SC in Sicily. Jan 2019. Acrylic and Oil Pastel. This commission was an interesting exercise in trying to capture the personality of someone I know well. The image was one taken in intense sunlight with most of the face in shadow. The trick was how to get the blend of colours right. Acrylics were looking dry and cold, so looking back to some early life drawings of mine for inspiration, out came some heavily pigmented oil pastels. After quite a lot of applying and smudging, the work was finished.
I wanted to make it have an expressionistic feel, to keep the vibrancy of marks as well as the vibrancy of all that colour.
Here’s the different stages of the work up to completion. Only the last stages are in oil pastel.
Sorry, it’s been a while. I’ve been working hard on a graphics project, so time has passed since the last post. I’m in a lovely exhibition at the NudeTinCan gallery in St. Albans. It’s called ‘Nude or fully Clothed’ which suits the wide range of good works on show. I have two pieces in the exhibition: Repeat Performance Acylic and pencil on canvas Glitter Platinum Lady Acrylic, pencil and glitter on Paper
I’ve been sketching a lot, in pencil and pen. Plus I’ve been working on a new portrait I hope to finish very soon. More when it’s done! Back to Friday night life drawing this Friday, so expect regular posts…
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.
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.
Drapery study 1. Chalk and pencil on paper. 15 minutes.
Drapery study 2. Chalk, charcoal and pencil on paper. 15 minutes.
3 studies with material . Pencils on paper. 15 minutes.