LOVE AT FIRST SIGHT II, 8" x 6", mixed media on gessoed card, 2010

This is another transformation of my sketches to colour. I worked from memory with some notes I added on my sketch.

Here I used this sketch as a springboard and went a bit wild with my imagination.

This is how I went about it.

1.I sketched the face on a lightly ochre/brown washed toned surface, with a mixture of Terra Rosa and ultramarine blue.

2. Working this way brings an immediate harmony to the piece as the browns and ochers quickly form a warm colour scheme.

3. Then I used very light washes of skin tones to throw the interplay of light and shade on her face.

4. After this I used a very small sable rigger to put the main features in with delicate touches.

5. Now, I added in the dark "hoody" she had on, and the light beige jacket she was wearing, after this it looked OK and I thought it was fine and finished. I had left the background as the initial wash of ochre/brown, but it didn't bring out her face, there was some sort of clash.

6. So I decided to darken the background, that helped a bit. Then I did a bit of
scratching back with my Biro to enhance some lines and her hair.

7. Then I introduced coloured pencil marks when the piece was touch dry. This helped to spice up the value balance and add a varied mark to the oil brush-strokes.

8. Finally I added more wild strokes with my coloured pencil to spice up the background, so it would have a spontaneous effect that goes along with the title I planned to give the piece.

MISERY, 8" x 8", Mixed Media on Canvas Board, 2010

This is another transformation from black and white to colour, using no colour references but working from memory. What drew me to this man was his interesting features, even though his face looked a bit hardened, there was a bit of beauty in the midst of the storms. I sketched this guy on the 30th of March last month, so his features were still fresh in my mind.

I went about this piece, thus

1. Stain the canvas board with a mixture of burnt sienna and raw umber oil washes

2. When happy with the background staining. I sketch the face in, with my sable brush pointed to give delicate marks of precision.

3. I went on to finish the sketching with oil washes and some thicker paint in the lighter areas, keeping all my colours with a more tonal feel, something I planned to experiment upon.


4. When the oil dried up, I now tried something quite new, I worked back to get the drawing with a ball point pen(bic biro, as I normally call them)I did this also to create some textures and a "etchy feeling" to the surface.

5. After that, I used some brown coloured pencils to add some light and spontaneity to the face, just to create some mood as it was almost lacking a bit of spark.


6. Then it was time to quit before further ruins

The Tale Bearer.....6" x 9", Mixed Media on White Cardboard, 2006

Now this transformation was done 3 years ago! I can't remember the process but all can remember was that she was an old woman and she played gossip, all the way from London Bridge to Abbey Wood. I seem to have lost the twinkle of desire in her eyes as she told the story in the colour transformation but it is more apparent in the sketch.



The materials used for the transformation were brown coloured pencils, white gouache(dry brush) for highlights and a bit of Biro for some lines. The order and manner at which I attacked the piece cannot be remembered. But please enjoy the transformation which was done this time in more of a monochrome feel without any colour references but just a pure passion for the human face!

Sweet Memories, 7" x 10", coloured pencil on cardboard, 2009

This is another transformation. I sketched this guy way back last year. He was a black man, so to make this look a bit interesting I decided not to use any of the brown family of colours on this piece.





This was pretty straightforward.

1. Started sketching on a beige mount board with purple coloured pencil

2. Make sure I am satisfied with the drawing, proportion and features

3. Just start to add different colours (all colours apart form the browns) really with no particular order, only that I make sure that it has enough tonal balance through out, putting dark colours for the dark tones and light colours for the light tones.

4. I really start enjoying this and I begin to stroke with some freedom just adding a bit of expressive strokes to "jazz" it up!

5. It is at the very end that I introduce a black coloured pencil to enrich the main sketch lines and outlines of the man.

The Casual Onlooker, 9" x 12", Mixed Media, 2009

This transformation was very fresh in my memory, I sketched this guy today on my way to my studio, so immediately I got to my studio with his image still fresh in my mind I go on to produce this transformation thus:




1.I painted the gessoed card with an acrylic warm base of cadmium yellow, burnt sienna and white

2. I sketch main features with burnt sienna, I love the contrast.

3.I then start adding the basic flesh tones, first starting with the mid tones, the darks, then lights.

4.It is looking balanced value wise now, need to add details......


5.I almost end it here, but with just acrylic, I don't feel I have captured this guys spirit, he looks too casual.

6.I spice it up with some coloured pencils

7.Still lacking enough spice, I work into it to get back some drawing lines and darks with my Black Biro.

8.Then finally I add some highlights with oil pastel sticks

9. He almost still looks casual, I have to stop or I'll end up making him even more casual.

"Remembering what he told me", 5" x 7", Mixed Media on watercolour board, 2009

This is another transformation, I can vividly remember sketching this girl because I sketched her this month. It was an evening in the train and I was on my way to London Bridge. My eyes just caught her green and black hair.

I have gone about this one as follows.

1. Sketched her face and main features with H pencil (very hard pencil)

2. I then use a wet on wet technique with watercolour to almost finish this piece in watercolour, but when it dries I am not happy with the fussy wet on wet look.

3. Then I decide to add some details with a carbon pencil, still not good!


4. I introduce water resistant wax crayons and I seem to enjoy the intensity and spontaneity it gives the piece

5. I continue working all over the piece with the wax crayons in an excited passionate way, stroking haphazardly.....

6. I throw in some detail around the eyes and mouth with coloured pencils.


7. Then I finish off with some black accents of the carbon pencil again, need to stop as it gets to point I don't know where to put the next stroke!