F1. Untitled, 2026, on exhibit at Art for the Soul Gallery,  charcoal on paper, 24"x 18"

F2. 2026, charcoal on paper,  24"x 18"

F3. 2026, charcoal on paper, 24"x 18"

F4. 2025, charcoal on paper, 24"x 18"

F5. 2026, charcoal on paper, 24"x 18"

F6. 2026, charcoal on paper, 24"x 18"

F7. 2026, wolff's carbon on paper, 24"x 18"

F8. 2025, charcoal on paper, 24"x 18"

F9. Vera, 2025, wolff's carbon on paper, 18"x 18"

F10. 2024, wolff's carbon on paper, 24"x 18"

F11. 2025, charcoal on paper, 24"x 18"

F12. 2026, charcoal on paper, 24"x 18"

F13. ribcage study 2. 2026, charcoal on paper, 24"x 18"

The line from the right toe to the right hand is a guide line. Compared to the figure model, the angle and distance between these two points on the drawing should be (proportionally) the same. 

F14. ribcage study 3 and 4. 2026. charcoal on paper, 24"x 18" 

In the smaller drawing to the right of the page, the figure model is posing on a raised platform. In the larger drawing, the model is posed on the floor. 

F15. ribcage study 5. 2026, wolff's carbon on paper, 24"x 18"

F16. The ribcage study was done over five separate sittings. I drew from a live figure model and referred often to the above replica of a ribcage as well. The replica helped me to understand the underlying anatomy:  the size and shape of the ribcage, the separate bones, and the curve of each rib.  During the study, I also referred frequently to Eliot Goldfinger's Human Anatomy for Artists: The Elements of Form, 1991. Goldfinger's book is invaluable to me.