Life drawing: There you are.

There you are. Acrylic on paper. 60 minutes. Three different brushes.
The different greys let the skin tones speak and give a sense of space..

There you are. Details of the head. Forsaking pencils, I let the smaller brushes take the strain.

From left:
D on ice blue. Acrylic on paper. The warm up pose. I was very happy with the skin colour, it pretty much matched what I saw in front of me.
4D / 2A. Acrylic and compressed charcoal on paper. 4 poses of 15 minutes. Good fun painting my fellow artists. On each pose a different approach was attempted. The red added a bit of drama.

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Life drawing: PB

The Queen of Sheba on her throne. Acrylic and compressed charcoal on prepared paper.
As yet unfinished. Around an hour.
The amount of brush marks and colours give this work a lot of depth. Again there is some conscious distortion to give the feeling you are near to the subject.
PB painted with a fan brush. Acrylic on sugar paper. 15 minutes.
The fan brush makes a good visual ‘noise’ and has a range of marks that can be made from it, from rough stumbles to thin straight lines.

Other 15 minute painted sketches and details.

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Velasquez sketchbook page in 3 states

Christ in the house of Martha & Mary. probably 1618, Diego Velázquez in the National Gallery. 

After 15 minute sketch in the National Gallery, this was worked up at home without looking at the original. I really like this painting, it has a lot to it, descriptively, technically and emotionally. The idea of copying isn’t something that I do much, this was fun to do, seeing the mistakes in composition I made – mainly due to the wrong ratio. Notice the arrows in the pen drawing.

The original. Though it looks very dark to me in this official National Gallery image. You can see all the differences that my eye and hand didn’t work out. Which is interesting. I think.

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Life drawing. A man.

Blind man’s bluff. Acrylic, pastel and chalk.
There’s four poses of 15 minutes, one obscured. The background was painted 10 minutes before the poses started. Each pose has slightly different techniques.
A man with arms up. Acrylic and chalk. Made with a fan brush.
A man from the back. Acrylic and compressed charcoal.

Some details and Man with a blue ribbon.

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Life drawing: Look left.

Look left. Acrylics and compressed charcoal on paper. 1 hour.
Really pleased with this. The composition and distortions work. The colour palette is simple and feels real. This will be exhibited at some time and will be worked on.
The model is an enigmatic dancer. His sister has been painted by me and is the the exhibition at this moment. That is me in the background in the studio mirror.
Seven studies. Acrylic and compressed charcoal on paper. 2 hours.
The top images are the most pleasing. Lots of paint laid on with a big brush in such a small space.
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Life drawing. The actress.

The first Friday night of the new term at The Mary Ward Centre.
The building, tutor John Close, model, fellow students and even the café are all as wonderful as usual.
Some new paints, some old bits of drawing material, the paper clipped to the canvas and I dive in to the water…

The Actress looks at the viewer / looks at the artist. Acrylics, pastel and a little crayon. 1 hour.
There is three focal points to this image. The artist at the back, the shoulder of the model looking at the artist and the foot of the model looking at the viewer
The Actress through techniques. Acrylics, pastel and a little crayon. 90 minutes.
This includes four poses using different techniques on each pose.
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A portrait of a friend.

SC in Sicily. Jan 2019. Acrylic and Oil Pastel.
This commission was an interesting exercise in trying to capture the personality of someone I know well. The image was one taken in intense sunlight with most of the face in shadow. The trick was how to get the blend of colours right. Acrylics were looking dry and cold, so looking back to some early life drawings of mine for inspiration, out came some heavily pigmented oil pastels. After quite a lot of applying and smudging, the work was finished.

I wanted to make it have an expressionistic feel, to keep the vibrancy of marks as well as the vibrancy of all that colour.

Here’s the different stages of the work up to completion. Only the last stages are in oil pastel.

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