Come next Monday, I shall be making my way to Barcelona, and embarking on a daily sketching sojourn in several cities. This prospect has made me slightly nervous, as well as excited, as I endeavour to keep my sketching practice up. My aim is to be as fluid as I can with my line, and use of colour. Last week, I attended two workshops; both with live models, but each very different from the other. I knew that we were going to be covering animals in the first class, but expected that we would be working from photographs. I was rather taken aback when a rather large, although handsome tan and white boxer dog (Walter), was led into the room. Continue reading
After doing a recent quick ‘selfie’ portrait, I sifted through some old art folios, in which I found a few very different images of myself. Two were pencil drawings, and the other a quick sketch in acrylic on paper. Over the years I’ve executed many portraits, in pastel, pencil and paint; some done as teaching tools, some commissions, and others as part of children’s book illustration.
With all portraits, and all figures come to that, I have generally used the same techniques to plot the sketch. But the most important technique of all does not involve pencil or paint. To become accurate with any portrait, you must look. Seems obvious? I am talking about really seeing here: the shape of the head, the face; whether it is thin, long, wide, plump. Is the skin tone fair, or dark? All these features need to be observed before a pencil makes a mark. And, then comes the hair. Is it dark, light, thick, wavy, straight? Is it wispy, framing the face? When you are becoming to know the person, it comes the time to select your tools (pencils in this case). It does help if you already know your model too. Continue reading