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In this week's figure session, Luca Indraccolo draws a standing figure of model Ahzm, focusing on how to identify and develop the essential lines that give the pose its strength and clarity. Working with Fila Belle Arti Sanguine and Conté white pencils on midtone red-brown A4 paper, he explores how a limited palette and confident mark-making can bring structure and movement to a one-hour figure drawing.

Join Lizet Dingemans as she draws a portrait of model Beth, exploring the concept of window shading—a method of gradually building tone to create a smooth sense of light and form. Using HB, H, and B graphite pencils on white paper, she works carefully across the surface to reveal the structure and subtle lighting of the face.

This week, Lydia Cecil draws model Amy in a figure session centred on capturing the large, rounded forms of the body by starting with soft, subtle edges. Working in charcoal on toned paper, she builds the figure from broad shapes before refining structure—helping develop a sensitive and solid foundation to the pose.

In this session, join Lizet Dingemans as she talks you through her portrait of model Melvyn using willow charcoal on charcoal-toned white paper, with a B pencil added for refining small details. The session explores how to block out and build up the image gradually, using tone and texture to bring out the character and presence of the sitter.

Lizet Dingemans draws model Nikoletta in three quick twenty-minute poses this week, each exploring how to suggest the figure when it’s partially hidden by draped fabric. Working with white and dark pastel pencil on toned paper, she shows how to simplify what you see and look for essential shapes, helping you gain clarity and confidence when working with clothed figures.

Luca Indraccolo draws a portrait of model Bindu this week, using black, white, sanguine, and brown Polychromos pencils by Faber-Castell on dark green-grey paper. Throughout the session, he demonstrates how to develop a portrait through clear stages, refining structure and depth as the drawing progresses. He shares insights into balancing accuracy with expression, helping us build confidence in tackling this pose.

Lydia Cecil draws a figure of Ed this week, with a focus on the torso. Join her as she guides you through how to control and simplify shapes to describe volume and structure with clarity. Using chalk and charcoal on toned paper, she shows how to make confident decisions with line and value to strengthen your understanding of form.

In this session, join Lizet Dingemans as she captures a portrait of model Sarah Jane in costume, comparing the qualities of Nitram charcoal and willow charcoal. Using H and B Nitram charcoal, willow charcoal, and a white pastel pencil on brown-toned paper, she explores how each medium handles texture, softness, and precision in a costumed pose.

Join Lydia Cecil as she spends an hour with model Peter K exploring value organization while experimenting with the interplay of warm and cool tones in figure drawing. Using chalk and charcoal on tan-toned paper, she contrasts the natural warmth of the ground with cooler marks to enhance depth and atmosphere in her depiction of model Peter.

This week, Lizet Dingemans explores the contrast between mass and line in portrait drawing, examining the strengths and limitations of each approach as she captures model Solly. Using willow charcoal and charcoal pencil on charcoal-toned white paper, she shifts between bold, expressive shapes and precise linear detail to build form and structure in the portrait.

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.

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.