You’ll have to take my word for it but blimey it was bright. Dazzled by the brightness of the light and the almost complete removal of colour here I sat to tackle it in oil pastel. I have a problem I wish to address when it comes to bright light and colour. Although the bushes here are clearly green too often, I find myself over using colour. In this sketch I battled through the heat and light to represent what I saw I probably went too far the other way. It’s a useful study, despite the final piece being somewhat uninteresting in composition.
Settled down, post walk, to do a quick sketch of this concrete tent/bbq on Vitosha. Definitely got a study out of it I reckon
Looking into the distance, at a small group of houses on Vitosha I had a small window of 19:50 and 20:20 to get some work in before the sky went orange and the trees lost colour. Will have to return to this later 😉
Oil pastel sketch in Plovdiv whist the girlfriend gets her nails done. I was eaten alive by mosquitoes during this sitting. Worth it though.
A quick oil pastel from the balcony on a Sunday afternoon. I’m lucky to have Vitosha as a subject at anytime
Atop Vitosha this one afternoon a few weeks ago. Rocks from a distance are a struggle of mine. I was burnt to a crisp during this sitting. It’s a great temp for Sennelier oil pastels though.
Got a couple of sittings in between tourism and wedding during a holiday in Italy a couple of months back. Our apartment in the city walls of Ostuni meant I only had to walk down the stairs and turn round to find a spot to draw. There’s so much to draw here it warrants another return
The last time I went life drawing feels like an age from now. Whilst back in London in June for a few days I popped into candid (Tuesday) to get in a spot of life drawing. It had been ages and I was without my paints this time so I just relaxed with charcoal. During the final pose I alternated between two angles and ended up dancing very differently on each one
1> I started with this front view. I initially spent 5 mins working very angular. I had no inspiration for flow (often a personal problem I have with very slim models) so I resorted to move to a foreshortened view on the other side of the room
2> From a foreshortened view I had more room for flow. Choosing to work on shadow and shape I found interesting areas in the right foot and the positioning of the knee. I also added the models comfortably cushions. Which are lost in the first view. I can this imagine is quite hard to ascertain if you are not told what it is
1> with some time left I moved back to the first position. With my mind already settled on the relief that I have completed something I like I decided to continue with this abrasive approach the view in front of me. Finally I began to understand that the composition required the umbrella, so I added it albeit in a very bold descriptive way
After a day walking around Sofia scoping out the art supply shops I have come to terms that there is no Sennelier oil pastels out there. So I sat on a bench to finally tackle a church that I have wanted to draw for about a year and consequently run out of white. I know it looks like I’m over indulging with the creative licence but the camera was totally failing to capture the luminosity of the light on the trees .When I left I realised that I had left a big smudge of Naples yellow (my fav) on the bench. It was a relief that the woman sitting next to me offered up a tissue without prompt. That was nice.
When on a weekend trip to Rila I had to squeeze in the opportunity to draw the view from the hotels terrace. Thought it might be a simple undertaking to start with but the constant shift of light and the need to convey distance was a trouble. Overall a good session. I feel like my oil pastels are less drawing or painting and more finger-painting.