sailboat ink drawing

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Pen and INK drawing Tutorial – How to draw a sailing ship

Learn how to draw a sailing ship.

It’s quite easy to draw in pen and ink. I think it’s the easiest method of learning how to draw a sailing ship or anything else, besides using drawing in pencil.

Along the time, I made a few videos where I show pen and ink drawing tutorials. I will show you how to draw a pirate ship, how to sketch a Viking ship and how to draw a Chinese ship.

The sailing boats seem complex in the photos, but if you break them into pieces, everything feels much easier.

I use a regular pen with no refill that I dip in black ink. The ink I am using is permanent black ink from Winsor and Newton. In the image, you can see the type of ink I use. The only difference is that I use the 250ml version of this ink.

1. Start by drawing the base of the boat

In the following video, I did a few months ago, you can see I draw the base and then I draw the mast of the ship. You need to use a reference photo to have a better image in your head about the boat. In this time-lapse pen and ink drawing tutorial, you can see the base, the mast, and the sails.

Check out the digital print of this ship drawing in ink and pen on Etsy

2. After drawing the basic elements of the sailing ship, you can add the smaller details.

Other elements of a boat are ropes, windows, flags, stairs, anchors and cabin. It’s not hard to learn how to draw a sailing ship. You don’t have to worry if the lines are not straight. I think that sloppy lines make the drawing more artistic.

3. When you finish adding all the elements, you can start adding shadows.

I do this step by cross-hatching the shadows, starting with the edge of the darker areas. Basically, this is how you draw a sailing ship. It doesn’t matter if you don’t draw it correctly from the first try. You will get better with each practice. I always look at sailing ships images when I draw to draw the correct proportions.

Other tutorials I recommend you are the following videos where I show how to draw a pirate ship and how to draw a Chinese Antique ship. You can also find the instant downloads of the prints on my Etsy page .

As you can see in my other related articles, such as the puppy drawing and the tree sketch , I love to use pen and ink in my drawings.

How to draw a pirate ship

A pirate ship has more veils and it’s more complex than a regular ship. That’s why it’s important to draw it using a pencil if you don’t have enough confidence to use a pen and ink. So you can erase the mistakes and invisible parts. Another method is to start with the elements you see in front and then draw the back-end elements. You can see my method in the following time-lapse video I created.

You can find the digital print of this ship drawing on my Etsy

How to draw a Chinese antique ship

Drawing ships is one of my passions and in this video, I did an example drawing after a Chinese Ship image. In the same series, there is also a Pirate Ship Drawing, a Viking Ship Drawing, a regular boat, and this Chinese Ship Drawing. I do these drawings in pen and ink on paper. The ink is permanent black ink from Winsor & Newton. It’s a high-quality ink. The video is not so good since I didn’t realize I was filming in portrait mode. But enjoy and I hope you learn something new from videos.

You can find the digital print of this drawing on Etsy.

The digital print of the cover image from this article can be found on my Etsy page . Also, feel free to check my other elements in the listing.

Thank you for checking out this article and I hope it helped you learn something new.

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How to Draw a Sailboat

Skill Level : 1 Beginner , 2 Intermediate

Medium : Pencil Drawing

Subject : Seascapes , Transport

Tutor : Nolan Clark

Class Length : 2 hours 10 minutes

Avg Rating : No Ratings Yet

Silver Level or Higher Class

Class Description

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In this lesson we will draw a sailing boat.

During the class you will learn:

1) How to draw clouds 2) How to draw the sails so they look like they have various amounts of wind 3) How to draw reflections in the water 4) How to show the land in the distance 5) and much more...

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Unlock the follow along class here, short class video.

Class Tutorial

In this tutorial we will draw a sailboat. This is the reference photo I will be working from.

Drawing the Sky

Our sailboat reference photo doesn't have nice clouds in it so I have found this photo which does have nice clouds.

We will use our artistic license to add clouds similar to these into our drawing. That should add extra drama and interest to the scene.

Start off by covering a spare piece of paper with graphite.

We will use this and a cloth to draw with.

We don't want to lose the horizon so we mask it off.

Now rub the cloth over the graphite paper, then onto your drawing to draw the clouds.

In a circular motion rub the shadows of the clouds onto the paper.

What I am trying to do is create the gradual shadings formed by the clouds.

To ensure I don't loose the shape of the boat I use an eraser to keep the edges of the sails defined.

The clouds give us the contrast we need for the white sails to be visible so don't be shy with the contrast you add to the clouds.

Drawing the Sails

Now we can move over to the sails.

Each sail has a different shading because of its shape so you need to carefully look at how the light reflects off of each sail.

This one here is round so it has a gradual shading.

The one behind it is also round so will also get that gradual shading.

This time however the first sail is casting a shadow on it so the tonal values of these shadings are different.

To draw these tonal values and shadings correctly vary the pressure you apply to the pencil as well as use harder and softer pencils.

This sail is full of creases, just suggest these creases by creating a series of contrasting lines.

Look very carefully at the direction of these lines through as they follow the shape of the sail.

Do the same with the other sails as well.

Now we can start to add the detail to the sails.

For this use a very sharp pencil or a mechanical pencil to add in all the rigging and to suggest the stitching work on each sail.

To ensure you draw the masts accurately use a ruler to draw the outside edges. Then color in the insides.

To show the mast is round darken the right hand edge on each mast.

Now we can gently remove the masking tape in order to draw the water.

Drawing the Water

There is a dark edge to the horizon so I use the ruler to establish the edge of the boat so I don't lose it's shape.

Now use your cloth and the graphite paper to lay down a basic tonal value on the water.

Erase the ripples on the water using a kneaded eraser.

To show perspective, make the ripples in the distance short and close to each other and the nearby ripples large and further apart.

The reflections are broken vertical lines so put in the dark vertical lines using the cloth first.

Then squiggle out the lighter reflections.

I have also used the pencil to squiggle a few extra contrasts here and there which completes the water.

Drawing the Boat

Now shade in the shape of the boat.

And use a dark pencil to suggest the people and detail on the boat.

Don't draw fine detail here. Suggestions and basic shapes are good enough. Your brain will imagine the rest of the detail when looking at the completed artwork.

This is what the final sailboat drawing looks like:

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Ink and Watercolor – Line and Wash – Old Boat

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Materials for Drawing

Before we get into the drawing, let’s first have a look at the materials we’ll use for the first stage. For this drawing, we’ll work on hot press 140 lb. watercolor paper. This paper is smoother than its cold press counterpart which will allow us greater control over the ink applications. Canson paper is used.

Our light graphite drawing is created with a light 2H graphite pencil . This pencil will produce a very light – barely visible – sketch of the subject. Since this pencil is hard, we’ll take care not to place too much pressure, which could create grooves in the paper.

Our ink applications are made entirely with a .05 mm pen by Steadtler. Although this pen produces a very thin line, we’ll adjust the thickness as we apply it to develop a bit of variety.

Creating the Drawing

We’ll first take a look at the photo reference that we’re working from. In this case, the photo reference comes from pixabay.com . We’ll begin by analyzing the shapes and lines that we see and break the subject down into the most basic ones.

Here’s a look at the reference photo…

We’ll all see different shapes in the subjects that we draw and paint. These are some of the shapes that I see…

Using the 2H graphite pencil, we’ll draw the basic shapes that we’ve identified, paying close attention to the proportions and the positioning of the subject on the surface of the paper. We can draw using multiple, light lines. As we become more confident with our sketch, we can gradually add details such as the windows, doors, and some of the open shapes on the hull.

Here’s a look at the graphite sketch. (I’ve adjusted the contrast to make the sketch visible, since it was so light.)

Adding Pen and Ink

With our graphite sketch in place, we can begin adding the ink with the .05 mm pen. You are free to start anywhere that you wish. Since the boat is clearly the focal point in this image, I decided to begin here.

We’ll take the inking portion of the drawing in sections, working to completion in areas before moving on to the next section. For the most part, the contour lines (outlines) are defined first before adding shading and texture.

As we fill in some of the darker values, we’ll consider a couple of things. The first is the direction of the strokes. We’ll keep them fairly consistent, using hatching only. (Cross hatching may make the drawing too busy.)

We’ll also keep in mind that watercolor applications are to follow. This means that we need to be careful that we don’t make the ink drawing too dark. Adding too many lines at this stage would lead to a dark image and may look busy. We can always add ink to the image after the watercolor washes if we wish.

For these reasons, we’ll keep the ink applications to minimum. We want enough information to describe the texture, form, and some of the value, but we also need to keep in mind that the watercolor will do some of this work for us as well.

As we work our way outward from the top of the boat, we’ll add in the details on the hull. You’ll notice that the directional lines have changed here. Instead of vertical lines, the lines now flow along the form the hull, curving slightly as they make their way to back end.

For the openings however, we’ll return to vertical strokes to fill in the shadows. This change in direction will add some contrast to the mostly horizontal lines added around the hull. Even though these areas are very dark, we’ll still leave some of the paper showing through. Again, we’ll use the watercolor to complete the shadows later.

Then we’ll simply continue working outward and down into the middle and foreground. Looser, more organic lines are used here to mimic the textures of the grass, rocks, and water. Hatching is used sparingly along the bank. But even here, we still allow these lines to curve with the form of the shore. Directional lines not only inform us of the texture and value, but can also be used to describe the form.

Many people mistakenly believe that pen and ink is a medium that requires you to stay stiff and deliberate. But by loosening up a little, you can add life and interest to a drawing. It’s okay to make lines that are a little squiggly or suggestive. Allow your marks to be your own and embrace the unique mark that you naturally make without trying to control it too much.

We’ll allow for some of these looser marks as we work down the bank. We’re using our reference as a reference only, instead of relying on it exactly. As we see little shapes and values we can add them to our drawing or leave them out. Be careful that you don’t become too reliant on the photo. You’re making a work of art and you’re not a photo copier.

Since the distant shore and hill are far off in the distance, we’ll only use a few broken lines to define them. Objects that are farther from the viewer are lighter in value and have less contrast.

We’ll work our way to the small patch of ground in the extreme foreground. Here again, we’ll rely on the texture that we observe for the directional strokes that we use. Grassy patches are defined with horizontal strokes, while the ground itself is developed with mostly horizontal marks.

As we continue to work our way down the bank and into the water, we add a heavier concentration of marks where the values are darker. In areas where the value is lighter, we’ll still add marks but leave more space between them. The marks that we add for each section of the drawing is dictated by the textures that we see there.

For example, for the grassy area in the lower left corner, vertical and diagonal strokes are applied with the pen. But along the shore, the marks are more horizontal and shorter.

The water is also addressed with ink. A few subtle ripples are added and the shapes for the reflections and shadows are also defined. In the darkest areas, a few loose horizontal hatch marks are made. The hatch marks used here are more fluid and less controlled. Looser marks help to better communicate the fluidity and movement of water.

After adding a few last marks to the water, our pen and ink sketch is in place and we’re ready to move on to the watercolor washes. Here’s a look at the pen and ink drawing…

Watercolor Applications

Before we begin with our watercolor applications, we need to analyze the colors in our reference and decide what colors we should pull out. Of course, we can always just paint the colors that we see (local color) and not consider a color scheme . This image already has a nice color relationship, we’ll just need to make a slight alteration to make the painting more harmonious.

Just as we analyzed the shapes before we began drawing, we’ll also take a closer look at the colors. We’ll all see things differently here as well. (This is just one of the things that make us unique as artists.)

I see the strong red-oranges that are spread consistently throughout the image. Along with the red-oranges, we also have quite a bit of green. Orange and green are secondary colors and if we had a little purple to pull out, we could decide to go this direction for a color scheme. However, there isn’t any purple to be found and the oranges are leaning heavily towards red.

So instead of pulling out a secondary color scheme, it makes more sense to push our colors towards a complementary color scheme. To do this, we can allow our greens to lean towards blue, creating blue-greens in areas. We’ll accentuate the red-oranges and bring out a little more of the red. This will give us a near complementary color scheme of blue-green and red-orange.

It’s important to note here that even though we are pulling out contrasting colors, our resulting painting will not be a complementary painting in the truest sense. We’re just using our knowledge of color theory to make the painting more interesting and to create additional “pop”. There are blues and yellows that will be incorporated in the image as well as some yellow-greens.

Materials for the Watercolor Painting

We’ll use a limited palette for the painting. This means that we won’t use all of the colors at our disposal. Instead we’ll mix colors from a limited few. Working with a limited palette helps to unify a painting. Sometimes there’s a little magic in simplicity.

For this painting, I’m working with my field watercolor set by Winsor and Newton. I’ve had this set of Cotman watercolors for several years and I love it. Although Cotman watercolors are considered “student grade”, they are of a very high quality and the pigment quality is “top notch”.

The brushes that are used are Grumbacher Golden Edge watercolor brushes. These brushes are my favorites for watercolor and gouache. The synthetic bristles are stiff, but flexible, and provide you with a ton of control. They are a little pricey, but well worth the investment. These brushes have lasted me for years and they’re still in great shape. (Part of this is because I take care of them.)

Even though three brushes are pictured above, only two of them were used. A #14 and #4, both rounds, are used in this demonstration.

Applying Watercolor Washes

A watercolor painting is best approached by starting with light, translucent applications. As additional layers of colors are added, the values become gradually darker and the colors become more intense.

We’ll start with a light wash in the sky using a combination of Cobalt Blue with a touch of Burnt Umber (to mute the color). Leaving a few open spaces to indicate a few clouds, we’ll bring this wash down to the distant hillside adding a bit more blue close to the bottom.

Next a light wash of Yellow Ochre and Burnt Sienna is applied to a large portion of the remaining picture plane. A few open areas are left untouched in the water and the boat is completely avoided.

Next we’ll begin adding additional colors and begin the process of working darker. Burnt Sienna and Sap green are the major players in this next step.

We’ll add Burnt Sienna over portions of the shore and Sap Green to the grassy areas. These colors aren’t applied purely. Some Burnt Umber and Cobalt Blue is used to alter the value of these colors and to add variety. Yellow Ochre is also mixed and layered at times to gradually intensify the colors on the shore.

To make values darker, we can layer a combination of Cobalt Blue and Burnt Umber. For the grassy areas, the Cobalt Blue is allowed to dominate the mixture producing a cooler shadow. For the warmer areas, the brown is dominate resulting in a warmer shadow.

We’ll also pull some of the muted Yellow Ochre (mixed slightly with Burnt Umber) down into the water.

After we have layered a few washes over the distant hillside, middle ground and foreground, we can turn our attention to our main subject – the boat.

The boat can be described as “white”. However, when we look a little closer, we can see some subtle color. We’ll bring out some warmth on the planes of the boat that are receiving light and cool down the shadows.

A light wash of Cadmium Yellow Pale Hue with a touch of Burnt Umber is applied to entire body of the boat.

While the surface is still wet, we’ll begin adding some of the stronger colors. Burnt Sienna is applied as well as Viridian. A bit of Sap Green is added to the Viridian, just to make this green appear a little more natural.

We’ll allow these colors to flow into one another, creating interesting transitions and patterns.

We’ll add a bit of our darker mixture of Cobalt Blue and Burnt Umber to the open spaces on the hull and continue the process of intensifying the relationships of red-orange and blue-green. We’ll also apply our blue-green to the bottom of the hull.

Once we’ve established a full range of value on the boat and we’re satisfied with the relationship of colors, we’ll finish off the water by adding a few shadows and reflections. A bit of muted blue is also added to the edge of the shadow and pulled upward into the yellow-orange right above it. A bit of our blue-green is added to the edge of the water to indicate the reflection produced by the color at the bottom of the hull.

Then it’s back to pushing the values darker in the shadows along the bank.

We’ll continue to push the value relationships in the painting, finding opportunities to make values darker where necessary. We’ll also add a cast shadow under the small twig growing up in the center of the picture plane.

Now our painting is complete and we can gently pull the tape away , revealing our completed image. This one was a fun adventure and I’m happy with the results. Here’s another look at the completed painting…

I am always researching shipwrecks and creating new drawings. Contact me by email or cellphone to find out what is currently available and what I’m working on. Current work can also be seen on Instagram. My work is original and all are done freehand, I do not do reproductions.

My drawings sell quickly at the art shows, keeping my GALLERY page updated is difficult, but the gallery is representative of my body of work.

I use original nautical charts. For more information on the charts go to The Chart Room. https://packardnauticalart.com/the-chart-room/

All work is custom framed. I do all of my own framing and I can work with you to find the right frame for any piece.

ALL WORK IS COPYRIGHTED WITH REGISTERED SAMPLES.

PIRATE SHIP TROMPEUSE – 1683

FRENCH PIRATE JEAN HAMLIN CAPTURED THE MERCHANT SHIP LA TROMPEUSE AND ARMED HER AND TOOK ON A CREW OF 120 MEN. HE SOON EARNED A REPUTATION FOR BRUTALITY AND WAS HUNTED THROUGHOUT THE CARIBBEAN AND THE AFRICAN COAST. IN 1683 HE FOUND SAFE HAVEN IN THE HARBOR OF CHARLOTTE AMALIE UNDER THE PROTECT OF THE CORRUPT GOVERNOR OF ST. THOMAS. THE BRITISH DISCOVERED HAMLIN AND ATTACKED AND BURN LA TROMPEUSE. SHE RESTS AT THE BOTTOM OF THE HARBOR; SOME SAY WITH 24,000 POUNDS OF SILVER. HAMLIN AND HIS CREW ESCAPED TO BRAZIL.

THIS ORIGINAL PEN AND INK DRAWING IS ON A FULL-SIZED BRITISH ADMIRALTY CHART OF THE VIRGIN ISLANDS, IT IS FRAMED IN AN ANTIQUE BLACK AND SILVER FRAME. ON THE WALL SIZE IS 32′ H X 45’W. CONTACT ME FOR DETAILS. (S O L D)

USS SOUTH CAROLINA

The Frigate South Carolina was leased from France by the government of South Carolina to create a state navy. She sailed from Europe to Charleston in 1781, capturing several British merchant ships along the way. She arrived off Charleston only to find out the British had captured the city and she sailed for Havana. The captain joined forces with the Spanish to capture the British island of New Providence in the Bahamas and then sailed for Philadelphia. After refitting the South Carolina headed back to sea but was captured by three Royal Navy ships off the entrance to Delaware Bay.

This original pen & ink drawing measures 24″H X 30″W and is in a 2″ wide brown/black rustic frame. CONTACT ME FOR DETAILS. (S O L D)

SHIP NANCY W. STEVENS

The Nancy W. Stevens made the New York to New Orleans run several times a years carrying a variety of cargos. On the night of September 11, 1849, she struck a reef off Loggerhead Key in the Dry Tortugas. Key West “wreckers” saved the crew and some of the cargo and ship fittings and rigging.

This original pen & ink drawing is framed in a walnut/cherry frame and the on the wall size is 26″x30″. CONTACT ME FOR DETAILS. (S O L D)

There is more to the story of the Bounty then the mutiny. The Bounty departed England on December 23, 1787 bound for Tahiti by way of Cape Horn. They arrived off Cape Horn in April 1788, but after 40 days trying to round Cape Horn, Captain Bligh turned the battered ship toward the Cape of Good Hope. After repairs and reprovisioning, the Bounty sailed east into the Indian Ocean on July 1, 1788 and arrived off Tahiti on October 23rd.

This original pen & ink drawing is done on a Pilot Chart of the South Atlantic and measures 25″ H x 35″ W. CONTACT ME FOR DETAILS. (S O L D)

USS REVENGE

In 1811, the Revenge under the command of Oliver Hazzard Perry was surveying the Rhode Island coast and ran aground and was abandoned on Watch Hill Reef. Divers discovered the wreck in 2005 and it is an on-going archaeological project of the US Navy History and Heritage Command.

Original pen & ink drawing measures 22″ W x 28″ H. Contact me for more details. (S O L D)

PONCE de LEON’S FLAGSHIP SANTIAGO

OFF SANIBEL ISLAND – 1513

In 1513, Ponce de Leon discovered the Florida peninsula. Starting from near present-day St. Augustine he sailed south rounding the tip of what he thought was an island then sailed north. He anchored off a long island which he named Santa Isybella. He remained there for several days making repairs and gathering food, water and firewood. The whole time under attack by the Calusa Indians. In 1521 he returned to the island with 200 settlers and soldiers along with farm animals and supplies needed to start a settlement. But, in a fight with the Calusas he was wounded by a poison tipped arrow and died of his wounds.

This original pen & ink drawing is framed in a black with antique silver trim frame. The on the wall size is 30″W x 36″ H. Contact me for details. (S O L D)

CLIPPER SHIP SEA WITCH

On March 15, 1848 the Sea Witch raced into New York Harbor; she had departed Hong Kong 77 days earlier and set the records for the fastest time between China and New York. In 1849, she broke her own record making the voyage in 74 days. After seven more years carrying freight and miners to the California gold fields the ship was worn out and began carrying immigrants from China to New York. In 1856, she ran around near Havana and was abandoned. Her record set in 1849, still stands as the fastest time for a mono-hull sailing ship from Hong Kong to New York.

This original pen & ink drawing is on a full sized British Admiralty chart of the approaches to New York. The on the wall size is 32H x 52W and its framed in a black/antique silver trim frame. Contact me for details. (S O L D)

SCHOONER GEORGE W. WELLS

Built in Camden, Maine in 1900 she carried cargos between New England and southern ports. In 1913 she was bound for Fernandina, Florida and was driven ashore on Ocracoke Island, North Carolina during a hurricane. The crew of the Life Saving Station on Ocracoke Island rescued all 26 people on board and one large St. Bernard dog.

This original pen & ink drawing is done on a full size British Admiralty chart and measures 30×40. I do many full size pieces, contact me to commission a one-of-a-kind drawing on a full size chart. (S O L D)

USS ALLIGATOR

In November 1822, the US Navy Schooner Alligator discovered seven ships being held by pirates in Matanzas Bay, Cuba. In a gutsy move, the crew sailed into the bay and drove off the pirates, rescuing the ships and their crews; but the Alligator’s captain was killed in the fighting. The Alligator sailed for Boston with the seven ships in convoy, but she ran aground on the Florida Reefs. The Alligator was abandoned and burned on the reef that now bears her name.

This original pen & ink drawing is 20″ W x 24″ H contact me for details. (S 0 L D)

GALLEON EL RUBI

Flagship of the 1733 Spanish Treasure Fleet. Wrecked in a hurricane on the Florida Keys in 1733. Original pen & ink drawing measures 26″ H x 32″ W. (S O L D)

Last seen by whalers in Baffin Bay in 1845, the Terror and the fate of her crew remained a mystery for 170 years until archeologists found her near King William Island in 2016.

This original pen & ink drawing is done on a full size Arctic chart. On the wall size is 37″ x 38″. CONTACT ME FOR DETAILS. (S O L D)

BARKENTINE MONTFALCONE

Built at Pascagoula, Mississippi to carry supplies during WWI. Her first captain was Jimmy Buffett, the grandfather of Margaritaville’s Jimmy Buffet. His song “The Captain and the Kid” is a tribute to his grandfather’s life at sea. It was towed to Los Angeles in 1923 and used to film a movie. Then bought and used as a fishing barge before being turned into a casino boat. In 1930, she mysteriously caught fire and sank off Long Beach during a war between rival gangsters. Divers still search the wreck looking for the casino cash boxes that were not recovered.

Framed and matted size is 20″ H x24″ W. Contact me for details. (S O L D)

BRIG COMMERECE

O n August 15, 1815 the American Brig Commerce under the command of James Riley wrecked on the coast of Western Sahara. Lost on an unknown coast the crew was captured and enslaved by Arabs. Eventually ransomed for cash and a gun, seven of the eleven crewmen returned home. Riley wrote of the ordeal which is known today as “Sufferings in Africa”. In 2004, the best selling book “Skeletons on the Zahara” retraced the crew’s journey of survival .

This pen & ink drawing is done on a original 1958 French chart of the Sahara coast. The chart has course lines and shows exposure to weather and connects the one of a kind drawing to the story. The on the wall size 27″ H x 34″ W. Contact me for details. (S O L D)

SCHOONER LOTTIE COOPER

Returning to Sheboygan, Wisconsin with 230,000 board feet of elm wood for the Matoon Furniture Mfg. Co. she wrecked off the entrance to Sheboygan Harbor in 1894. The Life Saving Service saved 5 of the 6 crewmen just before the ship rolled over and sank. Her hull was recovered in 1992, during a harbor project and it is on display in Deland Park at Sheboygan.

This original pen & ink drawing is on the bottom half of an original War Department chart from September 1941. Cora A. is on the top half. Both drawings ae 22×32 and would make an interesting pair hanging together. Contact me for more details. (S O L D)

STEAMBOAT LOUISIANA

On November 15, 1849 the Louisiana was departing the Gravier Street Wharf in New Orleans when her boilers exploded. Debris was scattered for several blocks and nearly 200 people were killed and injured.

Shown in a 26″ H x 32″ W walnut burl frame. Contact me for details. (SOLD)

To see other available work follow me on Instagram.

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