Sunday, 7 October 2018
As seen from the window seating in Prets. Very random rooftop which appeals to me greatly. Took longer to draw than I thought, really because as I wanted to get the tower in, I decided to draw from right to left. Working from the outside in always makes things difficult. Bits left undone because I wanted to be in St Martin's Crypt for the end of 'London Urban Sketchers draw Soho', and in this case, a bit of Covent Garden too.
Thursday, 20 September 2018
Made myself comfortable in the far corner with an orange juice and the communal pot of curly fries, and got down to business. This was the second drawing of the evening, light was failing outside and I didn't feel I had done enough to justify my evening out on the last gathering of the summer with the hta sketch club. I enjoy these fun challenges; getting all the angles in, and noticing how the shadows make secretive little dances on the ceiling.
Sunday, 2 September 2018
... apart from the two at the bottom, they're a melo melo and a conch. I learnt to paint pearls in a generic fashion, from a YouTube video. A very good one, I might add. But, with a little googling and studying some actual ones, I found a more natural and less systematic way of painting worked better for what I wanted to achieve. Extra tip; gum arabic produces a much less aggressive solution for lighter areas than whipping out the masking fluid.
Wednesday, 8 August 2018
Last week I was on my way home after a few days away in Surrey. Having got to the station just in time to miss the 17.37, I was afforded the opportunity to draw the view from the footbridge. Silhouettes in the late afternnoon sun are one of my specialties. Although technically a 'mass' medium may be more appropriate for these scenes, I find 45 degree angled lines pick up the atmosphere very nicely.
Friday, 3 August 2018
These are the last two designs for the wedding anniversary card range. There is write up on them on this months edition of The Leopard, newsletter of the London Assay Office. For these, I had to figure out how to paint them. Metals are notoriously difficult as they rely mostly on reflections, or a dark ground, to make them look anything. Silver being the harder one, as the actual 'colour' is rather a plain grey if unpolished. All the other cards in the series are colourful, and as I didn't want the poor lion just to be left in achrome next to the others, I went with indigo, justifying it as a reflection of a cloudy sky. I think I used a mixture of raw sienna (very traditional) and the relatively modern quinacridone gold for the 50th.