Telly fans 9 – Child Portrait Tips

telly fans 9

‘telly fans 9’   – Valentin watching television
drawing of a child – graphite, sketch book


Maybe this looks like what Vally might look like some years on from now? Compare it with ‘Telly Fans 8’ below. Can you see the difference in age?
telly fans 8

‘telly fans 8’  –  Valentin watching television
graphite, sketchbook.


Getting the age right is an essential part of a portrait, especially for a portrait of youth. Portraits of old age are easy in comparison! For example, wrinkles. Wrinkles are a clue that indicates the age of the sitter. Their presence in a drawing or painting are frequently due to the simple fact of just too many marks & strokes i.e. a lack of an economy of means, which is the ability to get it right first time.

My fellow-painter friends who do portraits for money tell me that flattery works every time. They consciously take ten years off the resemblance by knowing the markers that indicate youth & tweeking them.

QUESTION : Can you identify the elements in the above drawing that indicate the age of the sitter?

(I reckon there’s about ten of them)

tellyfans 8

telly fans 8

telly fans 8 – Valentin watching television
graphite – sketch book

quiet pleased with this one 🙂


better copyright but that wont stop anyone from doing whatever they want with this jpeg will it?


anyway here goes… ha….. ©


Here & Now

here & now, pencil drawing of a teacher taking a breather

‘here & now’
pencil drawing
a4 sketchbook
© adam cope

teacher taking a breather

Cakes for Tet

drawing of hands making cakes for tet

‘cakes for Tet’
sanguine drawing
© adam cope



Earth cakes for Tet

pen & ink drawing of peopel making earth cakes for Tet

‘Making Earth Cakes for Tet’
pen & ink drawing
A4 sketchbook
© adam cope


Vietnamese Meditation Bell


Viola Les Enfants :-)

A5 sketchbook
everybody had to be drawn! every child wanted a drawing of herself…it was fun, i enjoyed it.. happy

‘Busker – sculptor on the streets’
A5 sketchbook 


This sculptor carving on the streets on market day (else he’d get moved on by the gendarmes) at Castillonnés. 

Drawing ‘sur la vif’ moving targets. I’ve observed one tendancy , that which I call my ‘Hieratic Style’, as if an Egpytian or Modernist freeze ‘à la Zadkine’. It’s stylised & anti-illusionistic.

Static, it’s the oppostite of the gestural or the dynamic…

Just an observation, these drawings happen so quickly, less than a few minutes, so not much time to think, just draw.


“It was primarily written in ink with a reed brush on papyrus, allowing scribes to write quickly without resorting to the time-consuming hieroglyphs” –





Also, hi·er·at·i·cal. of or pertaining to priests or the priesthood; sacerdotal; priestly.

noting or pertaining to a form of ancient Egyptian writing consisting of abridged forms of hieroglyphics, used by the priests in their records.

noting or pertaining to certain styles in art in which the representations or methods are fixed by or as if by religious tradition.

highly restrained or severe in emotional import: Some of the more hieratic sculptures leave the viewer curiously unmoved.” 





BTW, Zadkine ‘retired’ from Paris to the deepest countryside of SW France in the Lot at a little village called Les Arques. Not far from me. Great place to visit.




Sept calligrammes d’Apollinaire
Portfolio original, “Sept Calligrammes d’Apollinaire”, contenant 10 gravures originales, chacune signée au crayon par l’artiste. Ed. Czwiklitzer.



Drawing of Mother & Child

‘Mother & Child’
40 x 40 cm
© The Artist
I recently made the acquitance of the baby of some friends, a charming little soul of five months. Took me back to when my own children were babies, some five & three years ago. Time flies!

‘Tailles 16 – 21’
Oil on Panel
©adam cope

Bed Time Story 12 & 13

sanguine of a child sucking her thumb

‘Bed Time Story 12’ – detail
40 x 40 cm
©adam cope


child listening a bed time story, drawing by adam cope

‘Bed Time Story 4 ‘ – detail
40 x 40 cm
©adam cope

‘Bed Time Story 13’
40 x 40 cm
©adam cope


‘Bed Time Story 12’
40 x 40 cm
©adam cope