tomwoodartist

Life Drawing Thursday 26 April

Steven and Hadyn drawing Richard

I don't know about you but certain models are good luck models, they just seem to bring double happiness and for me, Richard is one of them. I think I've drawn/painted him about four maybe five times and on each occasion I seem to manage OK, that is apart from last night, when finally my luck ran out. Was it our constant companion, the rain to blame. From staccato to kettle drum, it rattled the roof all night long, many soaked survivors arrived with breathless stories of daring do involving canoes, gushing rapids and traffic lights, a mighty flood seemed upon us. Could this be the reason my good fortune and Richard's talismanic status waned, was it wilting in the downpour or was it something else? I scrutinized my options and decided logically it had to be Richard's fault as I had rigourosly followed previous procedures all successful to a degree and yet tonight it was different. Surely without doubt he was the culprit. The evidence began to mount, for example his notorious Vulcan Death Stare terrifying our youngest artist, Kate. Under great duress as his relentless eyes bore into her, she managed to portray her nemesis, Mesmo the Mesmerist, the terror of delicate ladies, the scourge of the weak and feeble-minded and guarantor of the Mesmo Quit Smoking Course. It had to be the staring eyes and yet others strangely coped. Patrick also captured by the laser like beam coped admirably in a sculptural drawing of great authority. Roger H nearby also coped by recording the phenomenon in great detail. Whereas Russell fresh off the bench after a Tevez like absence playing the crazy golf courses of Scarborough seemed to struggle with the one eye, however it's a game of two halves and a long season and he may well score the winner yet. So my conclusion was whilst the eyes were undoubtedly demanding, they were not impossible.

Was it the mouth maybe? Subconsciously possibly, I appear to have created my very own personal tribute to Frank Lampard (Sandra, he plays for Chelsea for heaven's sake, keep up, honestly some people.....) the tight lipped hero of the Nou Camp, meanwhile everyone else seems to have coped well with Richard's distinctive mouth, so it's just me who couldn't get it right.

OK let's move onto the stance, what we professionals call 'the pose', don't be frightened by the jargon, it gets easier. There was something about the angle of the shoulders that looked strange, a certain twist or bend, a kind of double jointed optical illusion sort of thing but again nobody else seems to have spotted it. Barry in his best 'Visualizer'* mode ignored it completely creating a work of fine proportions from a whiplash line. Cathy seemed to capture Richard mid stride, a man on a mission, determination writ large, Fiona in a quirky and strange (in a good way) little piece seems to be capturing a person striding past, it reminds me of those glimpses you get as people race past you on the station platform, faces that seem familiar and yet are not. Haydn has drawn with greater assurance this week as though the solidity of the stance has encouraged a greater confidence in the line. Ivan's drawing is odd, I think it must be that claw like hand and the odd focus on hands and face, for all the world it reminds me of some bleached out early film where no mid tones exist just the black and white, all very odd, eerie and strangely compelling.

Peter has gone for the cheeky bathroom door shot with a very fleshy post shower version of Richard, surprisingly it really works visually in a way that words describing it never would. Roger S is on a hot streak, week after week producing good work, his restless vibrant watercolour method really matched the subject investing the figure with real movement. It's a triumph for the white paper as all good watercolours should be, they should glow and this one does. Sandra very sensibly opted for the reddish background which combined with the proportion and pose added a suggestion of gravitas, like a Roman Senator, Richard listens intently, the light sculpting his statuesque form, (am I being a little too fanciful maybe, I'm not sure). Steven continues to rigorously apply his sight-size method employing his trusty plum bob and mirror at every available opportunity. It's interesting and some of the results are lovely, as a process I'm sure it feels re-assuring but at some point surely the plum bob has to go and you have to fly solo, or am I wrong, a misguided old romantic with his muddle headed ideas about creativity and risk taking, is that all nonsense in this new rational world, I wonder? I took Sandra's advice and opted for hot colours, word has it that in Barnsley, Red is the new Black! Tony gave the old pencil it's weekly run out with a lovely rendition of subtle perspective at it's best, from a low viewpoint the figure gently ascends to reveal Double Luck Richard at his finest. I forgive him, clearly it's my dodgy drawing that's at fault, his presence will continue to grace my pantheon of Good Luck Models. Thank you Richard for a splendid night's modelling, it was lovely to meet your wife, I'll try harder next time.

 *Do you remember Visualizer's, they were the people who visualized an idea in a Graphic Design Agency, in a pre-computer age they were the highly prized wizards of the chisel tipped felt pen. To an art bedazzled young naivete like me they were the glamorous gods of the dark arts of advertising, how I envied their neatly stacked array of subtle toned felt tips, ten different greys at least, they could draw anything and make it look fabulous.

Paintings and drawings by Barry, Cathy, Fiona, Hadyn, Ivan, Kate, Patrick, Peter, Roger H, Roger S, Russell, Sandra, Steven, Tom and Tony.

Artwork of the Week No.8

Art comes in all shapes and sizes as we know but it still gives me a thrill to come across something I've never seen before especially when it's this simple ,daft and charming. I wish more stuff was this innocent and joyful, see what you think, here's the LINK

I wish they would come and do some in Batley but I think they might need a bigger bag of Lego.

Life Drawing Thursday 19 April

Whenever I refer to our regular gatherings at Redbrick Mill I'm careful to use the word 'sessions', hence Life Drawing sessions at Redbrick Milll etc. I never use the word 'class' because that implies teaching or workshop which also implies a taught element, we don't teach and yet we learn. We learn by doing and looking, comparing and discussing, we're practical learners, like a crafts person we hone our skills and tune our perceptions to the task at hand. I know this because by putting this blog together I look at the work a lot and I can see how progress is being made by everyone and I mean everyone with no exceptions. We all occassionally have an off day when things go awry but on the whole the trajectory is forwards and upwards. Why is that, how has it happened? Well my theory breaks down into two parts, the time to do and the time to think.

Having one pose all evening allows a bit of extended learning, you can really engage with the subject, I'm no fan of short poses. In my mind they just produce facile sketch's akin to cartoons where the line merely approximates the truth, the long pose is both more satisfying and a more effective learning experience. My mantra is you need time to get it right, wrong and right again without that how do you learn? So the time to do is a key element in learning, talk to the two day participants if you doubt that theory and listen to their exaltation's of how good it was to have so much time with the subject. Talk to any artist and once they've finished moaning about money they will bore you rigid with a diatribe on how there is just never enough time and boring as it is, it's true.

Many of us work at times with music on, myself included and I've heard of life sessions where music is played, no doubt to short poses! Music is a good method to energize an activity, to give it pace and momentum, it's also a good way to drown out distractions but it becomes the distraction when focus is required. Life drawing with music seems analogous to steak with custard, it's just wrong because to draw well you need to have the space internally to process and reflect on really quite complex thoughts, music fills that space and is therefore unhelpful. When we draw at Redbrick Mill the silence is ferocious, it's almost palpable in it's intensity but it's not an empty silence, paradoxically it's a silence filled with decisions, fraught with the intense energy of attempting to make something significant, vibrating with the passionate desire to succeed in that task, it's a silence filled with the making of art.

I suspect we've all progressed because as regulars we've committed time to these sessions and as mature adults we've reflected and thought about what we've learnt and how we can learn more. This week notable amongst our learners were Patrick and Sue. Patrick created a really effective grisaille study taking full advantage of the light modelling the form, a simple but really well observed and executed study. Sue's task was a little more complicated, the light source not so obvious and the forms quite complex. Her drawing had to be right, which it is and her restricted tonal range and pastel colours also had to be correct which they are, two fine pieces by two artists who get stronger each week. Finally I'd like to mention Sandra's head and Barry's body. The head that Sandra has painted in oils with a palette knife is a tour de force combining subtlety and boldness in equal measure, a really, really good piece of work. When you look at Barry's drawing, cover up the head and see how well the body works, it's almost Kitajesque in it's line, just on the right side of stylized it makes a powerful and confident statement.

My drawing/painting whose method was inspired by watching Chris Murray at work in one of our previous sessions has turned out not at all like Kay our lovely model but sadly more like a Latvian Bouncer after a hard Saturday night - sorry Kay!

Paintings and drawings by Barry, Cathy, Chris, Fiona, Hadyn, Ivan, Patrick, Peter, Roger, Sandra, Steven, Sue, Tom and Tony.

 

 

Life Drawing Saturday 14 April and Sunday 15 April

Abi

Anne

David -

It was for me a really stretching two-day session - a challenging pose and set up - the flat lighting on alabaster pale skin set against the powerful chrome colouring of the background drape and the intense blue of the set covering. I chose to tackle the whole context of the model and see if I could adjust the components to each other. The first lay-in of a linear structure to find the related rhythms and dynamics worked OK and then the struggle to develop a full treatment without losing this skeleton. And it was a struggle right to the end - losing it and desperately trying to recover it in as painterly fashion as possible. Once or twice coming to a standstill to sort out what was happening and where it could go. The old cry of despair of the painter - "That which I do, I would not... That which I would, I do not ..." was heard loud and clear. Anyway, it was a great experience and did me the world of good to have to buckle down to the problems with no chance of escape.

 

Dick-

Mistakes. Wilde said that experience is the name everyone gives to their mistakes. Bon mots Oscar mate, but mine are just simple mistakes, well-rehearsed and oft repeated, and a two day paintathon is time enough for a plethora of them. My composition was iffy with a full profile that I don't handle well and a flexed white knee protruding out of the blue of the chair arm like an iceberg in-waiting. (It had to be amputated in the end). I deliberately limited my palette, a euphemism for boring, with a marked tendency to slip from pastel to mud - my signature mudslide. And, of course, many mistakes from poor technique. Working amateurishly in oils can be unforgiving if there is no time for drying and overpainting, so mud it is in many areas. Oh, but I did love the bits where I could apply great sensual globs of paint with a fully loaded brush..Mmmmm.. (whilst wishing I had my book of Lucian beside me as a crib of how it should be done). By coffee time on the second day things were definitely deteriorating so I left it unfinished and spent the rest of the time attempting a portrait head. Both pieces show the undeniable evidence of my many mistakes and I like them for it. We are honest with each other. I actually felt as though I had learned a bit from them this time, though obviously they won't be going away just yet. Thanks Tom and Tony and indeed everyone. It was a blast.

Fiona

Martin -

My aim was to draw the model as accurately as I could and having borrowed a measuring device (plumb line) I spent about an hour trying to establish shapes and proportions before adding tonal values and details. Unfortunately I didn't spend enough time on this initial stage in order to achieve a good result as now the mistakes are very clear to see. At the time I thought the drawing looked fine but over the last day it's morphed into another clanger. However there are parts I'm pleased with and it was great to spend two days in the extremely pleasant drawing environment of Redbrick Mill. I learnt that I need to improve my knowledge of anatomy and spend more time looking/measuring/redrawing before diving into the details. Thanks for organising this weekend, I really enjoyed it and am looking forwards to the next one.

 

Sandra -

A lesson learned from the two days is that I must be more prepared in terms of materials. I wasted too much time preparing the surface and waiting for it to dry. I then spent the drying time doing a small water colour, got drawn into this instead of dashing it off, so wasted even more time and then the water colour was more than disappointing. It is now torn up at the bottom of the re-cycling bin.

I thought two days was plenty of time but by half way through the first day I had only minimal marks laid down and I was not sure of the direction this painting was going to take. I had not bonded with it. I knew I wanted both hands to be expressive in the painting, I wanted to include the background for context and I had decided to work in oils with palette knife.

In the event I got bogged down in several places time and again because I was being fussy and detailed and was not taking the usual risks. By the second day I was way behind where I thought the painting should be and knew it would not be finished. This does not usually bother me as I quite like unfinished paintings which leave the viewer to decide in which direction it should go next but for some reason it bothered me today. However an invaluable lesson learned, it has fired me up for the next session where I shall devote more energy, attempt some reckless moves and try not to waste valuable time by watching the base coat of paint dry.

A great two days, good company, some really interesting pieces of work, a lovely, relaxed and experienced model with all the stamina needed for a two day pose, so many thanks to Tom and Tony for organising it.

Steven

Tom -

The pose was good, Suzi our model did ever so well over the two days. I used my usual materials of ink, emulsion and pastel on card only this time I added a piece to the left side in theory, to accommodate the outstretched arm. I also left a gap at the top for most of the two days but in the last hour after lots of internal deliberations I decided it had to go but in an interesting way. I enjoyed the colour a lot as I don't often get to use blue so the blue with the grey and dirty yellow ochre was both a change and a stimulus. The shapes started as a vague reference to a Mondrianesque structure but these became too predictable and clunky so by the end of Sunday morning I felt reckless and determined to stop the whole thing being so polite. The very last act in the final half hour was to create the curve on the left side in a couple of big swooping marks with a large fully loaded brush - for me it's the best bit of the painting. Good weekend really enjoyed it, especially seeing all the different approaches and superb results, thanks to everyone for your support.

Tony -

Having the luxury of two full days I decided to paint, using acrylic on the first day and oil on day 2. I painted on a piece of primed MDF which I had found in my studio. It was a lovely hard surface to work on having the perfect balance of tooth and smoothness. Tom and I had worked out the pose and adorned the set on Friday, so we had the advantage of knowing what to expect. I hoped to make use of the mirror in the background to include a self portrait, but that didn't work out. Instead I ended up with a very sketchy rendition of Tom in the guise of an undecorated version of Mr Potato Head, otherwise known as a potato! Sorry about that, Tom. He would have ended up with facial features if only he'd have kept still for more than ten seconds. Well, that's my excuse!

The pose worked well and had some beautiful details which I would have loved to have had more time to exploit - the delicate structure of Suzi's hands and feet, and the strong, well-defined muscles in her legs. My favourite bit of my piece is the painting of Suzi's right knee - I liked the delicate colours, though I feel that the transitions from one to the next could have been handled more delicately, and felt that I captured the tension within the muscle structure quickly and economically. Shame about the rest! Looking at the set I have to confess to disliking the blue cover on the chair which I found too loud, too brash. I'm a quiet, delicate creature at heart!

I thoroughly enjoyed the two days and thank Suzi for sitting so well, and everyone else for making the weekend a success. What's not to enjoy? As always, too much time is never nearly enough.

 

Life Drawing Thursday 12 April

Pencil drawing of Jannine by Ivan

Pencil Heaven by Tom Wood

Sometimes all you need is a pencil, a piece of paper, and an eraser, combine that with a good pair of eyes and literally Bob is your Uncle, a fine drawing is possible. Ivan made a fine drawing last night, he looked hard and he recorded well, sounds easy but there are two parts to that statement both of which require commitment and honesty.

Let's have a look at 'looking hard'. What do we mean by looking hard, it's a phrase I know I use often, habitually assuming we all know what it means. When we say 'look' do we really mean stare, well probably no as stare suggests a possible glazing over of the eyes , we certainly don't mean glance as this is the briefest of looks. What we actually mean is to perceive with intelligence, to be alive to the sights before us, to scan and analyze the objects in our field of view, to understand and be atuned to the information our eyes are recieving. 'Hard' doesn't mean tortuous, it doesn't mean straining, it means focused, concentrating, to be singular and not distracted. So to look hard means to look with intelligence and to believe the information collected by your eyes. How many times have you heard the phrase, 'Draw what you see, not what you know', the mantra of a million art teachers but it's true.

Second part, to 'record well', this isn't quite so easy. What do we mean by 'well', do we actually mean accurately or do we mean appropriately (a tricky one, the can of worms option, what is appropiate to one isn't necessarily appropiate to another). To record well is one of those things hard to define but we know it when we see it. It feels right , it sits on the paper with ease, it has a kind of 'rightness' about it without it being too easy or ingratiating. Does it need to remind us of 'Art' or should it bypass that stuff, (but is that possible after a life time of contact with culture) and just get straight to the subject, well maybe that's down to your preferences, some of us like a poached egg on toast with no fancy bits, others amongst us crave the odd bit of parsley, we feel flattered and valued. Is our recognition of the art we mediate through in effect the parsley on the plate, do we need it?

I really like Ivan's drawing as much because it's a parsley free zone and because as I said earlier, he's so obviously looked hard and recorded well with honesty and clarity and he's demonstrated to the bloated, baroque, whack it all on artists like me, sometimes all you need is in fact a pencil.

Paintings and drawings by Barry, Chris, Dick, Fiona, Hadyn, Neil, Patrick, Peter, Roger H, Roger S, Sandra, Steve, Steven, Sue, Tom and Tony

Our First Workshops

Our first workshop at Redbrick Mill on 19 August 2008.

First Life Drawing Session on 21 September 2008

Thought you might be interested to see the early days of the Art Academy at Redbrick Mill.

With studios in mind I found an old link to an interesting website where using a technique called VR Photography you can see an artist's studio in virtual 360 degrees. The website looks like an artist's dating website but don't be put off, for the nosey parkers amongst you (including me), it's a real treat.

Life Drawing Saturday 7 April

Chris painting Steve

Where are we all going? I ask myself by David Mace

It was an interesting day at the studio - even including an entertaining knock-about in the lunch break (which I won't go into)* but suffice to say Steve carried it off with style. However, back to the serious stuff. Steve posed in the round with no dazzling backcloth to confuse matters - freestanding to show off his lean stripped-down physique to perfection. This caused some problems of backlighting which made it difficult tonally.  Arising from this I had an interesting (to us) discussion with Chris and Tom in front of Chris's painting with particular reference to Sickert's treatment of similar lighting in his interior figure scenes.

Back in the 'fifties I was brought up in the old art school Fine Art system of strenuous study of the visual image relating to tone and anatomical structure rather than to expressive colour and interpretation. What used to be termed 'academic'.  This along with laborious studio process training was resented by most of us - after all those were the days when a student Hockney was in the early stages of making himself known as a leading Young Contemporary Painter  and it made us feel very old-hat.  But we were allowed Sickert as supreme model (the Professor had been a student of Sickert) and we were later allowed to temper the system with a bit of Cezanne for modernity. Looking back on it I'm grateful since I do not have a vivid imagination and only limited conceptual abilities, so it gave me the tools to make something of what I had got. I am stuck with what I see in front of me. So seeing the varied approaches in the group I ask myself what it is that each artist here is doing with the set up. Where did their mode of expression come from?  What do they see that is different from what I see? How did they each develop their particular response to the visual subject and WHERE IS IT GOING?

Well now to particulars. I could specially relate to Chris's work which has the same uneasy enigmatic quality in its presentation of the figure that we find in Sickert.  The undefined suggestive treatment does not suffer from its ambiguity - that is its expressive strength.  I also recognise this is Steven's paintings with their quiet meditative treatment of form which gives them such integrity. These contrast with the bold drama of light falling on the form which defines the basic structures most strongly in the paintings by Patrick and of course, Tom.  Cuthbert's drawing is what we all aspired to in my student days (and still do) - the expression of the dynamics and tensions of the human form with a strong sense of the special structural characteristics of the model.

And there we have it - what I am really seeing is the projection of my own beginnings and achievements in the work of others allowing me to have a clearer understanding of my own work. A real privilege.

P.S.  Don't tell me my mark, Tom !!!

* We filmed a small section for the Norwich City football team new kit launch - you will be able to see us soon on the Norwich City website.

A Note from Steve our esteemed Model

I sat for another very pleasant session of life drawing here at Redbrick. It is always a pleasure to sit for such eminent artists and Tom.
Despite complaints from various bits of my old frame, the time seemed to pass very quickly and I didn't feel physically or mentally tired after the day, I was just able to absorb the atmosphere of being among people who cared about what they were doing and it was great to do my best to contribute.
I never feel that looking at the finished works has become routine; I love to see what everyone makes of what they are seeing and put their skill and personality into each different interpretation.
regards
steve
btw I may do a cheerful face for you sometime, would have to be something where I don't find myself tensing against the pose or the cold.

Paintings and drawings by Cathy, Chris, Cuthbert, David, Ivan, Patrick, Roger, Sandra, Steven, Tom and Tony.

Damien Hirst

This is an important article on the artist, Damien Hirst. It's a long article but I highly recommend it if you are interested in the present state of the art world.

Life Drawing Thursday 5 April

Russell's painting/drawing of Roger

He is Never Slick by Tom Wood

'Well I'll leave you to it Shakespeare', were my wife's parting words as she slunk off to watch Sky News cup of coffee in hand. Our Friday morning routine is to get up early, I prepare the images for the blog, upload them and then over our morning coffee, my darling wife and I discuss the evening's endeavours. Each picture is analyzed and scored. Yes scored, our house always has the pall of 'Strictly Come Dancing' lingering over it, ocassionally we have a 'Come Dine With Me' moment, the later series not the earlier ones where everyone swopped recipes and complimented one another but the present one where groups of deranged people eat slop and shout at one another, that kind of discussion. You see my wife likes a well behaved drawing, one that stands up straight and doesn't talk back (she's a primary teacher after all), and I like a drawing that's a bit half witted,two sheets to the wind, stumbling and staggering to the finishing line. I like a drawing that doesn't know it's a good drawing, a drawing that falls into excellence, the barmy kid who doesn't know he's got the right answer rather than the well scrubbed swot forever holding his hand up. It's a shame really that in the art world the bad boys (and girls), the ones who don't revise or do homework do good. The art world is after all a world seeking difference, it's a world besotted by the new and the novel, it's a world where bad is good and diligence is scoffed at, it's a world where comfortable people with money want to experience the slight frisson of momentary discomfort by being ever so slightly challenged. It's punk packaged.

So it's a strange world we inhabit where on the one hand we faithfully practice skills only to find those self same skills are to be questioned and tested to breaking point. Lucien Freud an artist universally admired and presently in the process of deification was a bad boy with a crude and clumsy touch who over time found a subject where his turgid paint could be best employed. Don't get me wrong, Freud is a God, he is in my eyes without equal but he is clumsy, there are passages of paint that make me squirm with unease, bits of drawing that are just downright terrible and yet, he is great because deep down he doesn't know just how good he is. He is never slick (the refuge of the smug and self satisfied), he's always struggling even when he's not struggling as in the depiction of the legendary stomach of the mighty Leigh Bowery. I'll say it one last time, He is Never Slick.

I don't know where this obsession with slick came from but it's worth keeping in mind. If you whistle as you draw and sign everything with a flourish than the slickness bug is worming it's way in, to make art properly you must be a hollow-eyed wraith gripped in a morphine addiction, stick thin and dressed in black then you're a proper artist. Unfortunately the bunch of slackers attending Redbrick Mill seem oblivious to these strictures, all well fed, rosy cheeked and cherubic with not even the whiff of morphine about them clearly their path to great art will be long and stony. However they soldier on and another night's work demonstrates their misguided diligence.

Russell (The Pasty King) cast Roger, our model as the noble bruiser.On a prepared surface this monumental figure slowly emerged Janus like, the powerful left profile in contrast to the earlier sweet right profile, these mismatched fraternal twins make for a dramatic pairing. The surface and texture add an alternative narrative, another layer of meaning both elusive and suggestive. Without those marks and spaces this would be a study, with them it's stepped up to become a painting. I like the way Russell is using the life drawing sessions to move beyond the notion of a skills developing exercise into something more substantial, of course that's not for everybody but it's something to think about.

Roger has such a powerful head that inevitably many of us were drawn to study it's various nooks and crannies but there are hidden pitfalls for nothing is quite what it seems. I've learnt from drawing Roger numerous times that you have to look really hard, the proportions aren't obvious, the angles sometimes surprising, the relationship of one area to another deceptive. What looks right on Roger looks wrong in a drawing so decisions and at times compromises have to be made. My drawing isn't a good likeness of Roger but it's a decent drawing of an old chap. Tony's drawing is a good likeness as is Dick's but somehow you feel somethings not quite right about them, Haydn's is the same, the drawings are fine, it's the enigma of Roger's face that is the problem. Sandra came up with a lovely delicate well observed palette knife study of the back view, the more I work with Sandra the more impressed I am with her unique skills and willingness to take the hard road, a real talent not easily pigeon holed. Roger S is the John Le Mesurier of the group, he manifests an insouciant ease so easily seen in his tremendously skilled watercolours, never slick always good. Steven is not quite Captain Mainwaring but he does like to do the right thing and he does it so well. I always feel a bit of a slacker and charlatan when I work next to him, his sincere industry and gritty determination to get it right puts the fear of God into me. Roger H is a bit the same, he was so carried away each time I looked up he was loping about the room in a kind of tortured calisthenic dance, contorted as he found just the right angle to get to that tricky little spot. It's amazing how such a delicate and sensitive drawing emerges from such a bout of vigorous gymnastics, he's the Beth Tweddle of the art room. Peter showed me the start of a self portrait painting he's working on and it's looking good, inspired by Freud but with the trademark Peter marks it looks like something bigger and more substantial is beckoning, I would be tempted to follow Sandra's lead and return to painting but this time have a go with a palette knife. Go on Peter you know you want to!

Well the coffee's gone, the world has been put to right's, the trip to Bempton Cliffs has been postponed (carpet man coming, new stair carpet always beats Bempton every time) and the studio calls. Thanks once again for your support and don't forget we can do it all again tomorrow starting at 9.30am.

 

Paintings and drawings by Dick, Haydn, Peter, Roger H, Roger S, Sandra, Steven, Tom, Tony and featured artist Russell.

 Life Drawing Saturday 7 April 2012  Model Steve  9.30am - 4.30pm  £20