The first session was joyful. Great poses, good teaching and a positive atmosphere.
Acrylics and compressed charcoal on prepared paper; pencils added later. 30 minutes.
The model had featured on the exhibition poster for my last big solo show at the Mary Ward Centre, it was great to paint her again.
A close up of the head showing the texture of the paper.
Another 30 minute pose with some added pencil at home. I like the play of the turquoise against the dusky pink and dull yellow. I’ve signed these two, which only happens when I really like my work.
Tow studies from the first part of the class. Both around 15 minutes.
There was some fun talk about how ‘wrong’ this image was. Both feet were on the ground. At the time I was thinking of getting the some Vortiscist feeling into the work, making it strong, unsentimental and dynamic. 15 minutes.
A quick painting. The model was balancing on a plastic torso. 15 minutes.
M in profile 4th state. Maybe it’s finished…
Created from the source material oftwo different images of the same model.
Made for a little local exhibition.
M in gold leaf and glitters
M in glitter paper and oil paint
M from life
M in blue brushstrokes
M in glitter idea not finished.
M in pencil not finished.
An earlier version of the first image
Another three quarter view
There quarter view
An earlier version of the top image and two other framed portraits from the series.
With the boys at London Zoo.
In the week all the animals come out. Almost like there is Saturday staff animals at the weekend and these are the professionals.
Anyway it was great fun and instead of shooting the rare breeds with a camera, out came the sketchbook.
Spiders. Some are the husks of former spiders, discarded when they outgrew their hairy clothes.
The giant anteaters are… very big. They look like blokes in silly costumes.
Trying to capture the fear I have of little monkeys.
A parakeet in an exercise on mark making.
The Lions were positively posing. My first drawings of the day, so they are a bit stiff.
See the animals were on show.
The tigers were frolicking, kids jumping on their mum like they were in a nature doc. Plus meerkats which underwhelm me. As you can see from my sketches of them.
The pygmy hippo was less energetic. And therefore easier to draw.
As were the Sloths. Sunning themselves on a lamp. They were great. Nice fur. They like mango too.
Ring tailed lemurs for Madagascar. Startled and brainy?
These Amazonian river fish are my favourite fish in the zoo. Alex drew them too.
These works are mounted in black square frames that are quite recessed.
A series of paintings treating the same source images in a range of different ways.
Pencil and acrylics.
These paintings were made side by side and at the same time. The lower one is more is more expressionistic. Both are heavily worked.
This image still is not finished; underneath was a very sensitive pencil work.
There will be a least another two works in this series.
Xmas holiday sketchbook pages.
There was a little time between eating cheese to make these sketches.
It did not matter if the pose changed mid-way through. Multiple arms are fine.
My kids don’t hang about very long.
A large amount of family.
I make a compilation for friends of the music that’s meant something to the family Mill throughout the year.
This is the list.
It’s not every night you end up in a crypt drawing Jesus being flagellated.
Dark Arts- Caravaggio
Join us for an evening of violent beauty and drama as we create scenes inspired by the master of dark arts himself, all set against the intensely atmospheric interior of the amazing Crypt Gallery under St Pancras Church in the heart of Euston. We will be joined by John Close, tutor and Caravaggio super fan for a master class in chiaroscuro. So get your cloak and daggers at the ready for some murderous drawing action.
Made while kneeling on the crypt floor with the sound of monks chanting (on tape) and the roar of the Kings Cross traffic bleeding in from outside.
The second drawing. Focus on the emotion of the scene. A lot of historical weight: religion, art and the act of torture.
The first image. Drawn of prepared paper. ‘Jesus’ took up a second position 2/3rds of the way through, hence the sense of confusion, which helped give the image some life. I wanted this picture to be grubby, layered and dirty as the subject is not dainty.
Some close ups.
The inspirations behind the poses.
The last of this year’s Friday night classes at the wonderful Mary Ward Centre.
Using oils with a time limit can be tricky. The results can be a muddy mess. A solution was to lay on the paint and then smear most of it off with a cloth. This left a good sketch on which to put fresh colour on. The final touches were made with a fan brush (with no paint on) and a blur pencil. One day I’ll be able to work with a small brush to my satisfaction…
This is the final reclining pose.Careful colour work. 1 hour.
Three 20 minute poses. The far right one is on sugar paper, which worked quite well.
There’s two Caravaggio specials coming up, in a crypt in Kings Cross with the fantastic tutor John Close. I cannot wait.