Video search

Join Luca Indraccolo as he captures the figure of model Lidia, exploring how to use edges to define and soften form. Working on black paper, he uses a range of Polychromos coloured pencils—black, white, and three shades of grey (light, mid, and dark)—along with a pencil eraser and a Mars plastic eraser. Through careful transitions between tones and hard and soft edges, he creates a dynamic sense of volume and depth in the drawing.

In this session, Lizet Dingemans sketches a portrait of model Selena in graphite, using B, HB, and H pencils on white paper. She carefully builds form through subtle shifts in tone, refining details with delicate shading and precise linework. The focus of this session is on achieving depth and structure while maintaining a sense of softness in the transitions.

Join Lizet Dingemans this week as she captures the figure of model Matthias in pastels, exploring color and form with a mix of willow charcoal and soft half pastel sticks. Working on grey paper, she builds the image using white, light yellow, and earthy orange tones, balancing warmth and contrast to bring the figure to life.

Luca Indraccolo explores tonal composition in a portrait of model Satnam in this session, using a limited palette of three Faber-Castell Polychromos pencils—black, white, and sanguine 188. Working on mid-grey paper, he carefully balances light and shadow, refining the portrait with a pencil eraser and putty rubber to create depth and subtle transitions.

Lizet Dingemans sketches three dynamic studies of model Rosamund in this session, each capturing the figure from a different perspective. With poses lasting 10, 20, and 30 minutes, she explores how to quickly establish structure and movement. Using black coloured pencil on white paper, she will show you how to balance speed with accuracy to create expressive yet well-observed drawings.

In this session, follow Lizet Dingemans as she draws a profile portrait of model Jessica, focusing on the unique challenges of capturing form and structure from a side view. Using black, white, and burnt sienna pastel pencils on brown paper, she explores how warm and cool contrasts enhance depth and definition.

Join Lydia Cecil as she sketches a figure study of Maria C, concentrating on focal points and the expressive use of hatching. Working simply with pencil on white paper, she explores how varying line direction, density, and pressure can create depth, texture, and a sense of movement within the figure.

Lizet Dingemans captures a profile of model David in this week's portrait session. Follow along as she shows you how to emphasise the separation of light and dark within shadowed areas. Using willow charcoal alongside black and white pastel pencils on grey paper, she explores how to refine tonal contrast while maintaining softness and depth.

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.