Have you ever seen an eagle drawing? I have. I’ve seen eagles scribing lazy circles hundreds of feet in the air. I’ve seen them drawing high speed lines over grassy fields. I’ve seen them drawing a bead on unsuspecting rabbits and ground squirrels. I’ve seen eagles drawing. And, I’ve seen a drawing of an eagle; several in fact.

"Empty Nest" was my drawing about a bald eagle leaving his nest in a flurry of adolescent feathers kicked out to fend for himself. A bald eagle falling into the sky from a post six feet high turned into my drawing, "Eagle On A Post."  The drawing, "Eagle Hearts" honors a wedding and featured a bird and her reflection mated for life. The two birds are alike, but different. Just like a happily married couple.

Graceful lines, sharp beaks, powerful claws capture my attention and in doing so draw on my imagination. Perhaps it is my imagination that makes the eagle’s story come to life for me.  Perhaps it is many years experience hiking and working outdoors.  Perhaps it is a combination of watching and waiting.  

Whatever the story, freedom is found in eagles.  Freedom from demands of cell phones and e mails, and artificial urgency.  It is the freedom found in the struggle for survival where there is time just to be an eagle.

"To Be An Eagle" is the first of three eagle drawings I'm currently working on. "I Am Eagle" is also finished that you can see at Art Works, New Work Collection

During March 2010, "To Be An Eagle" is my monthly special purchase.  Check it out at Monthly Special.

Some people think you have to be a famous or glamorous person to warrant an original art commission.  Actually, some of my favorite commissions aren't of people at all ... they feature dogs.

Since I was a kid, I've always enjoyed dogs.  Storm, my current German Sheppard, keeps me company while I draw, exercises me with a daily walk, and keeps me laughing when we play his favorite games.   A friend  claims Storm is my favorite artist's model which, of course, he is.

This piece is called "Home Alone." It reflects the look Storm gives us when he realizes we are leaving and he is not! 

One of my favorite artists who creates wonderful hand turned wooden lamps takes his miniature beagle with him everywhere.  Thelma is small enough to stand on Alan's arm.

Boomer got his name because of his bark which is so loud, it sounds like he is booming.  This drawing is Boomer as a pup.  Now he stands 3 feet tall.  But he still booms!

Shadow and Lightning were visiting in Colorado when their owner asked me to draw them.  I worked very hard on a composition that complimented both dogs, one large and one much smaller.

Please contact me if you would like a drawing of your own dog or other pets.  You can see additional examples at Dogs and other commissions.

I have especially enjoyed drawing performing artists. And, I greatly enjoy listening to music of many kinds. The very most fun for me is listening to the work of the musician I am drawing. What a symbiotic experience! They play, I draw. I honor the following musicians with a combination of my drawing and a short bio of their expertise.

Barbara Haffner

Barbara Haffner is a professional cellist whom I met in Jackson Hole, Wyoming, where she was playing in one of the local summer concert series. While creating photo references for Barbara's commission, she lovingly played her cello and I took about a 150 photos. 

We talked about her early days as an musician, starting when she was only five years old. In the drawing, I included a depiction of her as a child learning to play foreshadowing her current, very professional countenance. It was truly a joy to meet, photograph, talk with, and draw this lovely woman whose music is equally lovely.

Darren Skanson

I first heard Darren playing at an art festival. His soothing music adds to the ambiance at many Colorado summer art shows for visitors and artists alike.  Darren's light classical guitar music has a timeless classical sound with familiar melodies and fresh new compositions.

With 25 years of study and performance, Darren Curtis Skanson is a force that is rising. People of all ages love the timeless classic sound of his guitar. As well, he is an all around wonderful person, dad, and survivor in the challenging world of performing arts. I enjoy listening to Darren play over and over. Check him out at www.skanson.com

Gregg Hansen

Gregg always seems to have a smile on his face which reflects his smooth, mellow, musical guitar style.   A lifelong professional musician, Gregg has engaged in many international styles of guitar and percussion as a performer across the country. 

He often plays with a celtic group called Peace and Love and Jigs and Reels. If you like Irish music, you'll be smiling and clapping when you hear this group. Plus, he is a great drummer who taught me about the concept of entrainment. Look for him wearing the same cap as in the drawing I made of Gregg, a great guy and a very talented musician. Here's one link to his work www.pljr.com. 

Zach Nichols

One of the wonderful things about Zach is just how much his family loves him and supports his musical talent. I was floored when I found out this young guy has already played at Red Rocks here in the Denver foothills. WOW! That's usually a venue for the older and nationally established performers. So, that's my way of saying, this guy's music is already on a big time roll.  

His music has been described as having a mellow acoustical feel to it including an incredible voice. He's such a handsome guy, too.  I don't get to draw the young and talented very often! Give Zack a listen at http://zacknichols.com.

Coming next "Dog Commissions - Part 4 or 4"

You don't have to be a musician to request your own commission! Please visit
Commissions by J B Sullivan to see other examples and download a brochure about how to order a commission.  Or, just contact me directly with any questions.

As an artist, I am elbow deep in original art every day. My drawing board, studio, my house, and my art tent are filled with original art. I know the special joy of original art because I am creating it every day. My patrons, however, may have few, possibly no original art. Undertaking a commission of original art can be challenging to anyone. In part 2, I will discuss some practical aspects of commissions. (To read Part 1, click Commission Your Own Original Art Part 1)

You may already have found a favored artist. If not, I encourage you to visit art festivals, art exhibitions, and art galleries in your local community where you can view the actual art itself. Look closely. Ask questions. Websites are another way to narrow the field to a specific artist. Remember that not all artist accept commissions. Be picky about your artist.

You may also have a favored medium. I once met a woman who had a room decorated in only black and white. Her choices ranged from photography to charcoal, but all the art was rendered in only two colors. Try to determine your own personal preference. Don't worry about what is popular. Don't even worry about the art you already own. 

A commission should speak to you and part of the way it does that is through the artistic medium.  Although many artists work in several mediums, you should feel comfortable that their best work represents the medium you prefer.

You will need to select your subject matter. Perhaps it is obvious to you - a dog, a grandchild, or your favorite view. While it is preferable for the artist to meet the actual subject, this may be impossible. Thanks to modern technology, even an old photo can serve as the basis for a commission. You should count on your artist to render a composition concept. 

I often spend many hours in Photoshop, cropping, re-positioning, and enhancing the photos I receive. This process allows me to be creative and consider various compositions before I start drawing. As my wife often notes, once I start drawing, I don't want to start over!

Then again, some patrons possess a photo of their loved one that they wish me to draw. Sometimes, it is straight forward. Other times, it is more complicated. One of my customers wanted her family dogs to look like they lived in Colorado and with aspen and columbines in the drawing. I was able to import some photos of flowers and trees along with her dogs to show her the concept I had in mind. It worked!

You should be vocal about the art you are requesting. At the same time, keep in mind that artistic creation is based in the artist's perception and rendering. I find that emailing photos of the work in progress to my clients gives both of us the opportunity to adapt, correct, and reinforce our respective views.

On a practical level, I ask for a 50% non-refundable retainer before I accept a commission. I figure that I’m going to spend a considerable amount of time working with you to create just the right art for you. Frequently I create concept drawings or Photoshop mockups and will not begin the final work until you and I agree that this is the ideal concept. The retainer is my guarantee that I’ll get paid for my upfront preparation time. The other 50% is due upon completion. I will not accept the final payment unless you are satisfied with the outcome. This is your guarantee that, in case you don’t like the outcome, you are not out everything. This is fair as we both risk a little and gain a lot. Other artists undoubtedly have other views. 

When it comes to matting and framing your commission, you have many choices. The first obvious choice is to take the finished art to a professional framer. On the one hand, I know you and your art very well, having lived with it for many days. I can frame it for less than a commercial frame shop.

So, if you're wanting your own original art, these are the reasons and steps to get going. Unique, yours, original - that's the commission process. Enjoy each step!

You can reach me at 303-526-2370 to talk about your commission questions and request. See more examples of my portraits at Commissions

Coming up Part 3: Drawings of Musicians - Juxtaposition of Performing and Two Dimensional Art

Have you thought about having an artist create something special just for you? Once you see original art of your own choosing hanging in your own house, you will forever be able to enjoy the unique and special pleasure of commissioned art.

This article offers some practical tips to help art lovers take the plunge and get your very own commission underway. I'm using the term "commission" instead of "portraits" because in addition to human beings, my commissioned work includes dogs, horses, and even a huge buck. See  J B Sullivan's Commissions for examples of my commissions.

My father once said of my mother’s art, “Art in your home reminds your family members of the things most precious to you. Whether it is portraits of people important to you or wildlife you enjoy or the scenes of nature that give you peace, original art speaks to what you value most.”

The best part of a commission is that you get ORIGNAL art of a subject you choose. Yes, original art costs more, but you are the only one who will be able to enjoy the quality, essence, and craftsmanship of that original piece. Even with modern capabilities of printing reproductions, original art is the most powerful representation of what you hold dear.

Plus, you get to select the art you wish to see on your walls. Many patrons want to preserve the unique faces of their children at a certain age.    I have completed "heritage" portraits of grandparents, often a request of families who retain few photos of older generations. A surprising number of my commissions are of pets who have left an indelible mark on their owners' hearts.

Commissions are a gift of a lifetime. Commissions transcend generations. The art you have commissioned is a treasure to pass down to future family members. Of all the things we leave to future generations, original fine art allows us to share a special moment in time, a story about you and your era in a very unique way.

When I work on commissions, I am given a very special window into the lives of my clients. We bond across the miles from my drawing board to their homes as I learn more about a beloved pet, an unforgettable grandfather, or the wildlife viewed at mountain cabin. I am telling your story.  Because it is your story, the more of it I can soak up, the more it goes into your commission.

In part 2, I will cover some practical steps about how to undertake a commission. Stay tuned!

The Red Crowned Crane is a magical bird who flies through the orient. Indigenous to Japan and China, the Red Crowned Crane lives a long life and mates for life.

The word crown suggests royalty. Rising above the common, the Red Crowned Crane travels far on wings stretched from sunrise to sunset. One day as I watched these cranes I wondered, what do they talk about? In a thousand miles of travels rowing the air with their wings, gliding through the cool clouds, what crosses their minds? Safe landings, good grain, and raising their young may fill their thoughts. What fills their royal conversations? I doubt that it is the economy. That is a human invention.

Mates fly together with the thought, “I want to be with you on the long journey through life. Let us fly together.” That thought alone is enough for the long journeys, dark nights, cool mornings, loafing in the long warm afternoons, and sunset dancing.

Those thoughts are enough for Valentine’s Day. Don’t you think?

Order a signed, limited edition giclee print of "The Royal Conversation" from J. Sullivan's Art for only $99, the February Valentine's Day special.  To order, click here Monthly Special Ordering.

In 2010, I commit myself to the fine art of drawing a Grizzly Bear. Ursula Horribilis is, in this case, an 850 pound female grizzly. My favorite approach to drawing wildlife is to wander into the woods, find a likely subject and ask, politely, for permission to draw. When permission is granted, I snap a few photos for reference and doodle in my sketch book for a while.

In most cases this works pretty well. In this particular case I told the bear that my mother was called Claire Marie Ursula “Little Bear” Sullivan. The result was the treat of watching from a respectful distance while Griz daintily devoured a several hundred pound elk. After her meal she cleaned up and carefully cached the remains of her meal for a future snack. I took about 120 reference photos as late afternoon was transformed into night. That's how this drawing began during a 2009 summer sunset in the ever lovely Grand Tetons National Park.

Back in my studio, I sorted through my images and printed several likely candidates. I taped these photos to the wall and for about three months contemplated my favorites until I finally settled on the most likely candidate. Now begins the transformation from the click of a shutter, a mere 1/120^th of a second one evening back in August, to the drawing my subconscious has been working on for the past few months.

The bear is beautiful, natural, graceful, dynamic, and powerful. My first composition dilemna is about her position in the drawing. I have placed her left of center. As you hike through the willow bunches on the plain that fronts the Tetons, you sense a hint of surprise. You first see the willows and then the bear.  Oh, a BEAR!  She is everything a wilderness bear should be  - wild and shy, powerful and dominant. She stands in front of the willows where she could disappear in a heartbeat. 

My second compositional element concerns the environment. These willows are tall, probably 12 to 15 feet in height.  Wind bends their slender stalks toward  the bear. Waves of wind push branches forming patterns of light and dark against a growing night. The bear’s fur is backlit forming a contrast against darkening willows. She sniffs the wind and her lip curls. The fence in front of her has been knocked down. The rails lie parallel to her position. She could easily step over them. If she does, well…

My first hour of sketching is concentrated on creating the composition. The bear is the focal point. The patterns of the willows are the most challenging element of the composition. They must suggest movement without being distracting. They must hold the bear just as a home holds a family.

The drama of this drawing will be conveyed in the extremes of light and dark. Here we are at the beginning.
Wednesday, January 6, 2010.

Stand by for upcoming blogs and photos of this work in process as I continue "The Griz Drawing Chronicles" and let me know what you think of my work in progress.

Drawing day 2. When I’m in the field I sometimes spend days looking for wild things. The hunt is fun. Just being in the wilderness on a good day can bring a range of emotions from a sense of perfect belonging when conditions are right to moments of miserable dislocation. A sense of being out of place comes most often in bad weather or in a bad cloud of mosquitoes.

When I draw, I relive the wilderness experience. Wild things are transferred from wild places to artful spaces. In this process of transformation the emotions come along. On one level I imagine standing a few yards from the bear, remembering what it feels like to have nothing between us. On another level I relive the emotions of what is working well and what isn’t right. 

Yesterday while I was drawing I wasn’t feeling particularly good about the drawing. I kept thinking that the pencils were not sharp enough. The Createacolor graphite is too dark. My willows are not detailed enough. My reference photo of the bear doesn’t have the detail I need in the face and eyes. It was too dark. These negatives come flooding in like a bad rainstorm at 10,000 feet, ten miles from the trailhead. If you are not prepared, you will be miserable for a long time. When you come prepared, the storm is a momentary discomfort that passes quickly.

Drawing is like that. There are times when it feels like things aren’t working. I feel like tearing up the paper and starting over. Yesterday I wondered if what I had envisioned for this drawing could come to fruition. I have been in this mental place before. I half expect it and I’m prepared. The first thought is to just work through the feelings. I have learned to trust my original vision. It is in my head and not on paper yet. The more I draw, the more that mental picture becomes a reality. 

Getting it on paper is the process of solving a thousand little puzzles. Hours pass with the rhythm of the pencil scribing lines of light and dark. Differing textures begin to emerge. The contrasts are beginning to create dimension, depth. The shadow under the willows is working. The logs from the fence are feeling right. What I see in my mind is beginning to show up on paper. Today I’ll solve more problems. This is going to be good.

Stand by for upcoming blogs and photos of this work in process as I continue "The Griz Drawing Chronicles."

Do you have a bear story to share with me?

Today was a long day. I didn’t sleep last night but drawing progress today was prodigious. I like the big word. It reminds me that some undertakings are big. Life isn’t meant to do just little things. In art, every effort is an attempt to slip beyond boundaries. 

My boundaries are my limits. My limits define the outer limits of MY average. To go beyond today’s average I have to do something new. I don’t think it even has to work, it just has to be new.  When I do new things I cross boundaries and precipitate new discoveries. This knowledge creates long term improvements in my work.

The new, boundary crossing, event in today’s work is the impressionist pencil. Pencils are great for rendering near photo quality detail. At the same time, the pencil is just a tool. It records what I make it do. The background could be drawn leaf by leaf, stem by stem. But what if I think of drawing the background as suggestions of detail instead of trying to recreate the detail?

To do this I put my pencil on auto pilot. My mind goes into the space reserved for patterns and I will the pencil to draw suggestions. I am surprised by the outcomes from this experiment. The overall background willow pattern mimics the patterns of the foreground willows. Further, the impressionist method produces willows that look further away. This was the intended outcome and is probably due to the values within the pattern and the more out of focus look of the willows. A darker value will tend to drive the pattern further into the background. 

Today I’m also thinking of the importance of the dark shadows under the willows. They roughly divide the drawing according to the rule of thirds.  My subconscious must have been working this out because it wasn’t a conscious thought. I like happy accidents.

If I continue writing I’ll blither. I’d better stop.

Return soon to see how the drawing progresses.

I was gifted with a great night’s sleep last night. My eyes pried themselves open at 6:15 this morning and my drawing is moving ahead. Three quarters of the background is nearly complete. I’m thinking of the lower left area as my escape route. I will start on the Griz tomorrow. When you work on a Grizzly, having an escape route is important. 

I may go to the Denver Zoo and draw in front of the Grizzly Bear Habitat. It would be fitting. The Denver Zoo was the first zoo to create natural habitat for its animals way back in 1918. The Grizzly was the first animal to be confined in a space without bars. Now such natural spaces are the norm and cages with bars seem unnecessarily cruel. The Denver Zoo continues to lead in its humane treatment of animals. 

When I saw the Grizzly in the Grand Tetons, I had been told about some wolves feeding on an elk carcass near the Cuttingham Cabin.   I was really looking for the wolves. When I found the elk, it had been stripped by the wolves. Little was left of the front shoulder and its ribs reached skyward with shredded meat beckoning to the vultures perched in the near tree. A magpie was sitting on one of the ribs snatching its evening meal from red bones.  The thought of a Grizzly in the neighborhood didn’t cross my mind. I approached the dead elk and took some photos of the carcass complete with a vulture and a magpie.

When I had finished taking the pictures I was thinking about walking through the willows to get back to the jeep. The route through the willows would have been a short cut to the road. 

However, my memory kicked in about a local hike on the Beaver Brook trail with my dog, Storm. We were jogging down a trail that was bordered by a stream that fed a large stand of willows. There was a strong odor that upset Storm. He came close to me and growled at the brush. Just a few feet further down the trail was a pile of bear scat and a couple of perfect bear tracks complete with claw marks. While it was clear that Storm knew that a bear was in the brush I had no clue. The Beaver Brooke bear was most likely a small black bear. I have often wished that my nose was as sensitive as a German Sheppard.

This memory caused me to suddenly feel that the longer route back to the jeep was preferable. A short while later the 850 pound female Grizzly strolled out of the willows. 

My advice is to have an escape route and trust your intuition. I’ll bet you have some advice for me.