David really makes every pose something special.
It’s a pleasure to try and live up to his standards.
This pose took a lot of marks before it started to coalesse. Painting a face that’s upside down takes a fair bit of checking. The perspective held problems. John the tutor’s advice came to the rescue.
To try and re-create on the paper the tension and strength of the pose made me work pastels into the acrylic. The forces became palpable.
The final work. A commission.
The work at angles.
The work seems to handle being played with.
Here’s a harder version, more like an old master palette and blue period Picasso version.
I still like this large sketch from life.
An hour of intense concentration ended up with something powerful,
but not a subtle as what was infront of me.
Three ten minute poses. The middle image used the looping method of drawing in a series of ovals. The ones either side were constructed out of boxes.
Mr Skellington and the model. 10 minutes.
Made with a sponge and a conté pastel tied to a paintbrush.
The next three images were made in the defining the body exhibition at the British Museum. My notebook is around A6.
I needed a sit down, so looking up, I drew the nearest Venus.
This head was larger than life. Dramatic lighting.
Aphrodite. A great pose.
Posted in Illustration, Life Drawing, Sketchbooks, Uncategorized
Tagged British Museum, Defining Beauty, fine art, Illustration, life drawing, nude model, Painting, sketchbook, Venus
This gold paper is tough. Conté pastels don’t attach to the surface but scrape through the paint, revealing the gold underneath. 45 minutes. The reflection makes the image.
A close up of of Barry, You can see the scratches.I’d forgotten the dark grey, so I was mixing the green and red.
Mr Skellington was painted while we were setting up. The quick poses included holding the pastel on the end of a brush, in your hand like a claw and with the ‘wrong’ right hand.
This was a ten minute pose taking what ever was to hand. The colour choices were not thought of.
This ten minute pose was made using the style of Pointillism. Then I added some lines at the end.
Bea is a director of photography as well as being a life model.
Here she is eight times. There were 4 poses of around ten minutes. There were different approaches to each painting. These included negative space, looping in the main forms, horizontal measurements and just letting it happen. I moved the paper up and down rather than move myself.
Fun choosing which colours might go with the deep claret of the card. Stronger drawing at the start would have helped the finished product.
The green was chosen after talking about verdigris. Body as landscape again.
This painting was a major commission.
The influences, sketches and progress of the work was made into a book which you can look at and purchase here.
My painting career seems to be taking off.
If you wish to commission a portrait please email me.
The title comes from the initials of the sitters and the fact that I painted the initial sketches on Sunday afternoons.
Below is the final work of three canvases.
Here’s an animation of the creation.
The paintings are made to work together or as on their own.
Some close ups.
“Why Is This Happening?” is a song about immigration in the UK from the immigrants point of view.
“The #WITHlove2015UK campaign is a music-led initiative to release a song to raise awareness and fight back against the growing anti-immigration and often racist rhetoric prevalent with UK politicians and the media. We want to change the tune of the one-note anti-immigration rhetoric during the UK election.”
CD promo cover.
The idea: The colours conflict in the middle closing a door on Pola’s defiant image. The colour choice references the Union Jack.
CD promo back cover.
Different logos and copy blocks. As you can see originally the campaign had a lighter feel. The client came up against problems, people thinking it was a UKIP thing rather than an Anti-UKIP thing.
A quick original typeface, let’s call it ‘Jaunty Jack’.
See withlove2015uk.com for more.