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Join Lydia Cecil as she draws a one-hour figure of model Lucia, exploring the many ways line can be used to describe movement, weight, and form. Using a soft pencil on paper, she guides you through how to vary pressure, direction, and rhythm to create a drawing that feels both structured and expressive.

Luca Indraccolo draws a portrait of model Nate, guiding you through how to capture the subtle shifts in value that define a bearded face. Using black, white, and three shades of grey Polychromos pencils on black A4 paper, he shows how to layer tones and build texture with precision, bringing richness and realism to your portrait. Along the way, he shares tips on controlling edges and highlights using a Mars plastic eraser, Faber-Castell pencil eraser, and Tombow Mono Zero eraser.

Luca Indraccolo draws a one-hour figure study of model Aimee, focusing on how to control the value range to create stronger, more balanced drawings. Working on A4 sanguine-toned paper with sanguine and white pencils, along with a range of erasers including plastic, pencil, and Mono Zero, he demonstrates how to maintain contrast and clarity while preserving subtle transitions across the figure.

Lizet Dingemans draws a portrait of model Yan Yu in an unusual reclined pose, focusing on finding softness in the underlying forms. Using willow charcoal with black and white pencil on grey paper, she teaches how to balance structure with delicacy, building gentle transitions that capture both likeness and atmosphere.

Immersing you in Hugo Pratt’s graphic world, Lydia Cecil creates mastercopies of three Corto Maltese drawings with pencil and marker pen on paper, studying his spare line, cinematic framing, and inky shadows. As she works, she discusses Pratt’s life and artistic context while teaching how to simplify forms, design confident contours, and place decisive blacks to capture that bold, narrative impact.

A downward tilt changes everything: Lizet Dingemans shows how to read and map perspective in a portrait of Richard with the head turned down. Working in red coloured pencil on white paper (feel free to use any colour you prefer), she guides you through aligning features, compressing shapes, and controlling angles so the likeness holds together convincingly.

Taking a measured, atelier-style approach in this session, Lizet Dingemans draws model Isadora with an emphasis on slowing down to observe and render convincing skin textures. Working on grey paper with willow charcoal, Nitram charcoal in B and H, and a white pastel pencil, she guides you through layering values, refining edges, and building a subtle surface that feels lifelike.

Lizet Dingemans draws a portrait of model Matt for this session, teaching how to create a richly textured portrait by combining bold marks with blended tones. Using willow charcoal on white paper, along with blending tools and optional Nitram charcoal, she explores different ways of handling the medium to bring out depth, character, and surface variation in the drawing.

In this session, join Lizet Dingemans as she draws model Matthias in three 20-minute poses, focusing on gesture and expression while working with the added element of fabric. Using pastels and charcoal on grey-toned paper, she shows how to capture energy and character in quick studies, teaching how fabric can enhance a dynamic pose.

Lizet Dingemans draws a portrait of model Amy J this week, showing how to study the planes of the face while also tackling the added challenge of glasses. Using Conté à Paris graphite pencils in HB and 4B on white paper, she explains how to divide the head into clear structural planes, teaching how to keep proportions accurate while layering in the details of the frames and lenses.

Join Lizet Dingemans this week as she draws a figure study of model Paul, guiding you through how to construct and understand the anatomy of the feet. Using Conté à Paris graphite pencils in HB and 4B on white paper (or regular pencils if you prefer), she shows how to break down complex forms into clear structures, teaching step by step how to balance proportion, shape, and detail.

Follow Luca Indraccolo as he draws a portrait of model Somto, teaching how to approach portrait drawing under two different coloured light sources. Using Polychromos pencils in black, white, brown, sanguine, India red, and cobalt blue on beige paper, he'll explain how to balance warm and cool tones, showing how coloured light affects form, value, and atmosphere. Refinements are made with both pencil and plastic erasers to sharpen edges and highlight details.

In this week's session, join Lydia Cecil as she draws a figure of model John, showing how to approach the body by identifying masses while paying attention to lost and found contours. Using chalk and charcoal on toned paper, she will guide you in building volume and solidity, teaching how to simplify forms and let edges appear or dissolve to create a more natural sense of presence.

Luca Indraccolo draws a one-hour portrait of model Josie this week, teaching you how to use the hands as a compositional frame within portrait drawing. Working on A4 black paper with black, grey, and white Polychromos pencils by Faber-Castell, he shows how to balance proportion, structure, and contrast, refining details with a pencil eraser and plastic eraser to strengthen the overall design.

Lizet Dingemans leads a one-hour figure study of model Pigeon this week, guiding you through how to follow and understand the forms in a back pose. Using pencil and charcoal pencil on white paper, she teaches how to build the drawing step by step, from establishing structure to refining tone, so you can develop clarity and confidence in your figure work.

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.