Andrew has a great torso. He has modelled at the British museum amongst the statues. The classical look of his musculature gives drama to any image of him. Nice guy too. This took 15 minutes. Painted over an average drawing. You can see the old hand on the left.
This pose brought out a German expressionist feel. At the time it didn’t look too distorted. I might put some colour washes on the background. You can see the three ‘boxers reach’ muscles underneath his armpit. 30 minutes.
Two 15 minute poses. Rivers of muscles.
Oldacres, my favourite printers have given me some outrageously nice paper. What a colour. Deep Claret Colorplan by GF Smith, 270(?) gsm. The brush strokes are trying to go with the line of the muscle tone. The colours chosen were to make the image flat, letting the marks and tones do the work of making the image 3D.
Shiny gold paper! This was made in the 20 minutes before the lesson. I should do more on this.
A skinny model who kept on moving, his arm kept on falling down.
This was made 10 minutes before the class started while speed eating a slice of pecan pie and chatting about strapping pastels to sticks (which is how I created this drawing).
This weeks theme was drapery. The lines of fabric follow the form underneath, the sweeps and loops, the highlights and depths make you think of classical or Renaissance sculpture. The use of a large amount of green was put on as a challenge – an interesting ground to work on. There was talk about Matisse and his use of flattening background colours, the red room pianists, so in homage the background was brushed in the same tone as the skin, to bring the background forward. 3o mins.
You can tell how near I was to the model by the slight ‘lens’ distortion. 45 minutes.
This drawing was grown from the feet. The light skittery lines do not photograph well at all. If anyone knows how to photograph light thin lines on white, give me a call… 15 mins.
I like the solidity of this painting. The seated figure takes a while to see. 2 x15 minute poses.
This was a commission for the same great patron who wanted a portrait of Winston Churchill.
The idea behind the portrait was to make his face show all the trials, pain and strength in the man’s amazing adventure in the South Polar regions.
If you haven’t read his recounting of his expedition in the book ‘South’ I urge you to do so.
Texture upon texture was created with many different materials, the colour palette was restricted to to cold hues and the mark making was frenetic with no pussyfooting.
As the surface is so textured, the light really effects it’s appearance. Above is the work in weak sunlight, below is with an overhead bulb.
The book about the making of this portrait is available here.
You can see a readable pdf of the book here.
This is a study for the painting which is also being framed.
In hindsight the ears are tiny! Shackleton, being dead could only be drawn and painted from photographic sources. This made me really try and bring out every contour to combat the flatness of the photographic source.
Created with felt tips in a sketch pad paper, so around A3, under a 3rd of the usual size. Just normal Pentel felt tip pens plus a light wash of water with a big brush just after the model had finished the pose.
I didn’t want to get my suit dirty.
Had to go and drink large amounts of red wine, so missed the last hour.
This works. Most of the lines have a purpose. The distortions are not too bothersome on the eye. The zing of colour over colour is the best thing about felt tips, filling in large areas in them always looks terrible. 45mins of close observation.
15 mins. Lots of talk about each line being helpful.
The first scribble of the evening. 15mins.
I am so happy to be working on something that could benefit everyone.
Track 0 really is a big deal, with a lot of important types getting involved.
The project has involved a lot of copy which deserves to be read, a lot of quotes and many bullet points. The solution was to made the body copy choice a condensed font (Trade Gothic) put the quotes into speech bubbles and replace the bullet points with two tone text – saving space and helping stand out. A large palette of greens and blues were deployed to delineate sections. Imagery and illustration fitted around and highlighted the text. All going towards the same point; the convincing argument about reducing our carbon footprint.
It’s great to see the brand grow, from designing the logo, to this document and into the future.
Download the pdf here.
here’s some of the spreads.