So, you have a scene. What do you paint? What do you leave in or take out? What colours to use? All in an hour.
The mixture of decisions and the muscle memory is thrilling to me.
So, here are some of the points in the painting:
A restricted, mainly cold palette.
A fellow artist featured prominently.
Diagonals and verticals highlighted.
The difference of tone between skin and background accentuated.
The look. 1 hour.
A close up.
The shadow This started with two inter-locking triangles. 30 minutes.
2 x 15 minute studies.
A 15 minute study.
This very empathic model once posed as St. Jerome in a crypt near Euston.
For me he will always be the saint.
This is painted over an old work, which meant that it pushed me to great heights. If I’m to obliterate something, what goes over it must be better.
There’s a lot of paint on this piece of paper.
Acrylics, oilstick and pencils.
Artist & model
The first pose of the night. Notice how the artist has moved in the mirror. Nice to use some green for a change.
St.Jerome in the wilderness
A quick work graphite. Started from the stomach out.
The latest state of Sing Yor Life.
a minty green is giving the work a new lease of energy.
Title: The blue room. You have the feeling you are in a large room, close to the model. Enough information is there to set the scene, to tell you where you are. There is something pleasing about leaving some paper unpainted. Something good about the lengthening of her back. The purple is nicely false as well.
A detail of the above. This figure was painted first, with a large expanse waiting for the next pose. Both took 30 minutes each.
Poses in the red room. The horizontal line connects the two poses.
Three figures on blue. I wanted the small figure to look like one of Matisse’s sculptures that he adds to his compositions. A way of pointing out the plasticity of the work. This could do with a good day on this. I can imagine the central figure being abstracted into a series of curves.
This was a small sketch from a previous class. The composition seems to work.
The first life drawing session of the year. I happened to get to the Mary Ward Centre early. Turned a few lights on. Set up. Painted for 30 minutes. Tested out some oil sticks.
Title: Sing Yor Life
A nice close up showing the range of colour
Model & Artist. The work after four different sessions. If the painting is exhibited or sold there is another two sessions. A tidying up session and a matt varnishing which will give the colours a bit more depth.
cropped with the pins photoshopped out. A little colour correction for the lighting.
The head in detail.
A collection of the work in progress.
The next two weeks will be on one pose.
Composition-wise I like the silence on the left, the artist and their reflection and the model in a dynamic seated pose. The side-on artist contrasts nicely with the model.
I think the finished artwork will be square. Rather funny that I didn’t see the rogue masking tape that covers her modesty.
Here’s a detail of the above.
Blue card works well as background. The guitar and torso was in place before the model arrived. The two poses were worked into the composition.
A quick 15 minute pose. The image was worked up in acrylics with 4B pencil added near the end and finished with a little more paint.
A detail of the above. Taking some of the detail away helps sometimes.
Black card is harder to work on, too stark. It gives a strange stark, ghost-like feel to the images made on it.