These abstract vulture studies began as an exploration of shape, movement, and personality through minimal linework. Created with flowing marker lines and layered color edges, the pieces reduce the bird down to its essential forms while still capturing its posture, weight, and strange elegance.

I’ve always loved vultures artistically. They’re awkward, dramatic, intelligent, and somehow both ugly and beautiful at the same time. Their hunched silhouettes, stretched wings, and exaggerated necks create natural abstract shapes before you even begin stylizing them.

The first piece focuses on the back view of the bird, simplifying the body into large sweeping curves and layered arcs. The form becomes almost floral in places, with the neck and folded wings flowing together into one continuous movement. There’s very little detail, but the posture still feels unmistakably vulture-like.

The second drawing pushes further into motion and attitude. The wings spread outward in sharp, exaggerated curves while the head pulls forward with a tense, searching energy. The layered red, blue, and brown outlines create subtle vibration around the form, giving the drawing a restless, alive quality without needing shading or realism.

These pieces sit somewhere between animal study and abstract design with simplified organic forms, continuous flowing line work, minimal detail with expressive posture, and layered color edges to create movement and depth

What I enjoy most about this style is how little information is actually required to suggest a subject. A few curves, directional lines, and proportions can communicate far more than heavy rendering.

These studies also reflect something I return to often in my artwork—finding elegance inside creatures people normally overlook. Vultures are scavengers, awkward on the ground, and unsettling to many people, yet their shapes are incredibly graceful when reduced to rhythm and motion.

Sometimes the strangest subjects make the most interesting abstract art.

I have always loved frogs. They’re expressive without trying. They sit like tiny philosophers, then launch themselves into chaos without warning. That combination of stillness and sudden movement makes them perfect subjects for illustration.

This small frog-themed series was created digitally in Adobe Fresco using watercolor brushes layered with hand-drawn ink outlines. I enjoy blending the softness of watercolor textures with loose, expressive linework. The ink keeps the personality sharp; the watercolor keeps it organic.

The first piece captures a frog perched confidently on a warm rock, eyeing a nearby fly. The posture is relaxed but alert. There’s personality in the slight tilt of the head and the rounded shape of the body. I wanted him to feel grounded—solid, content, and just a little smug.

The second illustration captures the moment after the decision is made. The frog disappears beneath the surface, leaving only legs and ripples behind. It’s a playful study of motion and timing. The water becomes part of the storytelling, with circular ripples replacing the full character form.

Working digitally allows me to build layered watercolor effects while maintaining control over tone, contrast, and texture. I can adjust subtle color shifts in the skin, deepen shadows, and refine motion without losing the fluid quality that watercolor demands. It’s the best of both worlds—traditional aesthetic with modern flexibility.

Frogs make frequent appearances in my sketchbooks and digital studies. They offer charm, humor, and movement in equal measure. Whether for children’s illustration, character design, or expressive animal artwork, they’re a subject I return to often.