The Red Painting 1. Sketches, studies and notes.

These are the workings behind a major as yet unfinished painting of a seated life model. The square canvas has been worked on for a while; in spare time, on the tube or between design jobs I’ve been making notes and doing odd sketches to try and find a way of making th work something really special. The large amount of red paint on he canvas has given it presence; now it needs elements to make it work.

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A tweaked calendar.

Sometimes you have to make presents. Here’s a Christmas present, a calendar which has been tweaked to fit its recipient. Using some new felt pens and some Pritt Stick, jockeys have been added, some more silly than others, all with silly names.

Here’s the monthly pages and poster.

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Life drawing. ‘David & Bathsheba’

David & Bathsheba – surely Bathsheba and David! The title is a bit of joke.
Acrylic and pencil on paper.
The artist in the background is called David (though no lust was involved and he is not a king), plus, the pose is slightly like the Rembrandt painting, without the ogling, or the sadness. The pieces of paper on the ground could be the letters in the Dutch masters painting. The blue material could be water… that’s pushing it a bit.

Details of the painting with title’s inspiration. https://en.wikipedia.org/wiki/Bathsheba_at_Her_Bath_(Rembrandt)

Moving. Conté pastel and pencil, with a tiny bit of oil paint.
I liked this pose. A light sense of balance. Quickness.

Some details of the above.

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As seen in the World Of Interiors.

I decided to make a bit of promotion, in the January edition of the great World Of Interiors. It was very pleasant to be placed at No.1.
As for the painting featured, I’m working on the next portrait in the series, which I’ve very happy about.

Here’s what it said:
1. Trevor Mill is a London based portrait painter. His work is figurative and mostly oil on canvas. He is adept at group work as well as solo portraits, really getting to the heart and soul of the sitter. Trevor has had 4 solo exhibitions and a steadily growing group of regular patrons. He has a special facility painting portraits of historical figures such as Winston Churchill. For larger work, the patron also gets a book on how the work came about, including sketches and photographs of every stage of the painting. See more at trevormill.com

Here’s the painting in close up.

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A little bit of illustration…

It seems a lot of work is consigned to be a mystery due to the prevalence of Non Disclosure Agreements. Here’s a medical illustration job that I can now show in part at least. It works as details without giving anything away.

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Life drawing: the King.

The King. Acrylic, pencils and pastels on paper. About 4 hours, 1 and a half with the models, the rest spread over the week in 1o minute bursts.
The challenge was to create a new world around the model, not just the life drawing room. Perspective grids, old sketches and my imagination were thrown into this work. I’m not sure the painting has a message… maybe I’ll find out later.
The eagle was and it’s colouring has something to do with His Dark Materials and an earlier work about swans being angels in a Dante-like heaven, which I painted around 15 years ago. There’s a bits of Giotto and Max Beckmann in there as well.

Some details of the final work.

Some of the sketches and influences around the work. The horse made it look to much like Lord of the Rings…

3x man. Pencil and acrylic on paper. 3 15 minute poses with the acrylic added at home using colour from the main work.

Some details from the work.

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Life drawing. Looking left x2.

Looking left No.1. Acrylic, chalk and pencil on paper.
I think it was 25 minutes, plus some more on the skull of the now famous Mr. Skellington.
Sitting poses need some dynamism. The chalk was added on the background to make it recede. The skull was left on the floor over the break, so I had an extra 10 minutes with it, hence the detail.

Details of the above, showing the shaky mark making.

Looking Left no.2. Acrylic and conté pastel on paper. An hour in the Mary Ward Centre, then 20 minutes at home.
The background was rather loud before the watered-down Farrow and Ball mixture was liberally added to calm the whole thing down. The shadows were added – there wasn’t many shadows in the real scene.

Some details of the above. A smaller painting of the model and two warm up poses which are very gestural. Interesting that I haven’t kept the skin tone palette between any other works made one after the other. Do I always see afresh? It would save time to use the same colours…

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