Graphite study for portrait commission

I always like to do a pencil study before I start a final piece of artwork. It helps familiarise me with the subject, and when it's a commission, it allows the client to see what the finishes item will look like, and gives them the chance to alter things. When it's a portrait, this is the time to decide if the likeness is true (and that means true to how the client 'sees' that person, not how I see them). 

I decided to show the finished study first, then you can scroll down to see the stages in reverse! In this case I drew a map of the face, then worked tonally from the eyes outwards. 

The whole thing took around 10 hours. 

For info on classes or portrait commissions, please email julie@juliedouglas.co.uk

Hair and beards! Portrait drawing prep before painting, graphite.

Sometimes I will see a wonderful face, in the street, in a shop - even singing in a choir!, and I know I'd LOVE to paint it. 

The first time it happened,  over twenty years ago, it was a young woman with her mother, quietly browsing in a book shop in Rye, East Sussex. She had milky-white skin and very long, burnt orange wavy hair. She ALREADY looked like a painting. But I was too shy to approach her, and have regretted it ever since. So now, I just go for it, and politely compliment the person on their interesting 'head' (I notice that I tell them I like their head. Rather than 'face'), and would it be ok to draw them? So far so good, its always been a YES! 

Soft tones showing the gentle textures on the skin. 

On a recent trip to Bath and Wells, there was a lovely-looking gentleman staying in the same hotel. I mentioned my admiration of his looks to my traveling companions, and was almost immediately sorry, as they pointed him out so often I was nearly 'morto', as they say here. Just before we left, the lovely man was checking out, so it was now or never. 

"Er... excuse me, I couldn't help notice your lovely head..."

And so my new best friend is the wonderful Vernon, who was traveling with his wife and very happily sat for me. Here are some progress shots of my drawing study, and a small video. 

for scale - the drawing is on A2 paper. 

I enjoyed working on the flesh areas, but the beard is a challenge. It isn't finisehd yet, but I thought I'd share the progress so far. 

Hmm. The beard... 

Pencil is so difficult to photograph - the camera doesn't like all that white paper. So I did the video to try to show it better. 

And yes, it seems I have trouble speaking, thinking and drawing at the same time. 

More as I progress... 

Drawings by Julie Douglas, Belfast Academy of Realist Art (B.A.R.A.) 

Autumn Squashes and Pumpkins from Helen's Bay Organic, lovely water colour paintings

Anyone who knows me, knows that I love pumpkins and gourds. Striped, distorted, gnarled or twisted and plenty of warts! This year I had a tip-off from my student Jim, who said 'I've found somewhere you'll LOVE'. He was so right - it's Helen's Bay Organic.

Hidden down a small lane, the muddy drive led on to a couple of small sheds stocked with brussel sprouts on the stem, kale, darkest purple cabbages and lots of varieties of pumpkin and squash - all neatly colour-coded and gasping to be painted. Behind the sheds was a series of polytunnels and long tables laid out with more vegetable, and over the hedge was a huddle of old tractors, quietly waiting for the day that I return to paint them! 

 My students LOVED this subject. After selecting and arranging one green, one orange and one striped squash, they took the challenge of drawing, then doing the background, then moving on to the squashes themselves. Some managed it in one session, and many opted to return for a second class to finish.

Ann

Ann, above, and David, below, managed a one-class painting by being bold and un-worried.

David

Sara - graphite and coloured pencil

Sara, above, managed her time well by choosing a small section within her arrangement to bring to finished colour, and did the remainder in tones of grey using graphite. Choosing a small area like this is a lovely way to entertain the viewer - it's a window into how the whole page might have looked, and it also draws you right in the that coloured section.

Liz

Liz, above, and Sandra, below, have spent a couple of sessions on their oil paintings so far, with a few more ahead in order to bring their work to a finish. It's a great sign when students are willing and happy to stick with the one subject over several sessions. Sometimes it is quicker to work slowly. 

Sandra

 All the water colour paintings below were done over two two and a half hour sessions. This means the painting is fully dry before adding more layers, and students had time to play a little, without the pressure of trying to finish quickly.

Brigid

The second visit allows the opportunity to enrich background washes, and to put in more details in all areas.  After the initial wash layers, it's important to regard the painting more like 'drawing' - use less water, a smaller brush, and be specific about what information you are applying. General first, specific and with intent after that.

Nuala

Julie B. 

Ciara

As you can see, the colours are lovely and rich, wit excellent tonal contrasts.

Christine

 Pat, below, used a lovely approach. Like Sara, she decided to isolate areas to bring to a higher finish, and opted for circles, which is surprising and adds an element of fun! It gives a key-hole feeling which invites you to really stare. She did the left circle during the first session, and the right circle in a second session.

Pat

Jackie (after 1 session)

The painting above and below are two stages of Jackie's painting. Above we see how she left the painting at the end of the first class - washes in the background and on most of the rest of the painting. Below, a second session sees the work completed to delicious dark and atmospheric depths. A really excellent work.

Jackie (after two sessions)

Adam, from Helen's Bay Organic

Thank you to Adam at Helen's Bay Organic for the wonderful vegetables!
https://www.helensbayorganic.com