Thought I'd add a few of my latest gestures to my shop!..
These were all drawn with Derwent Charcoal Pencil on Newsprint during various practice sessions. :)
Hiya! So if ya haven't seen my latest fb or insta posts you may not have spied my latest conceptual drawing yet.
Drawn with contouring colour pencil crosshatching and charcoal pencil on dark suede coloured paper, this piece is also accented with silver and gold metal leaf!
Check out how this piece was created on my blog post
'Binary Movement' Charcoal and Colour Pencil Drawing WIP'
See ya! Thanks for the visit!.. :)
Hi guys! So with a touch of trepidation I got back to this piece and I'm pretty happy it's turned out just as envisioned!.. The nature of this piece I feel lends itself to personal interpretation so I shy away from clarifying my own inspiration as I would like each observer to find meaning in it for themselves, independent of my own conceptual vision.
Hiya guys! After my unavoidable hiatus with rather infrequent drawing practice sessions, I've been taking the opportunity to get back into my daily drawing habit, trying to regain fluidy and skills I feel had gone rather rusty after last year.
Still working on it but meanwhile here is one of my latest figural drawings!
(p.s. Included in Artfinder's 'Best of February' Collection!!)
Guess What! Artfinder is currently having a FREE SHIPPING promo this weekend, so if you're thinking of adding this or any artpiece to your collection, now's the time!!
Thanks for dropping by! :)
Vine charcoal was the perfect medium in helping to create this soft toned atmospheric piece.
Using a Sepia Light Conte Pencil, the figure was drawn, making sure the 'quality of line' was good as this drawing would be seen in the completed piece. The acrylic primed rough watercolour paper was a great surface to work on. Once I was satisfied with the drawing, the shadows were given a wash of Chinese Black Ink ( there is just a unique luminous quality to chinese ink and I love using it whenever possible ).
To help get my bearings I now went in with the lightest light I planned for the piece.
A splash of white acrylic (with a touch of raw umber) carved out the structure of the man's head and shoulder. Though I had a rough idea where I wanted the white to go, I was always aware of how the composition was developing as I was applying it and adjusting accordingly. For example, I had planned to paint down over the man's left shoulder more, but then the drip happened and looked so good I had to leave it. Acrylic dries fast so decisions had to be made quickly.
With the lights and darks established I went in with a little more detailing for the figure with white chalk, charcoal and the sepia light pencil. I had to be careful not to do too much or risk losing the mood of the piece..
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