This was the final session before the Easter break.
Adding the standing figure and background in two hours.
The palette is more considered, the brushstokes a little less dramatic.
If it’s exhibited I’ll try and work out a narrative. This could well be worked on before the next set of classes.
A close up of his torso.
A warm up sketch.
It won’t be long until I see you again old friend.
Robin is a great actor and model. He is dramatic even when reclining.
Now that is a loud background. An hour.
This is the first part. There is room on the left for another pose, to be painted next Friday.
Two small paintings. A twisty pose.
A large version of the main pose. 25 minutes.
Heaters are great to paint. Heater on a hot colour. The bright base layer helped the skintone, gold paint helped too. Acrylics and pencils. 1 hour for the main painting, the pencils took around 30 minutes while eating a late snack around midnight.
A detail of the face. The poor model had fainted earlier in the session, so the reclining pose was a must.
Four poses on blue. Each pose was made in a differnet way.
From left: Only painting upwards, Made with blended colour with pencils at the end, below using a pointelist technique and made using a line structure.
This ended up looking like a 1950’s style portrait. A nice range of textures.
The tv series was pretty good fun and never less than a feast for the eye.
As we watched the pen was used to take notes of all the unusual physiognomies infront of me. These were then collated in photoshop, the characters grouped together. The sizes of the drawings have not been changed.
Here’s photos of the cast to compare with my scrawls.
Here’s a photoshop offcut and the cover of the sketchbook, dating from 1810.
In the middle of the night the thought came to put solid colours onto paper. Three sheets were prepared with acrylic applied with a printing roller. The next evenings work benefited from the bright ground. Gold paint works well against the fuschia. A good strong diagonal with a balancig ‘horizon’ strip along the top. The last pose of the night. 1hr.
As in the Matisse work ‘Red Studio’ the background does not receed. The effect is to state this is a painting decorative and beautifu, as well as what is seen infront of the artist.
A close up of the face showing how the colours and brush strokes and charcoal marks work.
Six short poses on grey ground. The class conentrated on hands and feet. A touch of the programme ‘Taboo’ in the ghostly colours and dramatic lighting.
The unused blue sheet of paper. Rather nice as it is.