Life Drawing: Black & White into Colour. Plus Umbrellas indoors.

The Quick & the Quicker.
Acrylic and pencil on paper. 1 hour infant of the model, 30 minutes in the studio.

I’ve been looking at underpainting, thinking to get the important part down from life and add things like colour later from memory. So the work infront of the model was made with three brushes (a large window sash brush, an old Fan and a knackered medium pointed brush), with gesso and black acrylic. Then the plan was to go over this at home with oil washes. Due to lack of time the coloured pencils came out which added to the texture and movement of marks. I’m quite please with this technique as it is the opposite of most artists – usually pencils then paint on top.

Here’s some details of the work.

The work in the original Black and White state and the rest of the night’s work at the Mary Ward Centre.

Umbrella indoors.
Graphite stick and Pencil on paper.
The week before I was late to the class, found a place to draw (on a ‘donkey’ – a drawing bench) and made a pencil work. I like the different eyes, drawn at different times, hence the half sleepy look.

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The Succession.

The Succession.
Oil on Canvas. 1x1m. 08.05.19.

The work is about representing living people on canvas. The real model, the reflection of the model and the Artist reflected in a mirror, the skull (a remnant from an earlier painting on the canvas) and a life drawing tacked to the wall of the studio. The deep blue sets off the skin nicely, also it represents the infinite. The model’s covering was painted at home in a separate session.
The painting has a lot texture and depth to the colours, trying to get the feeling of a presence.

Made from sessions at the brilliant Mary Ward Centre under the tutorship of John Close. Finished at home in spare hours.

A succession of paintings made on one canvas.

Some details.

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Drawing, drawing and more drawing.

My wonderful sister. A birthday card.
Thought it would be fun to mimic an early Lucian Freud trick.

Waiting for a friend St.Martins Lane.
So much fun being in the centre of the world (for me) and having some time to make some visual notes on it. The light changing, the floods of people and the amount of noise… We went to see All about Eve. Rather good.

Christ and the Woman Taken in Adultery by Peter Bruegel.
A copy. Thought it would be nice to give the work a bit more space to breathe.

The Entombment by Michelangelo.
Trying out different sketching styles. Using my eyes and hands like scanners… or following where the line goes, or just diving in.

Eddy at the ballet.
You can see my joy at watching my son dance.

Some more ‘working’ sketches.

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Life drawing. Just pencils

Ms Mono. Pencils on paper. One hour pose.
This model always has a regal air about her.
There was an idea to keep it simpler on this Friday night. Just pencils. Not to worry about skin colour, so the figure is in one colour (there is red green and silver pencils along with the graphite stick, wax pencil and black pencil).
I was in pain when I made this artwork, this seems to have been projected this onto the model’s features; sorry about that.
A ruler was used for the straight lines which is unusual for me..

A detail of Ms Mono. The pencil marks have kept the speed with which my arm was moving. notice the red and green on her earring.
Indian sculpture. There seemed to be a feel of Hindu sculpture about the pose. This was the warm up pose with the mirror in the background. You can see the texture of this paper. The figure is around 12″ high.

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Life painting. One Sunday afternoon.

Sunday afternoon. 3 hours of oil painting on canvas.
The skull wasn’t that near the model in the studio. The colours seemed to work well, though I found oil painting problematic, with it’s longer drying time and buttery texture. The close up work needs to be better, rather than just drawing on the wet paint. I’d made compositional sketches but in hindsight, chose the wrong one.

Earlier studies made on canvas with oil paint and chalks.

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A birthday card.


A12b. Here’s a birthday card. A pencil work on watercolour paper.

Some details and the idea behind the choice of paper and techniques. I do love the early colour process, Autochrome. These photographs on glass have a really interesting patina.

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Life drawing. Holding On plus an older post that got lost.

Holding On. Acrylic on prepared paper. 60 minutes.
I’ve been trying to learn, to get better, to progress. Instead of just painting, repeating the same work, I have goals; making sure the work is worth doing. Here’s what I’m working on.

  1. The colour palette, making the skin tones look like the model’s real skin. The background colours matter as well, so I’m preparing the paper or canvas with colours that will work well with the new skin colour range.
  2. The focus, making the painted image reflect how I really see. Patches of visual excitement and tranquil spaces.
  3. Mark making, letting go of the pencils, just using brushes. Fan brushes work well at the moment.
  4. Doing justice to the models, the time spent observing, the dialogue.
  5. Atmosphere. Trying to make the work have more emotional weight.

The model was holding something. I thought it might be good to have some mystery, so I left the something out. The painting was a constant control of colour and imagery. Some have said it looks a bit Francis Bacon like, which is good.

The time spent Mary Ward Centre is very important to me.

Five times Robin. A great model, full of brio. Being an actor he has many ‘looks’.
A lot of different marks.

The other image is two pieces of paper waiting for some paint. They make a nice abstract work. Yes, those are my feet for scale.

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This painting was made in November but has not been posted before.

Lady on canvas. Acrylic and compressed charcoal on canvas. 60 minutes.
The canvas was primed but the paint still seemed to soak in a bit too much.
The objects were moved around the composition. This could be worth working on.

A close up of. the above and a photo of the rest of the canvas.

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