Reflection & study.

Reflection. Acrylics, charcoal and pencil on canvas. 30.11.18 & 07.12.18
This painting is of a well known model. The composition is unusual.
The last of the term at the brilliant Mary Ward Centre.

Study for Reflection. Charcoal, acrylic, pencil and chalk on light green paper. 23.11.18

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Viv around eleven in the morning, 2018.

Viv around eleven in the morning summer 2018 FINAL sm

Here’s my latest commission.

Viv around eleven in the morning, 2018. Oil on canvas. Summer – Autumn 2018.
Viv has a vibrant and intelligent presence. Capturing her look and the brilliant summer sunlight of those morning portrait sessions became the subjects of the painting. 
The composition has Viv and her most treasured possessions against verdant garden backdrop.
The paint itself has large variations of texture, transparency and brush marks to denote skin, metal and vegetation. 
I want the viewer to feel you are in the room with her, in the midst of a good conversation.

As usual with a major painting there is a book collecting the influences, sketches and different stages of the work.

Viv Cover_IW_20-50pg_Sm-Sqar_PremPpr_v1.inddViv Pages_Small_Square_v1a.inddViv Pages_Small_Square_v1a.inddViv Pages_Small_Square_v1a.inddViv Pages_Small_Square_v1a.inddViv Pages_Small_Square_v1a.indd

Have a look at the book of the painting here.

Here’s the book, colour study and final work all together.
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Life drawing. The look.

The Look. Charcoal, pastel and pencils on paper 100 x 72.
So, there was fabric hanging from my easel to the model. I had decided to travel light and just take a range of pencils and a rubber by my side. In the break a fellow artist had said ‘why don’t you try smudging?’ So that’s what I did. The rubber came in handy for blurring the pencil and pastel marks. The skin tones and green colouring were created the next morning before breakfast but after coffee. I like the mysterious artists in the background with just their non working hand visible.

draper on the head
Drapery study 1. Chalk and pencil on paper. 15 minutes.

reclining on green
Drapery study 2. Chalk, charcoal and pencil on paper. 15 minutes.

man x3 with material
3 studies with material . Pencils on paper. 15 minutes.

Some details of the the look.

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Photography book design.


I’ve been a friends with Jake for a long time. His eye is always good. It’s been a pleasure designing this book for him. All I had to do was let the work speak. Some nice sensitive typography.

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Life drawing. Robin, tie, skull.

Robin with skull on board

Robin, tie, skull. Acrylics and pencil on board. 1 hour.
This was a fight from the off. The crop meant that the face did not coalesce easily. Texture and composition were fun.

Robin with skull on board detail

Here’s a close up of the texture on the face.

Robin in profile with glasses
Robin face on

Robin in profile and front on. 15 minutes each.

A fellow artist and Robin and skull in his first pose.

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Tasteful pinkyblue sparkly woodblock printing.


Not Much to say on this one.
You either like hand printed sequined woodblocks or you don’t.
Something satisfying about the amount of texture and detail in something so readable.

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Life drawing. Nudes on blue & green.

2 nudes on blueTwo nudes on blue. Acrylic on canvas board.
The night of the alternating poses.
An exciting night where things were kept moving by a new set up.
The model alternated between two poses, changing positions every 15 minutes. 
This made for a refreshed viewing of the model, with new insights each time.
The idea was the have the two poses on the same page. Due to my positioning I decided to move the far pose in the composition from far left to near right. The acrylic paint was laid on thickly with only some (un-needed) charcoal pencil added.
Here’s some details / crops:

15 minute nude on green. Acrylic on card. A tester for the main picture.

15 minute nude on green card

15 minute back. Acrylic on paper.

1st nude back

Now that is dry paint.

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