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Lizet Dingemans draws a one-hour portrait of model Kobie in this session, combining 6B graphite (or softer) with willow charcoal on charcoal-toned paper. The session focuses on applying approachable methods for working with both graphite and charcoal together, showing how to build structure, tone, and expression in a portrait step by step.

Lizet Dingemans draws a figure of model Tommy, exploring how to work with coloured pastel pencils to add subtlety and vibrancy to the form. On grey-toned paper, she uses a palette including white, light flesh (132), cinnamon (189), olive green yellowish (173), and walnut brown (177), showing how layered colours can bring a sense of temperature, volume, and lifelike presence to a figure drawing.

Luca Indraccolo draws a one-hour portrait of model Martin, focusing on how to use light planes as focal points to guide the eye through the drawing. Working with a black Col-Erase pencil and a white Polychromos pencil on mid-grey Fabriano paper, he develops structure and clarity, refining highlights and edges with a pencil eraser and plastic eraser.

In this session, Lydia Cecil draws two 30-minute figure studies of model Daniel, focusing on similar balancing back poses and how to capture the overall forms of the body. Using charcoal on white paper, she works broadly to establish structure and proportion before refining the pose with selective detail and tonal variation.

Lydia Cecil creates a mastercopy of Eugène Delacroix’s portrait of Frédéric Chopin, using chalk and charcoal on tan-toned paper. As she works, she discusses Delacroix’s life and career, highlighting his bold use of colour, dynamic compositions, and central role in the Romantic movement. She also reflects on how his energetic brushwork and focus on emotion influenced generations of artists, from the Impressionists to the Symbolists, shaping the direction of modern European art.

In this week's figure session, Luca Indraccolo draws a figure of model Beatrice, focusing on how to tackle complex areas within a figure drawing such as the hands, feet, and portrait. Using a brown Goldfaber No. 283 pencil by Faber-Castell on beige A4 paper, he works through ways to balance accuracy and flow, refining details with a putty rubber, pencil eraser, and Mars plastic eraser.

Lizet Dingemans draws three 20-minute portraits in pencil on white paper, each from a different model, focusing on how to compare and capture likeness through head shape, feature placement, and proportion. Across the three studies, she explores what makes each face unique and how subtle shifts can influence the overall character of the portrait.

Lydia Cecil draws model Yan Yu, demonstrating how to break down the figure and the folds of fabric into clear, readable shapes. Using pencil on white paper, she explores how observing and simplifying these shapes can help bring clarity and life to a drawing.

Luca Indraccolo draws a portrait of model Stephanie this week, guiding you through how to understand and simplify the value planes that shape the features of the face. Using a Faber-Castell Col-Erase black pencil and a white Polychromos pencil on warm grey paper, he demonstrates how subtle value shifts can describe depth and structure. A pencil eraser helps refine edges and highlights throughout the session.

Lizet Dingemans draws a figure of model Mark T, focusing on how to identify and render different types of shadows: cast shadows, core shadows, occlusion, and reflected light, all within a dynamic back pose. Working on brown-toned paper, she combines graphite, a black pencil, compressed charcoal pencil, and white pencil to demonstrate how each shadow type adds depth and realism to the figure.

Lizet Dingemans draws a portrait of model Imogen using pencil on white paper. In this session, she focuses on understanding the perspective of the head, breaking down how to see and measure subtle angles, tilts, and proportions to achieve a believable likeness. She’ll demonstrate simple techniques for aligning features and adjusting construction lines to keep the head structure clear and balanced.

Join Lizet Dingemans as she sketches a figure of model Samantha, using willow charcoal, compressed charcoal, and white pastel on grey paper. She focuses on building the figure through clear value masses to shape the form, while also demonstrating how to suggest intricate details like tattoos without losing the larger structure.

Join Lydia Cecil as she creates a mastercopy of *Sharecropper* (1952) by Elizabeth Catlett, exploring the powerful lines and composition of this iconic portrait. Working in charcoal pencil on white paper, she reflects on Catlett’s life, activism, and her pioneering role in championing Black identity, female empowerment, and social justice through art. Catlett’s bold graphic style and commitment to accessible, politically engaged imagery helped shape the direction of 20th-century American printmaking and inspired generations of artists to use their work as a vehicle for change.

Ever wondered how we put together the photoshoots for our image reference library? In this short video, Lizet Dingemans talks us through a music-themed photoshoot with models Matthias and Josie.

In this session, Lydia Cecil draws a costumed figure of model Beth, concentrating on the challenge of capturing a variety of shapes and textures within the figure and clothing. Using simple materials—chalk and charcoal on toned paper—she explores how to unify the drawing through careful observation of edges, value shifts, and overall design.

Lydia Cecil draws a portrait of model Somto in this week's session, focusing on simplifying the head into shapes and exploring the use of the terminator line and reflected light to create depth. Using chalk and charcoal on light toned paper, she shows how to develop structure and form through value relationships and edge control.

Join Lizet Dingemans as she draws model Freya in a figure study that focuses on sculpting the female torso through careful observation of light and form. Using pastel pencils on brown toned paper, she will show you how to build volume and depth by emphasizing the subtle transitions between light and shadow.

Lizet Dingemans draws three 20-minute portraits of model Magnus this week, each exploring the challenges of a head tilted upward. She guides you through capturing this dynamic angle with clarity and structure, using white paper and a pencil set of your choice—perfect for experimenting with your preferred tools while honing your understanding of portrait perspective.

Luca Indraccolo draws a figure of model Ahzm, zeroing in on some of the most challenging areas of anatomy—hands, feet, forearms, and lower legs. Using black, white, and three grey Polychromos coloured pencils on black A4 Daler-Rowney paper, he demonstrates how to break down these complex forms through careful observation and confident mark placement.

Join Lizet Dingemans as she draws a profile portrait of model Josie, focusing on how light gently fades across the face to show its shape and depth. Using willow charcoal and a soft graphite pencil (3B or softer) on charcoal-toned paper, she guides you through simple ways to build form and softness with tone.

Lizet Dingemans draws a figure of model James R this week, focusing on the subtle complexities of shadow: from cast and form shadows to occlusion and reflected light. Follow along as she demonstrates how to handle a range of graphite pencils—from HB through to soft grades like 3B or 6B—alongside compressed charcoal pencil, all on white paper, to build rich tonal contrasts and depth.

Join Lydia Cecil as she creates a mastercopy of Edvard Munch’s 'Self-Portrait with Skeleton Arm', using charcoal on paper. As she draws, she explores Munch’s haunting symbolism, expressive line work, and the emotional depth of his self-portrait. Alongside the technical demonstration, she will discuss his life and career, and how his psychologically charged imagery helped shape the direction of modern art.

Lydia Cecil takes on two 30-minute figure poses with model Connie, analysing the structural rhythms and anatomical landmarks of the torso. Using a 3B pencil on white paper, she focuses on how to balance gesture and proportion while constructing the figure with clarity and intent.

Lizet Dingemans creates a striking portrait of model Nate, exploring the dramatic effects of lighting from below. Using willow charcoal, compressed charcoal, and black coloured pencil on charcoal-toned white paper, she demonstrates how to interpret unusual light angles to shape the planes of the face and bring out strong contrasts.

This week, Lizet Dingemans draws model Josh in a vibrant figure study, using a selection of pastel pencils on brown-toned paper. She will show you how to approach the figure in colour, layering hues to build volume, depth, and subtle temperature shifts across the form.