As soon as you have two figures in space your mind creates a narrative.
The act of having to describe the space between the models give the image grounding. These are not people floating in space but real humans in a real room.
This gold paper is quite something to work with. It makes a dramatic composition even stronger. 50 minutes.
The last pose. There’s some distortions, some on purpose (moving the figures closer, making the nearest foot bigger) some not (The length of the nearest legs). The legs at the top make the composition to me. The smears are cleaning the palette; I hate wasting paint. 50 minutes.
5 poses of 5 minutes each. The model was very near in the largest image. So much so her face distorted on the page, becoming longer than it should have been. The stick was not red. Making it red give the composition rhythm. It might be fun to put this in photoshop and make them into another composition; this time in perspective and landscape.
The final? version of Mr Skellington. More work on the ribs. Again made in the minutes before the class started, at a different angle than the week before. I like the idea of the same pose, same model, same artist and differing space between the two.
I may well be having an exhibition of some of these works in September.
This pose was for 1 hour. The artwork originally had a head, but I found it was distracting from the landscape feel of the composition.
This is how it used to look.
These images apart from the left one all took 3 minutes each. Quite a challenge. The large work on the left took 10 minutes.
Some more work on Mr. Skellington, mostly on the ribs. To scratch through the paint surface to the gold paper underneath is very satisfying.
The evening was a great release after a stressful day.
Mr Skellington was added to in the breaks. Barry was a nice chap who looked to me like an Elizabeth Frink figure come to life.
The seated pose took 20 minutes.
The last pose which you could call ‘The Blind Pilgrim’ took 1hour 20 minutes. In real life it was a broom; I thought ‘The Blind Caretaker’ didn’t sound as good. So the brush was left out. I’ve purposely heightened the perspective; I was kneeling for the painting. I think you can see how near I was from the ‘lens warp’. Again, the paper was a joy to work on. Good on you GF Smith and my printer, Oldacres.
I’m very proud to be part of this.
This is a drop in class on Wednesdays in Kentish Town.
The Zabludowicz Collection is a very nice space, in an old church but without the camaraderie of the Mary Ward. It seemed a fair bit quieter, due to the height of the ceiling and that as it wasn’t a course no-one seemed to have a connection to anyone else. People were friendly in the break.
Painting is not allowed so pastels were used instead. This piece was worked on afterwards.
30 minutes in the class and about 20 minutes at home.
The warm up pose. The large face was quickly sketched in the last minute. The model wore wrist warmers, which gave the images some graphic strength. Pastels. 15 minutes.
I’ was pleased this pose got fixed in the last minute with the strong red oil pastel. The squares were mirrors on the floor, some artwork. 15 minutes.
This pose was is always on the edge of balance. The model was standing on a box. 15 minutes.
A very quick sketch before the class started. 5 minutes.
A graphic looking off-cut. 5 minutes.
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.