A beautiful girl 

Charcoal on Paper

This is another drawing of my favourite model at the moment (you would have seen her in my last post over the shoulder)


I'm very happy with this drawing, even though it was never fully completed - the incompleteness of the drawing adds a certain charm.


How to buy this painting: How to buy a painting

May's Second Charcoal

Charcoal on Paper

This is the second charcoal I'm posting this month.
I think there is something (hopefully at least one thing) in each drawing that I fall in love with, in this drawing it's the fabric wrapped around her hips - I love the folds in the fabric and the way the light captures the folds.

At tea time someone said, about my drawing; "She looks cross."
The model, overhearing the comment, looked at my drawing and said; "No I don't, I look pretty!"
Gog bless her.

February's Charcoal

February's Nude
Charcoal

I'm really starting to love charcoal as a medium, but they're starting to stack up. I'm wondering if I should start selling them. Or maybe I should just give a few away...

Seated nude with a red cushion

Oil on Board 20cm x 25 cm

Our regular studio's undergoing renovations at the moment (we got three days notification!) so after a short sabbatical we're back to painting in a new venue.

We've been graciously offered, and accepted a studio on the third floor of a spectacular house.

This is the first painting from that venue.

This model has posed for us before, I described her in Reclining nude – Red hair and creamy skin as a lovely red haired girl with equally lovely white skin.

The new studio suits her - it's a lovely combination of the colour of her skin and hair and the wooden finish of the studio.

I'll be putting this work up for auction next week.

Reclining nude – Red hair and creamy skin

Red hair - reclining nude
Oil on Board
21 cm x 25cm

This painting was done in the same style as the Nude on a Persian carpet – there are a few similarities – both girls have red hair, both were reclining (laying down) and both have a lovely peaches and cream skin tone.

This model has long curly hair, while our Persian carpet girl has a short, almost boyish cut.

The pose started with the intention of being as a short one session pose, but by tea time it was decided - we wanted a second session. The painting was therefore done over two sessions (about 4 hours).

Our studio is in an old school that has been converted into a community centre, so in the background we have the old school blackboard. It’s the first time I’ve painted it – usually we have a coloured backdrop hanging over the chalk board.

Mind you, I'm sure this posting would have got a lot more hits if the title was "sexy nude school teacher" - I'm sure it's someone's fetish :)


At some point during the evening one of my fellow artists looked at my painting and commented “Look, she’s floating on a cloud!” I’ve since added more detail to the sheet… I hope it looks less like a cloud….

How to buy this painting: How to buy a painting

Seated nude - Composition sketch (pen on paper)

Seated nude - pen study on paper

This was a quick study in lights and darks, the idea behind the sketch is not to be a final work of art, but rather to be a template to work from.
Unfortunately I never did a painting of this pose from this angle, it was done in the last 5 minutes of a session and the model was unable to make the next session.

Pen sketch - composition drawing

Before starting a painting I will always do a sketch, often in pencil or charcoal. The idea behind the sketch is to test the tonality and the composition of the picture... it gives me a chance to solve the problems and complexities of the task at hand.

Once the sketch is done I'll often draw all over it as a choose which part of it I'll use as a painting and for measuring the drawing while transferring it to the canvas.

This sketch survived me - I spent more time on this drawing than I should have, but I loved doing it!

Nude in the sunlight - a painting in progress

This is another small painting that's on the easel in the studio. I spend a few minutes each painting session working on it. It should be finished within the next week.

Standing Nude - oil painting - Alla prima

Standing Nude - Alla Prima
Oil on canvas - 25cm x 36cm

This is from the archives - which in my case is a pile of paintings that have been stacked away in a dark cupboard, mostly of unfinished paintings and paintings that desperately deserve to be shredded... finding this one was a nice little surprise.

The model for this painting was a lovely mother of one in her early thirties, she decided she wanted to try modeling for an artist group - we were very happy that she chose us. She has a lovely figure and a very pleasant manor.

The paint on here is very thin on a canvas roughly primed with gesso, it's the texture in the gesso that you see, not really the brush strokes.

The painting was completed in one two hour session so the size was a perfect fit for the amount of painting time I had available, any bigger and it would have looked incomplete - smaller and it would have looked overworked.

Reclining Nude

Reclining Nude

Oil on Canvas board
300mm x 225mm
SOLD

This little painting was on the easel at the same time as 'Reclining nude on Persian carpet' - I've found that at times it is a very good idea to have a smaller painting available to work on so that I don't over paint the piece I'm working on.
In this case the smaller one was where I tested my colour mixes before applying it to the bigger painting; colours and tone need to be caefully mixed before applying.... as it turns out it turned out this experiment, or side project, became one of my favorites.
The painting has an alla prima feel to it, but it was done over about three sessions with the model.

When I listed 'Standing Nude' on a local auction site... I accidentally loaded the image of the original 'Reclining nude', which was already sold in March!

To my amazement it was snapped up within hours of posting it; I had to cancel the auction, which left my buyer disappointed. I offered him this painting as an alternative - he accepted two days later he had the painting an I had the cash.

I've got to get this model to pose for me again... she's lovely!

Diane - 7 November 2007

This was a short sitting (about 1 hour) and it was a with the purpose of trying Richard Schmidt's technique of working the drawing out of a mix of burnt sienna and ivory black.

It's a fairly simple technique, but can be very difficult to master. I was lucky with this one; I liked the result.

The painting starts by covering the entire canvas with a thinned mixture of burnt sienna and ivory black (the mix should be blotchy so that you have patches of sienna and patches of black) - the mixture is thinned with turpentine. Once the canvas is prepared it needs a short while to dry, it's time to start painting again once the paint no longer is able to run.

The painting is then done by both painting fresh tones of the sienna / black mix and by using a cloth to rub away the coloured texture causing highlights. I.e. Paint the darks and rub out the lights.

The pose is exactly as was in Richard Schmidt's book and I followed his instructions closely. This was to be the under painting with a more complete colour painting worked over it, but I liked it so much that I was compelled to stop.

We had a small exhabition at the office (I work for a large South African retailer) and this painting was sold within the first hour of being on display. It was never meant to be a finished work of art so I the selling price was very low (the buyer actually gave me more than my asking price!)

Oil on board - SOLD