Sketches of my Mother

Ink on paper, 29.7 x 42cm

I find Mum almost impossible to draw but will persevere to get there! Please see other attempts below.

Coloured pencil on paper, 42 x 59.7cm
Coloured pencil on paper, 42 x 59.7cm
Ink on paper, 59.7 x 42cm

Yasmin sketches

Charcoal on paper, 42 x 59.7cm

It is hard to capture the likeness of people but I think I am slowly making progress with Yasmin. I still have some way to go but little by little I’m learning how to draw her better. Funnily it is easier to work when she is busy doing something else rather than trying to sit still for me. Those stiff poses I really struggle with. The images below are other sketches completed recently.

Charcoal on paper, 42 x 59.7cm
Charcoal on paper, 59.7 x 42cm


Self-portrait collage, ink on papers, 29.7 x 42cm

Above is the culmination of a collage series I started a few days ago. The others, with varying degrees of success, are below. They are fun to make. The manual work of cutting and glueing the coloured inked papers a pleasant methodical process. Mysteriously, they suddenly make surprises of images I’d not foreseen.

Harpist at RDS
Collage, 29.7 x 42cm
Towards Walberswick
Bas-relief collage, 42 x 29.7cm
Dunwich sea
Collage, 42 x 29.7cm

Penultimate class at RDS

Ink washes on paper, 63 x 90cm

Last Wednesday’s session was our last with Orlando. He is an excellent teacher. We had a harpist playing for us all day. It was so beautiful! To draw and listen to the refined music, trying to capture the movement and feel of the sound felt heavenly.

Orlando described how a photograph could never capture the richness of the scene. He said the image would have been flat and devoid of the emotion imparted through the playing of the music. Only drawn or painted art could capture this.

However, I had a hard time. He rightly pushed us out of our comfort zones making us look and draw in new kinds of ways. Here, we were asked to focus on the tones of the setting not the lines of the objects or figure. I had started with hard edged washes which looked too comfortably and memetic, similar to some of the other ink drawings I’d done before. Orlando said ‘start again, completely wet the page and have another go’. I’d not even got properly started yet with the depth of tones we were working towards. I felt deflated as the drawing looked alright and now I was being told to ‘wash it out’. But Orlando was right. Somehow the necessary delicacy of the wet paper worked with the light touches of ink to capture the sounds of the harp. A whole new way of working.