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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.

In this session, Lizet Dingemans draws a shadowed portrait of model Charlotte, exploring the drama and depth created by strong contrasts. Using willow charcoal, compressed charcoal, and white pastel pencil on grey paper, she focuses on capturing the subtle interplay of light and shadow to bring the portrait to life.

Lizet Dingemans takes on a reclining figure of model Charlotte in this session, exploring the contrasts between pan pastel or charcoal dust and traditional charcoal pencil and willow charcoal. Working on white paper, she demonstrates how each medium handles tone and texture, showing their unique qualities in capturing the figure's form.

In this session, Lizet Dingemans captures the expressive qualities of model Max. Working with willow charcoal, a charcoal pencil, and white pastel pencil on grey paper, she will explore how to convey emotion and character through subtle tonal shifts and bold contrasts.

Lydia Cecil explores the art of drawing fabric shapes in this session, working with model Sowmya in a clothed figure pose. Using charcoal on white paper, she emphasizes how to capture the flow and structure of fabric, translating its folds and drapes into clear, dynamic shapes.

Join Patrick Byrnes as he paints Shariff from life using a full colour palette. Patrick will talk about painting the model from life and give hints and tips about how to achieve a likeness; how to choose colours; how to achieve a sense of dimensionality; and much, much more.

In this session, Lizet Dingemans will be working with model Myriam to build the portrait using shapes rather than lines. With willow charcoal on white paper, blending tools like a hog brush and Sofft knife, and an optional compressed charcoal pencil, Lizet will give tricks and tips on how to create form and depth by focusing on tonal shapes for a softer, more dimensional effect.

In this session, join Luca Indraccolo and model Gary to learn how to use values and edges to convey form. Using Faber-Castell Polychromos pencils in Black, Cold Grey IV, Cold Grey II, and White on black A4 paper, along with Staedtler and pencil erasers, Luca builds depth and structure through subtle contrasts and carefully softened edges.

Luca Indraccolo guides us through his process as he draws a portrait in profile of model Emma in this session, working with pencil on white paper. By emphasizing the contours and structure of her profile, he'll show you how to bring an elegant level of detail to the composition.

For this figure drawing session, join Lizet Dingemans as she captures model Mark with flesh-coloured pastel pencils on toned paper. She will explore ways to bring out the natural variations in skin tone, adding depth and realism through careful shading and layering. Lizet is using burnt sienna, sanguine, beige red, and white pastel pencils, but any flesh toned ones will do.

In this session, follow Lizet Dingemans as she captures model Noy in a costume portrait. Working with pastel pencils on toned paper, she'll show you how to draw attention to specific details, using contrast and texture to enhance the visual impact and bring character to the piece. Lizet will be using Pitt Pastel walnut brown and white on brown paper, but feel free to use whatever you like.