My on-line diary began in the 1990's from my studio in the North of England. After a lapse of ten years, I resumed posting from my present studio on the Caribbean island of Dominica.

From the far beginning, the intention has been to give an insight into my working methods, and to share the triumphs, trials and tribulations of work-in-progress.

My diary pages are followed by thousands of artists, art students and art lovers in over 50 countries.

Tuesday, January 31, 2017


There are similarities between my way of painting and my way of sculpting.

With watercolour, speed is of the essence and it is the same when modelling with clay. Both give of their best when given freedom and then left alone. Overworking only screws things up.

True enough, the time frames are different. A watercolour can be thrown down in a matter of minutes, whereas sculpting a life-size figure in clay can take weeks. With both I work from the live model. This is easy enough when a painting can be done in one sitting, but more difficult when the modelling goes on from one week to the next. 

To get around this I draw on a lifetime’s experience, rather than a reliance on photographs, and do what I can between modelling sessions. The ear and hair shown below are a case in point.

This detail of the model’s right breast shows how suggestion can be achieved by putting down and then leaving well alone.

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