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Join Lydia Cecil as she recreates *Start of the Charge* by Elizabeth Thompson Butler, using simple charcoal pencil on white paper to study the artist’s dynamic approach to movement and composition. As she works, Lydia will delve into Butler’s life and career, exploring how her military paintings challenged conventions and earned her recognition in the 19th-century art world.

In this session, join Luca Indraccolo as he captures a portrait of model Sowmya using a limited palette of three coloured pencils. With black and red Col-Erase pencils from Faber-Castell, along with a white pencil on light brown paper, he builds form through careful layering and contrast. A plastic eraser and pencil eraser help refine details and highlights.

Lizet Dingemans works on a figure of model Rosie this week, using the classical order of light to describe form. Working with black and white pastel pencils on brown paper, she carefully maps out light, shadow, and halftones to create a structured yet natural sense of volume.

Lizet Dingemans approaches a profile portrait of model Catie this week, focusing on the balance between line work and mass drawing. Using black pencil and willow charcoal on charcoal-toned white paper, she explores how to build form through bold, sculptural shapes while selectively refining edges to balance structure and softness.

Coming soon! Join Charlie Pickard in this series on paint application. Through a set of exercises you'll explore direct painting, glazing, and scumbling. You'll start by painting a scale and gradient in each technique, then a sphere, and then an eye, and then finally you'll combine all the techniques in a stunning full-colour portrait.

Lizet Dingemans studies the twisted back pose of model Andreas in this session, exploring multiple approaches to defining form. Using black and white colored pencils on brown-toned paper, she experiments with contrast, edge control, and mark-making to bring out the structure and movement of the figure.

Luca Indraccolo breaks down the planes of the head in a portrait of model Wren, studying the underlying structure beneath the features. Using a black Col-Erase pencil and a white Polychromos pencil on mid-warm grey paper, he refines form through careful shading and sharp contrasts.

Join Lizet Dingemans and model Noy as she captures the clothed figure with a focus on lost edges in a two-toned drawing. Combining willow charcoal and graphite pencil on white paper, she explores how to merge form with background, using subtle transitions to create a sense of depth.

Lizet Dingemans explores the use of soft edges in a two-toned portrait while drawing model Bindu in this session. Working with willow charcoal and charcoal pencil on white charcoal-toned paper, she'll show you how to create delicate transitions and a sense of atmosphere. Pan pastel can also be used for this session to further refine the blending and tonal subtleties.

Luca Indraccolo studies the draped figure while drawing model Mauricia this week, exploring how fabric interacts with the body beneath. Using Fila Belle Arti Sanguine and Conté white pencils on midtone red-brown paper, he will examine the play of light and shadow across folds, capturing both structure and fluidity in the pose.

Lydia Cecil tackles the challenges of a low value range portrait while drawing model Tobin in this session. Using chalk and charcoal on grey-toned paper, she explores how to create subtle contrasts and bring out form and depth within a limited tonal palette.

In this session, Lydia Cecil delves into the life and work of Peter Paul Rubens with a mastercopy of his Study of a Seated Woman Turned to the Right. While carefully recreating this piece, she draws connections to many of his other works, exploring his mastery of the Baroque style. Widely regarded as one of the most influential artists of his time, Rubens' dynamic compositions and dramatic use of light and movement shaped the trajectory of Western art. This session offers a deep dive into Rubens’ techniques and artistic legacy.

Join Lizet Dingemans for this week's portrait session, as she approaches a portrait of model Steve with a focus on shapes and texture. Using a combination of charcoal and compressed charcoal on white paper, she will explore how to convey depth and detail by emphasizing surface quality and tonal contrasts.

Luca Indraccolo works with model Stephanie to explore figure drawing through tonal values, focusing on capturing light and shadow. With a Faber-Castell Col-Erase black pencil, white coloured pencil, and erasers on mid-grey paper, he will give you direction on how to develop the figure using soft transitions and balanced contrasts.

We return to model Mark with Lizet Dingemans in this session, as she shows you how to draw the planes of the face illuminated by two-sided lighting. Using compressed charcoal, willow charcoal, and white pencil on grey paper, she explores the interplay of light and shadow, emphasizing the structural facets of the face to create depth and dimension.

In this week's figure drawing session, join Lydia Cecil as she takes on a back pose of model Mark, focusing on the interplay of directional lines and lost edges. Using chalk and charcoal on toned paper, she demonstrates how to guide the viewer's eye while seamlessly blending form into the background for a soft, atmospheric effect.

In this session, join Luca Indraccolo and model Solly as he focuses on building the portrait with colour masses. Using Faber-Castell Polychromos pencils in Black, Van-Dyck Brown, Sanguine Red 188, and White on dark grey paper, he will guide you in some key techniques to achieve depth and form through layered tonal blocks and subtle colour transitions.

Lizet Dingemans revisits the fundamentals of anatomy in this session, working with model Bruce in a classic hour-long standing pose. Using HB, 3B, and H pencils on white paper, she examines the key structural elements of the figure, emphasizing proportion, balance, and the relationships between muscle and bone.

Lizet Dingemans draws a portrait of Melanie in this free session, concentrating on crosshatching techniques to depict the character and form of an older face. Working with coloured pencils on white paper, she explores how changes in line direction can add dimension and personality. Select any coloured pencil that suits your work for this one.

Lydia Cecil takes on three 20-minute figure poses of model Charlotte in this session, with an emphasis on finding the gesture in the torso. Working with willow charcoal and white chalk on packing paper, she brings a sense of movement and flow to the sketches, capturing the essence of each pose.

In this session, Luca Indraccolo takes on another dramatic portrait, capturing model Sam from an extreme angle. Using Faber-Castell Polychromos pencils in Black, Van-Dyck Brown, Sanguine Red 188, and White on grey-toned paper, along with Staedtler and pencil erasers, he delves into the challenges of perspective and contrast to create a striking composition.

In this session, Luca Indraccolo draws a striking portrait of model Leidy, capturing the face from an extreme angle. Using a black Prismacolor Col-Erase pencil and white pencil on off-white paper, he explores how to tackle challenging perspectives while maintaining balance and clarity in the composition.

Lydia Cecil studies the figure of model Paul in this session, concentrating on using shading to showcase muscle and bone anatomy. Working with willow charcoal on white paper, she explores how to convey the body’s structure while maintaining a sense of fluidity and expression.

In this session, Lizet Dingemans recreates an 1896 lithograph by Alphonse Mucha, showcasing his signature blend of geometric structure and flowing, organic lines. Using pencil and ink pen on cream paper, she examines how Mucha balanced the graceful curves of the figure with decorative, architectural elements to create his timeless Art Nouveau compositions.

In this unique session, Lizet Dingemans draws model Adrian posed alongside a skeleton, exploring both value-based and line-based approaches. Using willow charcoal, compressed charcoal, and pan pastel on grey paper, she will show you how to compose a figure drawing that balances bold masses with precise lines, bringing the scene to life with depth and contrast.