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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.

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.

Join Luca Indraccolo as he draws a portrait of model Rosie, focusing on how different types of line can be used to describe three-dimensional form. Working with black, sanguine, and brown Faber-Castell Polychromos pencils on light reddish- toned paper, he explores structure and depth through carefully observed linear drawing.

Lizet Dingemans takes on two 30-minute studies of model Julian’s knee for this week's figure session, zooming in on the complexity of this part of the human anatomy. Working in pencil and white pencil on grey paper, she explores how to bring structure and subtle form to life through careful observation and confident mark-making.

Luca Indraccolo draws a portrait of model Beth this week, using subtle shifts in value to build up a strong sense of form and volume. Working with a black Col-Erase pencil and white Polychromos on mid-grey paper, he shows you how to carefully model the features while exploring how light shapes the structure of the face.

Lizet Dingemans draws from two 30-minute figure poses with model Holly, using the Japanese concept of Notan to guide her composition. This approach focuses on the interplay of light and dark shapes to create visual harmony and impact. Working in willow charcoal on white paper, she simplifies the figure into clear value masses for a striking design.

Join Lizet Dingemans as she draws a portrait of model TJ, placing emphasis on mass drawing to build up the head with broad shapes and tonal blocks. Using willow charcoal on white paper, she shows how to develop the portrait through structure and value rather than relying on outlines.

Luca Indraccolo draws a figure of model Beatrice this week, paying close attention to key anatomical landmarks of the back. Working on midtone red/brown paper with Fila Belle Arti Sanguine and Conté white pencils, he explores how to use contrast and careful mark placement to describe structure and form.

In this session, Lizet Dingemans dives into the world of 19th-century master Adolph Menzel with a vibrant pastel pencil mastercopy. Using a refined palette—including Caran d’Ache’s Eggshell, Perylene Brown, and Dark Green, alongside Faber-Castell’s earthy tones—she brings Menzel’s nuanced handling of colour and light to life. As you draw along, you’ll explore how carefully layered hues and confident mark-making can evoke texture and form with striking immediacy.

Lydia Cecil takes on the challenge of capturing a clothed figure with intricate patterns, drawing model Virginie in this focused figure session. Using willow charcoal and a putty rubber on white paper, she explores how to simplify complex textile designs while keeping the overall gesture and structure of the pose clear and dynamic.

In this special session, Lizet Dingemans turns her attention to animal portraiture, drawing Hank the dog with a warm and expressive touch. Using dark brown and white pastel pencils on brown paper, she compares human and canine anatomy, and explores how to capture texture, volume, and the unique character of her four-legged model.

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.