studies: a skull drawn on 7/26 facing towards the right, an Asaro head facing towards the left and then an artist copy drawn from a Nikolai Fechin painting of a victorian woman with a comb in her dark-haired updo also facing towards the the left with the last two drawn 7/31.

More of my most recent studies in charcoal this time focusing on understanding the head structure through skull studies, more Reilly Method abstraction lines, and a page of graphite head drawings in my sketchbook focusing on the skull, an Asaro head mannequin and a few artist copies.

on a wooden table surface sits a clear plastic box full of small jars of paint. The paper label wrapped around the box reads: Niji Artist Gouache Gouache Artiste Opaque watercolor for design and illustration 12 vibrant colors Gouache opaque pour la conception et l’illustration 12 couplers vibrant Then on the front side of the box: ARTSI GOUACHE 12 Saturated Colors Smooth and Creamy Matte Finish Fade Resistant GOUACHE ARTISTE 12 Couleurs Saturées Lisse and Crémeux Finition Mate Resistant a la Décoloration more art supplies are also visible in the far background.

Today I purchased a discounted set of gouache paints for $28 that were decently reviewed online, a small drawing board that was also on sale for $10 and painters tape so I can get to work on this project along with 3 replacement charcoal pencils for a commissioned piece. Excited to try these out!

Five paper sketch cards sit on a wooden surface, each with a portrait drawn in pencil. From right to left: one of the top two is Captain Sisko from a front view, his face partially in shadow, drawn 7-31 LW. Next to that turned in landscape view is a bust portrait of Chapelle Roan in front of a microphone in a puffy-sleeved dress looking away from the viewer towards the left. Her card has the least amount of detail and is not shaded in. Drawn 7-27 2025. The three cards on the bottom row consists of Garak from Deep Space Nine, looking exited and happy in a striped shit with an open vest with jazz hands only partially visible drawn 8-3 2025 and then we have two sketch card portraits of Superman from the new movie, one is a front view of him pulling back a button-up shirt to reveal the Superman logo and the other card is a closer 3/4 view of him looking off to the left in his full uniform, both drawn 7-27 2025 LW.

Pencils for the first five sketch cards I’ll be making available for purchase at $50 each once they’re painted! I have more in the works that I will be posting to this thread soon 🙂

a page of charcoal studies with ten stick-figure mannequin forms drawn in a variety of different gestures crouching, sitting, kneeling on all fours, bending down, pushing, hunched over and standing posed with a stick or a staff from the front and behind. an oval is drawn in for the chest while two discs are drawn in for the hipbones connected by a spine with long slightly curving lines drawn in to indicate the simplified forms of the leg and arm bones with ovoids drawn in for the elbows and kneecap and a very simple shape of the feet. labeled LW and drawn 6-26 2025. a large thick red rubber band holds the page flat on an unseen drawing board.

A page of figure and proportion studies drawn in charcoal pencil. The bottom of the page is lined out in eight sections with nine horizontal lines with a rhythm line abstraction of the figure drawn in what is known as “the Reilly method” from behind, the side and front view using an oval for the chest, two intersecting triangles for the torso from shoulders to the hips, an egg-shaped oval for the head and many more sweeping curved and straight lines for the limbs and chest indication. Drawn on 7-6 2025 and labled with LW. The top of the page consist of three more figures drawn in more dynamic poses using these figure abstraction lines: A more tonally shaded drawing of a nude women in profile facing towards the left sitting on a draped block with her left hand on her hip arm bent back and her right hand outstretched in front of her of her with her hand perched on a partially drawn in stool. Her dark hair is up in a bun with loose ends cascading down her right shoulder. drawn 7-8 LW 2025. The next figure is more linearly drawn from behind with only partial shading on the right leg. his arms are up and outstretched in a “W” shape and his back is drawn with even more abstract rhythm lines indicating the musculature. Drawn 7-7 LW 2025. The last figure is drawn entirely linearly from a front view with arms raised and hooked around a staff or a stick holding it in place on his shoulders behind his head where it rests on his neck. There are also more abstract rhythm lines drawn on him, mostly around his face, with his torso arm and leg muscles more fleshed out than the more simple figure turnaround on the bottom of the page. Drawn 7-6 LW 2025.

A page of ovoid figures with the form posed in many different gestures: A figure facing away from the viewer with head down and arms slightly out at their side labeled as drawn on 7/10; a turn around of the figure with an arm raised and finger pointing from two sides, behind and front facing at a 3/4 view and the figure front facing while in a pose that looks like they are swinging an unseen bat and a figure from behind but turning towards the viewer all labeled as drawn on 7/12, and a figure with bent legs and weight on their right foot with arms outstretched labled as drawn on 7/11. All the figures are drawn using ovals and cylinders with basic lay-in rhythm lines.

A collection of my most recent charcoal figure studies, breaking down the form into a figure abstraction known as the Reilly method as well as the mannequin form as taught by Andrew Loomis and the ovoid form as I learned it from Watts Atelier, all of these coming from their online class workbooks.

A digital painting of the Palestinian flag, with red poppies painted into the red triangle on the left in front of the faces of two Palestinian children who look at the viewer with mournful haunted eyes.

A color digital ink cartoon illustration of a young Indigenous person in an orange hoodie with a gray knit hat and a pink blanket as well as a Black older woman in green with pink mitts and a space blanket in a green tent with blue and purple tarps over it with banners that read PLEASE DON’T TAKE OUR TENTS WE’LL FREEZE and WE WANT DIGNITY with two cardboard signs out front on either side of the tent opening that read LOVE THY NEIGHBOR and WE’RE HUMAN TOO out in the fallen snow. Also in front of the tent is a wheelchair with a plastic bag on one handle and a barney-colored backpack in purple and green on the other. Above all of this is the text NO WINTER SWEEPS with fallen snow covering on top of the words NO WINTER

A long gouache painting of a holiday feast being eaten by a wide array of rodents and woodland critters on a long rectangular wooden table covered by a red cloth on a light yellow washed background. on the right end on a wooden chair sits a beaver chomping away at the table instead of the food, the red cloth pushed slightly back while it’s head, where a mouse is perched looking out over the scene, knocks over a bowl full of black and green grapes that are being fought over by three squirrels and two chipmunks with another laying near all of them gorging itself on the grapes. Behind them and a glass of wine another chipmunk chomps down on a wedge of cheese and behind that chipmunk is a porcupine eating a baked potato with the tin foil around it unwrapped. Besides the porcupine is a loaf of bread that has clearly been partially eaten and in front of that is a sweet potato casserole with mini marshmallows in a ridged white casserole dish where two more mice have taken residence, one of them with a marshmallow joyously on it’s head. Behind them, in the center of the table positioned between two long and burning wax candlesticks is the roasted turkey with vegetable fixings on a serving dish with three rats chowing down. Two more rats are having a tug of war over a carrot while a raccoon rubs its paws together and looks on at the turkey with hungry eyes and tongue blipped. Next to the raccoon is a possum eating the dip from a bowl on a plate of crackers. A mouse is also stuck head first in the dip bowl, tail-end up. In front of them is a spilled and now-empty wine glass and a drunken hedgehog laying on it’s back and then on the left end of the table a raccoon sits, holding a small plate and a silver spoon while a squirrel stands on the same chair leaning forward with one hand on the cloth-covered table and the other holding a strawberry, it’s mouth also stuffed full of grapes.

A gouache portrait painting of an elder Ram Dass, in a blue shirt smiling a toothy grin beneath a white beard with a bald/receding hairline. Behind him, ornately painted in several shades of green is the anahata heart chakra displaying the 12 divine qualities of the heart within the petals of the lotus. Behind that is a light wash of bright golden yellow radiating from the center and saturating in the corners and around the edges of the frame. At the bottom of Ram Dass’ right shoulder on our left is a small icon showing a C within a D (initials of a previous name I’ve gone by and still go by on occasion) and the numbers 2021 scrawled in desaturated green paint. His blue shirt drips down the into blank space at the bottom of the watercolor paper page.

Hello! My name is Lore Wilson. I’m an illustrator, cartoonist and portrait artist who creates in a wide variety of styles and mediums with an emphasis on figurative realism. I draw and paint everything from political art to speculative fantasy with a love of nature and what is human.