College Term 4 – Painting – Weeks 2 & 3

Well, the Mac is currently reinstalling from back up – silly me decided to do that over the network, so there’s another day to go! Meanwhile, back in real time, I took more photos of the oil paintings from week 2 (the first three) and one from week 3. Each painting is 15cm square based on a 3cm square frame of my bead collection. We were working in brown monotone, making our browns using colour theory: blue and yellow to make green, green and red to make brown, add blue to darken, yellow to lighten and be careful with the white! A small amount of the light brown mixed with white made the background cream. I reckon I was getting much better by number 4… Let me know how you think I did!

College Term 4 – Painting – Week 3

It’s monoprint week, using oils. This is a completely new technique for me: paint onto glass with oil paints, and then press a damp sheet of paper down onto it to make the print. Not sure that it will become a favourite technique – I prefer using a gelatin plate and waterbased colour, but I guess I’m still a beginner! As before, I’m working from my collection of beads, and each print is 15x15cm. First image in the pair is the oil painting on glass, second is the print.

I’m quite pleased with the improvement – partly from making sure the paint was a little thinner on the plate, and the paper slightly damper to make the print. I particularly like the iridescence I managed to get on the last purple bead – I included all the colours I’d used on the other beads.

Life Drawing – Exhibition Pieces

As promised in a previous post, here are two more pieces that I exhibited at my end of year show last week. These are life drawings of the same model – the first is my first attempt at using oil paints with a palette knife and was completed in around an hour (we had to work really quickly!). I was trying to emulate the style of David Bomberg.


The second was a two week pose, with around 2.5 hours drawing time – the first week I drew the outline and shaded with the colour soft pastels before sealing it with spray fixative. The second week I worked on developing the shading with charcoal and spray fixative only, rubbing back with sandpaper and layering and layering to get the darkest tones. I’d chosen Jim Dine as my influencing artist for this term’s work, and tried to emulate his way of working in this piece.

Many thanks to our model for her patience, and for her permission to share my drawings of her.