The birth of siblings

Well, I'm happy.


And Fitzy's happy.


So, that's good then isn't it!?


The pictures are finished. The "Tarse" and "Fitzy Living flame". And they look good together, I'm happy to say, so that last week of me brightening tiny areas of colour, increasing tone, and keep putting the two paintings side by side to see how they looked as a pair has really paid off. I'm delighted. Its been three months of hard work, on and off, in the production, and I think Fitzy and I had a few weeks of discussion before that before I even started the painting. But he tells me he's thrilled with them, and that's what matters! That means I can relax, with a warm feeling and content smile, and know I've done a good job on them. And I also know that the finished painting is far better than the original working painting. There are more subtleties in it, and the flame is more fierce around the body. I think it adds more to it because of it, especially as its a man in the painting, it makes it more masculine and strong, I think. My favourite bit is the bum on it - the way the bright colours add form and interest.


I've shown the "Fitzy Living Flame" here on its own, and also along with the Tarse painting so you can see the comparison. They are bright and beautiful, vibrant and strong, and although the "living flame" style of painting is subtle it stands strong against the bright and vivid abstract of the Tarse painting. And it certainly didn't when I originally *thought* I'd finished it! Of course the canvas's also bring out the colours of the acrylic paint, which you can see when you look at them in real life but they look slightly muted in these photos. They are painted on box canvases, and I explained to Fitzy that the paintings go around each of the four sides of each painting which I think gives it more of a 3D effect when its hung on a wall. I also had to put an "optical illusion" in the "living flame" painting. As you can see the painting stops just below the knee, if I had carried on the natural tapering of the calf, the picture would have looked like his legs were "pins" and would have looked really silly. So, I had to carry on the calf at the same width when the image carried over the edge to give it more substance. No one would notice particularly when its hanging on the wall, but it would have screamed out as a glaring error, if I'd done the natural taper.


And just as a matter of interest, to me anyway, I have shown two women friends, on two different occasions this week, the two paintings, and asked what they thought, and both liked the "living flame" painting best, particularly the bum on it (!) and NEITHER could see that the abstract was a "willie". Not at all. Now, that interests me, and delights me. That was exactly the response I want - the shape IS hidden! YAY!!!! I've done it!!!!!!!!!!!!!

Keep going

Well Fitzy's Living Flame painting is coming on nicely. I'm really pleased with the figure, and think I've added some more excitement to the painting than was in the original working painting that I did a few weeks ago. All to the good! But I also have to consider the "flame" part of the painting, as it is very much part of the image. Instead of painting the figure THEN painting the background, I've painted the two together, building them up slowly, so that the figure is IN the background of the painting and not sitting on top of it, which it sometimes looks like in other peoples paintings.

Earlier on this week I decided that I was close to finishing it. I just needed to do a few more little bits to the flame aspect and it would be done. After spending quite a few hours on it, I thought that when I looked at it fresh the next day, I would think it was finished............... But I didn't. I felt there was more I could add to it, so I kept on painting, only little bits of it here and there, tiny subtleties that slowly built up the background. Great. I must be finished now then. The next day I looked quizzically at it and decided that it needed more depth of colour in parts, more flames reaching up in other parts, and spent a long time standing back and looking at it to make sure. Because that's so important to do. The painting might be created horizontally or slightly raised up at an angle, in this case, but its going to be viewed vertically, so periodically I'll raise the particular painting I'm working on just to check, and usually find that there are a few areas that need extra attention due to doing that. And I always say that however much time I put into painting a picture, its only a tenth of the thinking that goes into it. So, its good to stand back and assess a painting and just "think" about it whilst I'm looking...... making decisions like "Am I happy with the way that the focal point is showing, should there be a stronger contrast in that area, is that area too dominant and needs toning down a bit, do I need to put more highlights in there, or darks against it, which bits are shouting at me that they're wrong? Which am I happy with? Where can I change something to enhance the painting.......?" And so it goes on until I look at the painting and think "If I did any more, I'd spoil it, there is nothing left that is needing to be changed" and that's when I say "Its done!". But................... with this style of acrylic glazing painting, you can go on and on and on, and not spoil it, but add more depth to it here and there. When I first thought at the end of the week that it was done, it was, in a way. But the next day I thought I could enhance it a bit more. The same the next day. None of it has done anything but add more depth to the painting, which I think gives it more personality.

So, yesterday I looked at it after spending a few hours on it, and thought "It really is done now".

But there is something else I need to consider. Something that normally doesn't come into this decision making.

It has a sibling. The Tarse.

And The Tarse is brighter than the "Living flame" painting. It is more vibrant. More colourful. Stronger. More potent.

Next to it, the Living Flame painting looks pale, washed out, weak and ineffectual. On its own, it doesn't.

And they are going to hang together on the wall. So I have to consider that they have to look good together too, to enhance each other as siblings.

So, it looks like I've got to paint some more after all. I want to get it right. I want them to look right together. I can't dim the Tarse -its finished - and its right that it is bright and beautiful with strong vibrant colour. So, the Living Flame picture will have to be darkened and brightened in places. But not all over, just enough to give it depth and credence. But without losing any of the glazed colours that are showing through the white of the canvas and giving the flame effect.

So, it looks like I've got to keep going for a while longer then................................ :)

One down, one to go!

After all these weeks of working on it, I cay say the magic words - "Its finished!"



There's a good feeling of achievement, of a job well done, of reaching the goals I'd set myself. To produce a picture of Fitzy's "fantasy willie" so that it doesn't look immediately like what it actually is, to paint it as a fun and exciting picture, to put some clever technical details in it so that the eye is tricked into some deception over the subject. And this finished painting is tighter on the design than the working painting that I did, more finely tuned, I think. Plus, it's painted on a large block canvas, so I've painted the four sides as a continuation of the main painting, which means that where ever it hangs, the finished image will look more "padded" than just a flat 2-D image in a frame would.

I love the way that the more I look at it the more I see different shapes within the picture - I can see a bird, a fish, an elephant, an oak leaf, a whale tail, and various letters of the alphabet. I love the flowing lines, the changes of colour, the way the eye wanders over the image and finds interest in the different shapes and contours, the way some of the colours mutate into other colours, the flat colour a good contrast to the softer tones painted thinly on the canvas and letting the white of the canvas below it to shine through. Even though the glazing technique that I've used here is really a watercolour technique, it works well enough on the large canvas and makes the painting more delicate in a way, than just flat colour does. Having said that, this is the most masculine of images, so it needs some good deep colour in the painting too, so that it is strong and powerful, and the areas of black paint certainly help to anchor the lighter colours within the painting. So, I'm really pleased with it. Infact, absolutely delighted with it, and Fitzy is too, so he tells me, so that's two happy bunnies over this painting!!! LOL

And just to make the point, that the colours on the canvas are far stronger and yet more subtle than the image here shows. I think it's the sort of painting you can never tire of - partly for the subject matter, the vibrant colours and flowing shapes within it, and the hidden shapes that appear to each person who views it, in different ways. Fitzy said he could see a fire breathing dragon, and tigers stripes in his first viewing of this picture..... and more images will appear, I'm sure! That's what I love about my pictures, when other images appear to different people.......

So, it's done.

But I haven't finished. Not by a long way.

Because now I can start on the "living flame" picture that Fitzy also wants as a sibling to this one. They will hang together, so the colours need to match and enhance each other. I wanted to paint this one first, as the colour was applied flat in places, so by doing those first I got a good feel to how the canvas and paint react together. All surfaces react in different ways, and different paint does too - watercolours, gouache, acrylic and oils all have different feels to them on the brush, and how they are applied to the surface they sit on, and how absorbent that surface is - whether its watercolour papers, and all of those react in different ways too, board, gesso'd board, and canvas, all of those are different in their surfaces and absorbency, so it made sense to get the "feel" of the paint on the canvas before I started the tricky painting, and the living flame will be a bit tricky as it is created by "glazing" the paint.... in that a transparent colour is applied to the canvas (say pink) , then another translucent colour will be applied over the top (say yellow), allowing the lower colour to shine through the top colour (creating orange, in this example) - its a way of colour mixing on the surface, and is far more interesting to look at than just painting one colour.

So, that's it, one down, another to go! :)

Beyond infinity

Not only have I got Fitzys two commissions to do at the moment, I also have a local art exhibition coming up next week - its with the Ashby Guild of Artists at the village hall in Ticknall, South Derbyshire, if anyone is interested, is in the area, and wants to come along. It runs over the Saturday, Sunday and Monday 23rd, 24th and 25th of May from 10 til 5pm and I shall be there on the Saturday afternoon, stewarding. I enjoy the local art exhibitions, although I don't put anything erotic in it, as it might upset some of the old ladies who come along for a bun, cup of tea, and to look at nice pretty watercolours of flowers, kittens, and rural landscapes. Some of MY art is likely to give em heart attacks!!!! :)


So, I've been busy painting for that as well as doing Fitzys working paintings for the two canvas's he wants me to paint for him. And this has given me an opportunity to explore painting a universe painting. I've been wanting to do one for a few years, and thought that now is the time. I thought it would be easy, but I was wrong. It isn't. There's a lot of effects to get into space, and the stars are a little tricky to paint too - to get them looking like they're stars, far away, rather than polka dots, or daisies! But I've enjoyed doing it, once I found what I wanted to create and worked out how to do it. It's got colour and depth to it, and depth certainly helps when you want to paint space!!!!!!!! LOL


So, here it is, and I've called it "To infinity and beyond" - because it is beyond, there's a whole load of depth in it creating the infinity (is that the collective term for depth - load? Either way, there's a LOT of it!). Its done in oils, as I think oils depicts depth like this far better than any other medium. And it's not erotic, I haven't even put a naked woman or couple in it, so it won't upset the old ladies................................


Over this coming weekend I've got an art workshop to attend - its going to be still life in watercolour. It'll probably be a little quiet and staid to what I'm used to. The still life might be a hat, vase, flowers, an ornament, some fruit, a book, and a scarf artistically draped. That's what still life set ups are usually.


But its dawned on me........................... that that doesn't have to be the case. I could do an erotic still life :)


I could take some handcuffs, a blindfold, nipple clamps and a bull whip, for MY still life!!!!!!! LMAO


THEN it'd be EROTIC, wouldn't it!!!!!!!!!!!!!!!!!!!!!!!!! :)

Behold - a Tarse!

I've been working diligently on the working painting for Fitzy's "Fantasy willie" painting, and last week I sent him the image for his feedback which I want to be favourable before I start the painting proper on canvas, as he has requested. But after I sent it I felt I wasn't totally happy with it. You see, a willie looks like, well, a willie! And its difficult to hide the shape of it. And the whole point of the "Fantasy fannies" was that the image was hidden. Of course, a fanny is an abstract shape to start with, that helps, but a willie isn't. Infact, its quite....................well..... specific! :)

And that was my problem, and the challenge was to make it look not like a willie, but the shape still there, within the painting....... So, I did the first painting, which is a working painting anyway, and sent it to Fitzy for his feedback. But whilst he was thinking about it, and before he had chance to respond fully with his thoughts regarding it, I decided that I could do better. So, I had another go, and am FAR happier with the result. The image is far better hidden within the colours of the paint. The shapes are still there, but there are more techniques employed to hide the image.

So, here they both are - the first "In yer face" picture, and the second "far more subtle, there, Jackie" pictures. Either are ok as images, either would work as an abstract painting, but I know which I prefer! The colours are softer in the second painting too, which I think is a nice comparison with the "Fitzy living flame" image that it's to hang with, but it could be argued that the colours are more masculine in the first painting. They are still the same palette of colours, and the same that I used for the "Fitzy living flame" image, so they would all hang nicely together, and not clash.

And as for the name - I've found a lovely old English word - "Tarse" - which means "Male genitals" - which is exactly what they are! LOL But, if it was hanging on the wall and someone asked you what it was and you replied "Its an abstract of a tarse", they'd go "Oh!" because they wouldn't have a clue what a tarse is, like the fantasy fannies are called "Queyntes" - another old English word! So, this is my first tarse, but hopefully not my last! :) and if you look up the word tarse you'll find it also means *falcon* which is a nice meaning too for the word, I think! Oh, and its got a man logo in it, like the Queyntes have a woman logo in them, to remind you what it't about.

So, what do you think?

Teaching teacher

The people who commissioned the portrait of the horse"Elliot" came to pick the painting up this week. I had met them before when I went to take the photos of Elliot, but that was at their house. And they wanted to come to my house to collect the painting, as it is a surprise and they didn't want the game to be given away by my going to their house with the surprise gift. So the meeting was arranged and they came to me with no prior knowledge other than a brief meeting and a knowledge that I am a local artist.................. who does horse portraits........

They arrived and I welcomed them in, and we stood chatting about animals, and art. I showed them a few paintings that I've done, as they passed them on the way to my studio, and we stopped and chatted about the art and the various techniques that I'd used to create the paintings. They liked them, and were interested, which is always gratifying :)

Eventually, I led them into my studio and showed them the portrait of Ellliot, which they loved, and said I'd just captured his look, which was great to hear. It's always a slight concern when revealing a portrait, that the painting looks like the subject matter. Infact I was reminded of that when chatting to my photographer friend over the seas, when he said that a photographer cuts out the excess of what he can see to make the image, whereas an artist puts in ALL they can see to make their image. Interesting contrasts. But I'd obviously caught all that makes Elliot, for his painting, which is always great to hear that I'd not missed anything!

We carried on chatting about other pieces of art I'd done, various paintings were scattered around the studio, including Fitzy's working painting of him done in the living flame style, and his "fantasy willie" half completed, that I was working on when they arrived. I ignored it as it was "just" an abstract as far as they were concerned, and didn't need to know the specifics of it. The chatting flowed, and as we talked I was aware of the guy looking at what was behind me, and when he was able he enquired about it - my certificate of membership to the Guild of Erotic Artists, he was intrigued (especially as he had NO idea at all that I did Erotic art!! LOL). So I explained that I was an erotic artist, and waxed lyrical over it, as I am apt to do! They both listened, and asked various questions, and I told them about the "fantasy fannies" project, and how that has lead to the "fantasy willies" project, and that I've had a huge response to it all already! I carried on with my chatting, and the woman fell quiet as I spoke, and then asked me why don't I teach? She said "You're passionate about your art, and are "fresh" in your approach". It turned out that she teaches teachers, and she thinks I'd make a good teacher. That made me think. Do I want to teach? Is it the way forward? She says she'll help me if I want any advice from her, and I've taken her up with her offer. I like her and her husband and will be happy to see them again.....

I'm thinking about it.

Oh, and it turns out that she lives in the same village that I did my WI talk for, 18 months ago. She's a busy woman and isn't a WI member but is aware of the talks, and was sorry that she had missed mine. Apparently she also missed the chance to hear a talk about the joys of hearing aids as well............................................. I'm not sure which one might have been the high light!! :)


Still, she's already learnt something from me.

If you want your horse painting, come and see an erotic artist! :)

Horsing around

Fitzy knew when we agreed the two paintings that I'm currently doing for him that if I had other deadline commissions, that they would take precedence over the timing for his artwork, and was happy with that possibility. The only reason I said it was because I knew the artwork that I'm doing for Fitzy is going to take a while to paint, as I'm having to do two working paintings before I start the two canvas's proper. And, sure enough, soon after I started work, I was asked to paint a picture for a birthday in May, so I've got a deadline, just as I predicted! LOL

The painting in question is totally different to the ones I'm doing for Fitzy, as it's Elliot. And Elliot is a bit different to Fitzy. He has lovely long black hair, he has brown eyes, a bit of a beard, long nose, big ears, and four feet. Well, hooves really. Because Elliot is............ a horse. I met him a couple of weeks ago when I was asked to go and see him and take photos for the portrait I'm doing of him. I duly went along at the arranged time, feeding time infact, as that was deemed the part of the day when he was more likely to be amenable to a stranger taking photos of his best side. Of course, he was curious to start with, but soon got bored of the tiresome task of having to lift his head AND look intelligent AND look the right way AND have his ears forward AND not be eating whilst he was doing it. So he kept wandering off. The back end of a horse is not that photogenic, so I had to get to the right end, rather than the wrong end, and try to photograph him in the the right light, with all the aforementioned posing involved too!

I've NEVER taken so many photos of one thing before. Photo. Photo. Photo. Photo...........Photo. Photo...............

After taking endless shots I thought at least a few of them would be right, but on getting home I found that only one fit the criteria of him looking around, with ears forward, looking curious and friendly, not eating, not side on, and not full on. Phew. Do all super models have this problem, I wonder? LOL

Well, no matter, one photo was all I needed. And that is what I've been working from, and this is the painting I've done, in acrylic on line and wash board. Acrylics are the best thing to use for animal portraits, as you can build up the light hairs on dark background, dark hairs on light background that is the animal. And that is how you get the character of the animal too. I think I've got a good likeness to Elliot, I just hope the person who is receiving this as a birthday present thinks so too.................... She's not seen it yet. The bit I like best, is the bit of flicked paint around his mane, that makes him look like he's moving a bit, and the white blow of air below his mouth, that makes him look alive. Well, the intelligent eyes, the right shape for a horses head, the colours, the nuances of tone of his hair all help too of course!!!!! LOL

It works!

After starting the working painting for Fitzy the other week, and not being entirely happy with it, I re-started the second "working painting" soon after and was able to finish it this week. So, since I was happy with it, I now hoped that he would be! So, I sent him the image and awaited the reply......................

And................. He loves it! YAY! So, now I can get on and paint it properly onto the large canvas he wants it on as the finished piece.

It is slightly different to the original "Living flame" painting in that I've added a few more darks to this masculine image. The main reason being that a mans body is more "square" than the rounded shape of a woman, and because there are less curves within a masculine body, I had to take away from the symmetry of the image by changing the balance between light and dark, shown mostly as the blue tones and the light yellow tones here. I love the bright colours within the image though, and the use of the bright red in certain areas adds a zizz to the more muted tones. It was also interesting to see how the hands developed, in the original, I did the hands as two different colours and that idea didn't work at all. This one does though, with the subtle variation in colour between the lights and darks on the hands. There's also a lot of other colour happening in and around the body, the subtle changes in colour add a lot of vibrant interest to this image. I love it!!

And I love this style of painting. Its difficult to do, but I love the effect of it. And shall love transferring this image onto canvas. It means re-drawing the whole thing on to a larger surface, and it means starting the whole thing again, but now I have the "working painting" to work from, the thought process has gone into the original, and in theory all I need to think about now is the technicality of getting the image to look good on a large canvas as the finished piece.

But, before I do all of that, I have to do a working painting of the first "Fantasy Willie" that Fitzy wants to accompany this "Living flame" image of him. Because the two are to be hung as a pair, together, so the colours have to be the same, or at least not to clash. So, that will have to be painted before I can start the canvas of this painting, just incase there are any changes I have to make to this one before I start painting them both properly. They are siblings, and have to created as such.

Brothers in paint! :)

Actually, no, that's not quite right, they are both studies of Fitzy, so perhaps they are "aspects" rather than "brothers"............................... either way, they are connected to each other.

Decision made whilst injured

I've been working diligently on Fitzys painting, and am delighted that the second working painting is progressing well now I've worked out more or less what I need to do.......! It helps!!!!! LOL It still needs some more work doing on it but at least its going positively in the right direction!


I've not shown you a drawing for a while, and thought I'd show you my latest. I love these white on black images and think this one works particularly well. I had decided that I'd draw my usual model in a wide brimmed hat, and she was still wearing her black bra whilst we were deciding on poses. I liked the basis of the pose but felt it needed a bit of something else, and with the addition of a long scarf, this was it!!!! I loved the pose the instant I saw it - lots of lovely strong diagonals, her face in shadow under the wide brim, her hands on her hips in a defiant pose, and lots of white flesh peeping out from under the clothing, with enough black clothing and shadows to add a lot of interest..................The picture works really well and I really do love it! As for the title, I felt that she was thinking about something with her head held down and her hands on her hips and that she had reached a decision regarding it, and this was what lead to the title - "Decision made" - as to whether the decision was to her choice of clothing at that moment in time, or a deeper and more profound problem, that's for you to decide................


And I think this picture is even more special considering I was injured whilst I drew it!!! I'd burnt my finger just before I was starting to draw and the best thing I was taught for a small burn is bicarbonate of soda held against the damaged skin. This isn't easy when its a finger on your drawing hand and your model has turned up ready for a drawing session! She watched incredulously as I covered half a tissue in the bicarb of soda, wrapped it around my poorly digit and bandaged it up with plasters to keep the whole thing in place. I let her get away with the hysterical laughing at my plight, since it wasn't a bad burn.


My fingers fine now, so the treatment worked! As did the picture. And as is Fitzy's painting. Yay, a hat trick! Yes, I know......................... a pun!!!!!!! :)

Its all in the mind

Since Fitzy and I discussed the "living flame" style of picture I'm going to paint of him I've been itching to get started on it, and thought it would be easy enough since I've already done one, and done it only a few months ago, so the technique of it is still fresh in my head. I know I have to keep the colours fresh and alive and keep it all subtle. Easy enough, I would have thought, although there is always a lot to think about to produce a picture no matter what is involved in it. And this is the working painting, as the finished piece is going on a larger canvas, so I'm painting the working painting on board to make sure I'm happy with it, and then will transfer the finished piece onto the larger canvas. It means painting the picture twice, but I want to put the "thinking" into the first painting and the "doing" into the second, which means the finished piece will be better and not look overworked. It'll keep it fresh and alive.

So, to start work, I've drawn it out, and am happy that I've got a good likeness, so all I have to do now is colour it in. Ok. Easy enough you would think.............. and yet it isn't! I need to think where the light is coming from, I need to look at the tone, and I need to portray the form within the painting. And I've got the original "Living flame" image to look at to replicate the effect in Fitzys painting. Right, music on, and start..................................

............................... and I worked on it all day......... but, for some reason, it didn't flow................. that lovely time when the whole aspect of painting it F...L...O....O.....O....W......W........S. It just didn't happen. It might be due to the fact that it rained all day and the world looked grey and wet and miserable, maybe the ions weren't right in the air, maybe it was the fact that I had a few interruptions and couldn't fully concentrate on it, maybe I wasn't happy with the music I was playing, maybe I was out of kilter with my energies, or maybe I just needed to start with a working painting for the working painting! LOL

This has happened to me before, though. Not often, but enough for me to know how to deal with it.

I don't get uptight, depressed or annoyed over it. There's no point. I don't think that I've wasted all that time and not got a good picture at the end of it. I know it for what it is. It is the thought process at work. And I did the best I could with those thoughts and made a painting. Its an "ok" painting. But............. I know I CAN do better. A lot better. I can change the colours slightly, tighten up the tones and form, and move the colours to create better effect. So I'll do it again. And the next one will be better, because I've already had the initial thoughts for the painting, and the next time these will be extra thoughts, and they will be more positive, upbeat and forthright, and they will be more dynamic. And the choice of music will lift me, and then the painting ........................ should.............. Flooooooooooooooooooowwwww........................

Hello, come in, take your clothes off.....

It was good to finally meet Fitzy this week after many emails back and forth and a few phone calls inbetween. I'd got a clearish few of him as a person, and a clear idea of what artwork he wanted from me, and a feeling about his thoughts regarding it. And I knew he was a little nervous at the thought of sitting for me. Its understandable!!! LOL But I try not to be too scary......... and I do know what I'm doing...........and I have had lots of experience of these matters.............. so ... I wasn't nervous, and I knew I had to allay his fears as much as I could.


Its like any new experience, the many thoughts in your head usually outweigh the reality!


So, we finally met, face to face. It was far easier for him to come to me, since I've got all my "tools of the trade" here. First tool ...... a hot drink! Tea for me!!! :) Coffee for him. And a chat, about anything really, because that communication is important for two people to get to know each other, you look at the body language, read the face, listen to the connotation in the voice, look at the eyes, and get to know about the person better. It makes for a good working relationship, for me, certainly. Because if I'm going to paint someone I like to know abit about them, it helps to be able to put that image of the person into the pose for the artwork. I'm not just creating an image, I'm looking for the essence, or soul of the person, to put that in too.....


So, on to work. Fitzy wanted three pieces of artwork doing - he loves the "Living flame" painting and wants a painting of himself done in that style. So, I needed to take photos of him to work from for the painting. It takes a long time to do that style of glazing painting, so its totally impractical to work from life for that painting. So, you would think taking photos would be easy, and it wasn't! Because I had to get the light right, and make sure I picked up the nuances of muscle tone, make sure I'd got all the detail in that I wanted.


Then on to the second piece of artwork that he wants - a Fantasy Willie painting. Infact he will be my first fantasy willie, which I'm very excited about! But because of that, I wasn't fully sure what I was looking for in the photos. With the fantasy fannies, they are abstract in shape to start with, so its easy enough to hide the image in the abstraction. But, a willie is more obvious! So, it took a few photos until I was happy with the image I'd got, and how I was going to create a painting from it! Success!!!


After a short lunch-break, it was time for the main reason for the visit - the sitting, whilst I drew him. I know he's had health problems and the very pose itself was probably going to be difficult for him. We discussed a standing pose as opposed to a sitting pose, and decided on the latter. But when I asked his thoughts on a pose, and he showed it to me, I knew from past experience that he would be in agony within five minutes from it. We discussed ideas and quickly settled on a simple seated pose, that would be comfortable for him, and would show to good effect his long legs. He also wanted a white on black drawing done, and to set up the lighting for those is a bit challenging, as I had to make sure that the light was creating interesting shapes on his skin, without lighting all of his body. This usually entails a low light off to one side, and although I have proper lights on proper stands, it turned out that the light itself had to be on a book, on a larger book, on a low stool, to create the correct lighting to satisfy me!!!! It might look very odd, but it worked!!!! LOL

On to the drawing............... I started with a blank piece of black card, and with a conte pencil in one hand, and a rubber in the other, I started. I know I'm a quick worker, but afterwards when I explained to Fitzy the thought process that had occurred through the drawing, I was surprised myself how much "thinking" I do. I first look at the pose, and work out the angles within it, I look at the blank paper and envisage those angles on it, I measure with my pencil, to make sure that the body that I'm drawing will fit on the paper (I sounds silly, but I've seen enough amateur artists miss out the feet at the bottom of the paper because they've not done this simple exercise!). Then I start to draw, to get the basic overall shape in, check the measurements again, and if need be adjust anything. Then I start to build up the body shape, gently drawing in all of it, slowly, bit by bit, until its all there, and then use the rubber to remove the parts I don't want. These are the bits that cause the interest. The pencil and the rubber working in conjunction with each other, to create the effect I want. And all this is done whilst the model sits still. And it helps enormously if the model CAN sit still. And Fitzy could, beautifully! He's a natural! So that helped greatly, that I could see the tiny details that I needed to put in the drawing to make it interesting.

Whilst all this is going on, I played my "art music" - thumping rock, bouncy pop, throbbing dance music, it all helps me to work quickly and easily and for the creative energies to flow. No music, and I'd be a lot slower!!! Fortunately Fitzy liked listening to it too, and said afterwards that it had helped him to get through the sitting, whilst he played a musical quiz in his head, as to which band was singing which song! He only needed one short break, but was able to sit long enough for me to produce this drawing. Its called "The thinker". I had originally thought that Rodins "The thinker" might be a good pose, but Fitzy thought it might be too reminiscent of Bruce Forsyth! MMM...I know what he means!!! LOL Anyway, here is the image I did of him.......

We sat chatting afterwards, about all sorts of things, and that was good to do. I know exactly how I'm going to do the paintings now and can't wait to get started on them......


Since then, Fitzy has emailed me to say a lot about his experience of being drawn by me, and is happy for me to quote some of them here:


"I was drawn to the title of one of your recent blog entries “Empowered” and it certainly was an empowering experience, but really it was so much more than that, I felt a great sense of achievement in becoming part of something that will last, well longer than me really.


I also found it a rather liberating experience as well.


.....your mention of a friend that works as a therapist, and they thought your Fantasy Fanny paintings could work well in a treatment room as a means of improving body image and perception about an intimate area of the body..... Anyway, that struck a chord with me as I have always had a very negative view of myself for all manner of reasons .... but I do feel so very positive about what I was able to achieve on Thursday and this is thanks in no small part to you. Now whether there will be any lasting benefits of course remains to be seen, but for the moment at least I really do feel very pleased and proud about what I have achieved and your drawing of me really is so much better than I could of ever hoped for, so thank you so very much for that and it was worth it at any price.

That reminds me of something I said to you a while ago when I joked about paying you thousands of pounds and do you know what, it really would have been worth it.

The day really did have such a profound effect on me and for that I will always be grateful, so thank you very much".

So, it looks like I didn't scare him, too much, and he, like my previous sitters, have found it a very positive and uplifting experience! That's good then!!!! That makes me happy.

Happy second birthday blog

I was going to say "Happy second blog birthday", but I've only got one blog, and "happy blog" sounds a bit overly joyful, so its "happy second birthday blog", whatever a happy second is - well, one way or another, you've got the drift - I've been writing my blog for two years now! Yay!!!


And I do love writing the blog, and receiving the feedback I get from it, either on the blog itself or in real life. And I love the friends I've made through it - I'm thinking of one in particular, and he knows who he is, on another continent, but who is very helpful and supportive of my art and what I do. And this week I've had a chat in real life with Fitzy who has been been supportive of my blog and art too - it was good to have a long chat with him and discuss the artwork he wants to commission from me, and I'm looking forward to meeting him at some point in the future, when we can sort out the logistics.


Other than than, I've started to draw out another Queynte, with a view to starting to paint it soon, so that's also exciting - as I'm never quite sure what they're going to turn out like until they're finished, which is odd for me, normally I know exactly what the painting is going to look like, but not with these fantasy fanny abstracts, which makes it more fun, and a bit more difficult for me, but they always seem to look alright in the end, so they work however they're created!


And my good mate Lucy Felthouse sent me a link this week for an article she wrote about her visit to Erotica in November - its here if you'd like to read her article.

So, what do you do when its your blog birthday - bake it a virtual cake and blow out the two candles? Ok....... I'll do that then! :)