Schminke and Unison Soft Pastels with Charcoal Pencil

on Dark Grey Sennelier PastelCard, 13" x 19.5"

This is yesterday's sketch with colour added - it's interesting to me to see what came out of my head (apart from the teacup, as mentioned) and I'd like to try more of this (hopefully, without the anger prompt!). I'll post this in Leslie's '30-in-30 Challenge' and see if I can get another piece of artwork done before the challenge is over! 

Happy creating everyone!

Charcoal Pencil on Dark Grey Sennelier PastelCard, 13" x 19.5"

To be honest?! I was really cross about something and decided, rather than lose it, I'd do some artwork to get it out of my system so I made myself a lovely lime infusion, chose a large piece of Pastelcard and sketched out the image above - it worked! I felt better having drawn something.  

I do have a vase that shape so drew it from memory but the only element in the drawing that was 'live' was the teacup with my infusion. The rest was all out of my head.

279. Simple Pastel Sketch of Cumbria

Charcoal and Schmincke and Unison soft pastels on 

Clairefontaine Pastelmat, 12" x 12"

Done in a rush!

Ambleside in Pastel - Commission

Schmincke and Unison soft pastels on 

Clairefontaine Pastelmat, 12" x 12"

Here is a painting I handed over a week ago. I was happy enough when I was asked to do a landscape but absolutely thrilled when I learned it was to be a place that we know and love - Ambleside, Cumbria. I was asked to do an image of a place where this couple stay each year.  Thank you people, I really enjoyed doing it!

166. Ten-Minute Bottle

Derwent Charcoal Blocks on Clairefontaine Pastelmat paper, 7" x 9.5"

I hadn't been on the bottle when I drew it, I promise!

163. After Edward Seago - A Norfolk Farm

Charcoal and Schmincke Soft Pastels
on Clairefontaine Pastelmat Paper, 7" x 9.5"

I found this lovely landscape painting and loved it so much I decided to do a copy using soft pastels. I've had to do it over several days due to work commitments, etc, but have thoroughly enjoyed copying an Impressionist master. It's a great way to learn.

Edward Seago's original painting:

and some work in progress images…

101. Misty Mountain

Derwent Charcoal Blocks on Clairefontaine Pastelmat, 

40cm x 30cm (c. 16" x 12")

Hi Everyone. I'm still experimenting with my charcoal blocks and have decided to submit this to the DPW Mountain Challenge this week. It's so strange working with a non-blue palette. (The colours in the box are Ochre, Sanguine, Mars Violet, Sepia, Black and White.) Again, I've broken the rules - this time omitting to add a bit of 'life' (such as a bird or a figure) as I want it to look quite barren.

Have a great weekend.

100. Gallery Drawings: Velazquez

After Velazquez, The Rokeby Venus,

Conté Crayon on A4 paper

After Velazquez, The Rokeby Venus,

Willow Charcoal on A4 paper

Diego Velazquez, The Rokeby Venus, 1651

Hi Everyone, well I hadn't been able to get to the gallery sessions for eight weeks! Where did the time go? Fortunately, I was able to go last week and it was good to see everyone again.

As usual, we were given a background talk, then we were told to draw three lines: one thin, one thick and the third blurred. We then had to use white Conté on black to reproduce sharp or blurred lines as he did but only drawing the left hip and down the leg. We turned over and drew her more fully (top) and were asked to show something of the weight of her body too.  We then changed to white paper and charcoal. Time was up before I could include Cupid or the mirror, etc, but, as ever, it was a great session.

98. Waiting for Breakfast

Derwent Charcoal Blocks on Clairefontaine Pastelmat, 

30cm x 40cm (c. 12" x 16")

Hi everyone, I hope you are finding time to create. Was there ever a better marriage than charcoal and Pastelmat? Hmmmm… maybe charcoal and Sennelier Pastelcard, which I love, but Pastelmat is my all-time favourite.

They tell us we shouldn't have someone leaning out of the frame (on either side) but I want to give the impression of him looking out for his food.