Professional Drawings by Warren Kirbo
I recently asked Warren how he got started in drawing. This was his reply:
| "I
have ALWAYS drawn, have always drawn as close to reality as what I can
see, and in full perspective as I see it. I was drawing and writing,
I am told, by the time I was three and a half, and hence, been an enigma
to my teachers from the time I started school, after skipping kindergarten
at age 5. But it was always my art that brought the most attention.
At age six, a drawing of mine, of a blue jay on a limb was taken by my teachers to an art exhibit going on at the time in the high school. I remember these teachers coming to talk to me during recess after lunch that day, and them asking where I learned to draw like that. To me, it was natural. I am not any kind of Moses in the art world, nor pied piper, but simply someone who for some reason appreciates reality. I remember the airplanes in my reading books and drawings in other texts, and wondering, why THEY could not draw better, or I had never seen an airplane like that. I have always been able to draw what I see, and not only as I see it, but from other perspectives, above, below, to the right, to the left.... and I have always known that straight lines in reality are rare. But, I never even gave that much a thought to how I draw, until I started drawing professionally in November of 1975. How I draw is simple... I draw a line around the margins of my working surface, a roughly horizontal line to give myself a horizon, and a vertical line or two to let me know what up and down is ... from there, I draw what I see. I like detail. To me, the whole drawing is the sum of its parts, so I draw from the small to the large. And later, I realized that if I can verbally describe something that I am not familiar with drawing, I can still make a reasonably good rendering of what I want. It is more like this, actually: I have to know the thousand words about my drawing BEFORE I start to draw. The rest is just a matter of when I want to quit. Sometime about the time I was a junior or senior in high school, I started drawing with a Rapidograph pen. Since then, I only use ink to make my final drawings, except for margins and the horizon, no ruled lines, and the rest is judgment. When I am doing something major, I do sketch the whole drawing, sometimes to a great amount of detail where needed, and then ink directly over the pencil, and erase the pencil from beneath the ink on completion. My pen and inks are usually 16 x 25 - 33 inches with 2 1/2 inch margins, but often I go much larger, my largest being 22 x 90 on 30 x 96 paper. I price by the square footage of the image, a square foot usually taking about two days to finish with the kind of detail that I like. I always wanted to be a good artist, proficient in watercolor or oils ... but that was not to be. I discovered Corel Draw, and its vector curve and fill tools about four years ago, and since then I have colored my drawings using CorelDraw 8, 9, 10, and now 11. This coloring is reasonably simple, I scan my original, assemble the scans in using Corel, then convert them to a 300 dpi bitmap and delete the white fill. Starting with a rectangle for the sky which I color using a textured fill, then blurring, I start tracing over each bit of my original pen and ink. When I finish a portion, I group those objects together, call up a fill, and then delete the outline. The last step is to move the original pen and ink in front of all the vector art, the sky at the back, and convert the whole lot to an appropriate RGB or CMYK bitmap, at an appropriate resolution. After that, I use a gaussian blur to blend all this together and export the finished product." |
The
following images are the personal artwork and property of the owner.
They are NOT
to be copied or reproduced
without
the owner's permission as they are copyrighted. If you are interesting
in purchasing any of these prints,
contact
Warren at: inkdrawer(at)aim(dot)com
Warning:The
larger linked pictures take a while to download so please be patient if
you wish to see the picture.
Making
them any smaller would take away much of the detail. The originals
owned by INKDRAWER
are
much larger than I have shown and are very detailed, if you are interested
in purchasing them.
![]() |
Colored with Corel Draw |
Colored with Corel Draw |
"Remember the Maine" (ink rendering) |
"Remember the Maine" (finished) |
freehand ink drawing |
freehand ink drawing |
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Lumpkin Law School |
Camilla, GA |
Nashville, TN |
North Georgia College |
Freehand drawing(ink) |
Final in Color |
|
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First step, the pencil sketch |
Final step, colors are added |
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| USS MAINE
The Spanish-American War (21 April to 13 August 1898) was a turning point in the history of the United States, signaling the country's emergence as a world power. The blowing up of the battleship USS Maine in Havana harbor on the evening of 15 February was a critical event on the road to that war. At 9:40 on the evening of 15 February, a terrible explosion on board Maine shattered the stillness in Havana Harbor. Later investigations revealed that more than five tons of powder charges for the vessel's six and ten-inch guns ignited, virtually obliterating the forward third of the ship. The remaining wreckage rapidly settled to the bottom of the harbor. Most of Maine's crew were sleeping or resting in the enlisted quarters in the forward part of the ship when the explosion occurred. Two hundred and sixty-six men lost their lives as a result of the disaster: 260 died in the explosion or shortly thereafter, and six more died later from injuries. Captain Sigsbee and most of the officers survived because their quarters were in the aft portion of the ship. The U.S. Navy Department immediately formed a board of inquiry to determine the reason for Maine's destruction. The inquiry, conducted in Havana, lasted four weeks. The condition of the submerged wreck and the lack of technical expertise prevented the board from being as thorough as later investigations. In the end, they concluded that a mine had detonated under the ship. The board did not attempt to fix blame for the placement of the device. The destruction of the USS Maine did not cause the U.S. to declare war on Spain, but it served as a catalyst, accelerating the approach to a diplomatic impasse. In addition, the sinking and deaths of U.S. sailors rallied American opinion more strongly behind armed intervention. In 1911 the Navy Department ordered a second board of inquiry after Congress voted funds for the removal of the wreck of Maine from Havana Harbor. U.S. Army engineers built a cofferdam around the sunken battleship, thus exposing it, and giving naval investigators an opportunity to examine and photograph the wreckage in detail. Finding the bottom hull plates in the area of the reserve six-inch magazine bent inward and back, the 1911 board concluded that a mine had detonated under the magazine, causing the explosion that destroyed the ship. (from the DEPARTMENT OF THE NAVY -- NAVAL HISTORICAL CENTER) USS NASHVILLE
(PG-7)
USS MAINE
(BB-2)
SHILOH
USS GEORGIA
(BB-15)
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