These three girls will be going into an exhibition of life drawing in Stroud next March. The two on the left were done about two years ago, I think, and she dozing on the right about nine months ago. All are various combinations of soft pastel and charcoal.
Charcoal and chalk. This is well over life size. Not quite sure why we are doing such big pictures. What on earth do we do with them? I just end up storing them in a plan chest.
It must be nearly Christmas, the art classes have all started. Quick charcoal drawings to get us back in the groove.
Drawing a model who looks like a benevolent pirate. Started out by splashing acrylic paint all over the paper. Once that was dried, drawing the figure in charcoal and a little colour. Aiming at detail in just selected areas. The first attempt was awful, but these three are not too bad.
I’m doing mixed media work with Sue Rae again. Very mixed output for certain, but I quite like this, although it is just meant as a study for a larger work based on the idea of ruins in one way or another. I think this was an old blast furnace. Charcoal smeared all over a piece of soft cardboard, highlighted with chalk, a little coloured pastel and lots more charcoal. I think charcoal and decay just work together.
This is my second fragmented nude. Sections of handmade paper pasted to a canvas and then an acrylic image painted over them based on a very old drawing. It looked weak, largely because the paper was too dark in some places. In the end I reworked and reworked the whole image with pastels, building up many layers with fixative in between. I think I am pleased with the outcome, or at least this state. It has been hanging on my wall for a couple of months before I reworked it, and the same may happen again.. The paper collage is almost invisible. apart from its shapes.
I still like the original charcoal sketch, which has been hanging on my wall for years
I hung my paper pulp girl on the living room wall and she looked good, but really needed a frame. I decided to make one, as professional framing is slow and really expensive.
Two lengths of wood glued together gave the basic rebate. I cut the mitres on a bandsaw and they gaped terribly, so quite a bit of polyfilla needed on all corners.A trial fit looked good, with about 1/4 inch shadow gap all round. I painted about five layers of acrylic over the whole frame, looking for a suitable finish. Ended with a slightly dulled metallic bronze, which nearly matches some of the colour in the painting, but not too close as to be drab.
Very pleased with the result. I have worked for hours on minor changes. A slight shadow under her bottom so that she is not totally lost in space. I thought there was something wrong with her head. I had painted it right up to the edge of the canvas. This looked odd, so I used white paint to re-establish the canvas, where it wasn’t covered in the coloured paper. This worked, so I went over the whole picture, painting out her body where there was a gap between sheets of paper. She looks as if she was assembled from the paper onto the canvas. She is finished, and looks fine in her glitzy frame.