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Portraits in Acrylics
This is a painting course for all levels that will develop your portrait skills and to help you achieve classical looking portraits with acrylic paints.
Working from a live model, the tutor will guide you through different colour portraits, tackling natural-looking subtle skin tones. Students will focus on simple colour mixing with a limited palette so you can achieve repeatable results, with an introduction to mark-making and loose brushwork to encourage your acrylic painting skills to grow.
What do you need to bring:
A3 Acrylic paper or 30 cms x 40 cms canvas/board. A2 sheets of Acrylic paper can be bought for £1 a sheet. Acrylics paints: Payne’s grey, Titanium white, Burnt sienna, Yellow ochre, Light red, Raw umber. A selection of Brushes/pencils, water container and palette.
Meet the Artist Christine Lloyd
As an artist I have spent all of my life participating in creative practice. I draw from observation and have a passion for illustration and printing. From an early age my portfolio has opened many doors for me that has led to a successful career as a graphic designer in the screen printing industry and a fulfilling role as a lecturing artist for the creative industries. As an academic I have been lucky enough to share my practice with a variety of learners who I have encouraged with my enthusiasm for the arts. Many of whom are now practicing artists.
I have studied at the Royal Drawing School in London with Francis Hoyland and Louise Sturgis. This experience gave me the confidence to explore all aspects of drawing. I am currently developing my drawing expertise by observing movement. This is a process I am beginning to explore by emulating etchings by Anthony Gross whose observations of movement are very evident in his work. I feel print making lends itself instinctively to my expressions of movement and enhances the energy I capture in these images.
Further experimentation with acrylic and oil painting has developed out of my printed images. I try to transfer the vibrancy of the print images to the paintings. I feel this is a common strand which is present throughout my work. This practice has been formed out of my passion for drawing. My initial observations, my familiarity with the composition, my observations of movement and then the more precise marks I make give me the clarity I need to record the instance presented before me.
Examples of my work can be found at