 Sometimes towards the very beginning of somebody sitting for me. It only occurred to me recently. I quite often start with a drawing rather than with a painting. Because I think the sloshing round of paint may make the sitter feel that the whole process is so eriotic, unreadable and messy. And that they might lose faith in the procedure though most people are simply forbearing and keep on sitting. Ond, y dweud, mae'n dweud yw'r ddweud yn cael ei ffordd yn y cyfnod, ac yn ymwysig o'r ddweud o'r ddweud yw'r ddweud. Ac mae'n dweud yw'n dweud yw'n dweud yw'r ddweud yw'n ddweud yw'r proses yn y peth o'r ddweud. Yn ymgyrch yn cael ei ddweud, ond mae'n dweud yn y ddweud, ond mae'n dweud yn cael ei ddweud a cymsent iawn i'r ffordd y fрудnodd. Mae'r ysgoledigau gyd, ynglynydd o'r gweithio... o'r cyfnodd, ymdegodraeth... o'r cairurdio'r ffordd o weithio... mae'r nywirio nós erbyn ni'n tu Reports. Ac mae'n gweithio'r peth yeth angen... mae'n cyfnodd y gweld eu lleidio... gweld cyflodiad gyda creu'r newidu... sy'n pajgodd. Felly mae'n gwneud araf. ceiling. Felly ei gweld felly yn gweithio i ddweud oherwydd yr hyn i gyd cofnod. Ond mae'r keyf yn cael eu ddweud o hwn i ddweud o hwn i ddweud o hwn i ddweud. Ond mae'r ddweud o'r llawer yn gallu gweithio i ddweud, a'r maen nhw'n cyngorol ar ddweud o hyn o llog mewn hyn a lwyll ddweud o ffwathau fyddorol, a'r awddaeth hyn yw yw gwirionedd. subway o drawed o hynny o'r drawed o hwn i dweud o hwn i ddweud, mae chi eisy 건�angoriaeth mewn triangle o'n ei ddaintion sy'n eich arwm cyhoedgellwch pwedge Pressure yw sut fynd i fyŵr Cysgerau cysgerau earlyalkae sy'n ei dd vern o'r r segurwreiai, felly fethran o'r Kingufllwch yn unrhyw helyio? Ie, olywoddi yn sansrwycho未 gyd o phºu gwir gårwch yn awseddig. Mae glyfan myfydig o Won General Rym grown aíad neu'r fions iddyn nhw. yr ydy'r yn teulu ymyg, yr ydy'r ffordd fyddiol, sy'n rhoi dweud ar y tŷch. Felly, ond mae'n ymwneud o'r blaen sydd wedi bod yn morweithio am yr hyn acwyddaeth y byddai'ch gyda인io i'ch gweld fydd y gallu gwaith, o'r gwaith gwath o heb, o'r gwaith gwahaniaeth, o'r gwaith gwath, o'r gwaith gwahaniaeth o'r gwaith efallai'r rhysgwyr, oherwydd o'r gwaith gwaz yn ystod ychydig i mi, ac mae'n fyddwch yn gwybod y byddwch yn fwyaf o'r swydweith i'r ddeithasol, a'r gwybod sy'n ddewb yn gwybod, ac mae'n gwybod a'r fyddwch yn fwyaf i'w ddeithasol, mae'n ddweud o'r ddweud o'r ddweud o'r ddweud, mae'n ddweud i'w ddweud o'r ddweud o'r ddweud o'r ddweud o'r cyllidol. Mae have to have make more visible marks as I get towards the end, but also the whole process for me has to do with something called inspiration. And sometimes when the final image is down in Indian ink or acrylic there actually is a moment after what is of weeks or month of drawings when I have the courage or really it feels as though the muse is visiting me i'w ddweud ymlaen i chi, eich bod ni wedi amser oes yn gweld drws. A'r myws yn eu rhan i'r myfyrdd yn gweld i'r myfyrdd. A gallwn gwneud hynny'n ei ddweud ymlaen. A rydych chi'n fawr yn rhan i dyfodol yng Nghymru. Bwysig yng nghymru o'r holl, a'r holl o'r holl yn gweld i'r holl yn gweld i'r holl yn gweld i'r holl o'r holl yng Nghymru o'r holl o'r holl o'r holl o'r holl o'r holl. Mae'r gweithio gweithio sydd yn ymdade nhw ymddeithasio o'ch gweld yn gwneud â'r gaf gweithio gwneud yr aml type a'r aml type sydd yn gwneud. Diolch yn yr hyn y byd? Byddol chael. Dyma, mae'n ei gweithio gwneud, gallwch chi'n ei gyfnodd yn gweithio gwneud ar y maen nhw a gweithio gwneud o'i aml type yn gwneud, yn y gwneud o'r gweithio gwneud yn yn 5 munud, lle gweithio gwneud yn gwneud. Cwp, rydych chi ei cydeillu. gwahanig i ddweud yn ymwneud. Y cyfan y bwysig yn dweud yn gweithio'r ffwrdd i ddweud. Dweud yn dweud yn gweithio'r ffwrdd i ddweud, yn dweud yn ddweud, yn y bwysig, yn dweud, yn dweud yr ysgrifennu yn dweud. Mae'n mynd i ddweud yn gweithio'r ffwrdd, mae'n ddweud yn gweithio'r ffwrdd o'r cyfan o'r bwysig, ma'n mynd i ddweud hynny o'r argyflwydu Mae'r symud o'i ddweud amdano yn fawr o'r cyhoeddiaeth. Mae'r ffawr sydd yn gallu cefnodol o'r freud honnys yn gweithio a'i wneud a gweithio. Oeddwn i ddim, felly byddwch yn y dyfodol o'r ddweud, credu'r cyhoeddiaeth ar ôl. Mae'r ddweud o'r ddweud o'r dyfodol o'r ddweud o'r dyfodol o'r dyfodol am y holl. Mae'r ddechrau yn y gwaith, yn y dyfodol o'r ddweud i'r hyn. Felly dyma'r ddefnyddio yn cael ei bwysig. Rhyw o'r ddefnyddio, rhai o boblion ar gyfer y lle mae'r ddechrau'ch gwylliant. Mae'n rhaid yn gwych yn oed yn maen nhw'n gweld yn lle o'r 1000 methu, ond yn y gallu bod yn ei bwysig o'r ddefnyddio ar gyfer y lle o'r ddefnyddio, o'r ddefnyddio ar gyfer y lle o'r ddefnyddio. Y dweud y drwy'n gyfawrau yma yn 1960 o Stella, Mae'r drw終aeth ers whimarau sefydl. Dywed lensa oen yn suggest o'r sgrad hon, sydd fel fitted ar y cynno mewn helpu a chwych a gweithio ac lustiau. Mae'n hоды hyffordd sydd oed yn ddigwyddol fel y pwun, a nawr dyma rwy'n rhoi rwy'n visitor nullfer holl ystwlike. Lawr ti gwrs beautifully natwr. Mae'r l bubble yn drawer Elam yn elwa いr wygaid efo'r five o dd servants. Gwneud ydylai, dweud y pwyrdau hynny. Felly, dweud yn digon am hynny. Ydy'r llwysiau sy'n bryd i'r ysgoloddau ym llwyddennigau sy'n gweithwyr oedd ein hyffordd. Mae i gael i fynd o'r llwysiau sydd yn bwysig o'r cadwmer. Mae gynnyddio oherwydd ond nesaf ond yw'r rhan i roeddaeth. Er ffordd, bobl oeddwn ni'n ffordd sydd wedi bod ni gweithio'r gwaith i gyd. Rydym ni'n gallu bod ni'n wneud i gyd yn eu bod wedi bod ni eisiau gwneud. Mae'r ddiddorol, mae'n ffordd. Mae ydydd wedi amddangos i'r llun i'r llun i'r llun i'r llun i'r llun i chi. a mewn cyfnodd cyfnodd Cyfrifio ac yn wandol negododd yn hwnnw yn y lugar lle mae'r llunion yn dod yn falch yn adeilad drwy bobl, ac mae'r llunion mewn adeilad yr oed gen i'r enghraifft ddechrau iawn. Yn amlfyn ydy mae'n gweithio cyhoedd coforddi yn ffordd, ac mae y gallwn yn y llunion ar y rôl, a cynnydd o ran ffledd yn rheoli i chi, a mae'n bywyr bwysig yn ei fach, felly yn llunion yn ffordd ar y fflau sydd wedi'i ei fod yn dal i'r llunion yn y ddechrau i gyd yn cyfadlav. Mae'n gweithio. Mae'n fwy fwy o'r ffrwng y lluniau'r Lestelah yn ystod yn fwy a'r fwy. A ydych chi'n gwneud yn ymweld i'r Gareth Bôm, Helin Gillespie, ym mwyn ymweld i'r hefyd, ac rwy'n ei ddweud yn ddod. Mae'r gweithio, Meir i'r Gareth Bôm, ac er mwyn i gweithio ffy Brexit, a gwybodaeth yr aednos, ac yn ddweud y synod ond yn ddaleu'r hefyd, wedi fydde i ganUN. Ar y f Étatshfeyd, mae'n ddweud yn gweithio bydd yn ei fwy a'r cwayaeth yn ei ddweud, i'n cael ei wneud hynny. Mae'n ddweud am munud ff Pastor A, mae'n gweithio bydd yn cael ei ddweud ar gweithio ac oedd yn dweud yn y ddweud o'r gwahodd o'r gwahodd. Ond mae'n gweithio'n gweithio'r gweithio'r gweithio'r gwahodd o'r gweithio'r cyllid yn sylweddol yn y cyfrannu biograffol yn y cyfrannu'r gwahodd? Felly, mae'n gweithio'n gwahodd. Mae gennym i'n gwneud y idea i'r gwahodd. Mae gennym i'n gwahodd. Ond mae'n gwahodd ar hynny'n gwneud, mae'n gwneud o'r cysylltu'n gwahodd o'r Jea Cynllun i'r cathryl. I can see the process of ageing occurring. I'm not only there ageing, but also mine. And this is really, to me that is part slightly of the magic of art. It starts off as an immediate day-to-day thing. I was just thinking of this today and it will allow me just to diverge for a moment. There's an exhibition coming that contains a painting by Michael Andrews of what became his wife, two people from very different backgrounds. And I remember when they got together, I remember people thinking this couldn't possibly last. And I remember the whole fraught and individual and dramatic and affectionate situation. And then he did this painting and it's been somewhere for 50 years and it's come out now. Well, I dare say the same thing preceded the Roachby Venus or the Duchess of Alba. It starts in life, unless it starts in life, unless it starts in the actual frantic doomed existence that we have. It isn't art at all and it finishes up as art. And that is one of the things that is so immensely magical about the whole business when it works. There are a lot of drawings that are called oil on paper. Yes. Or they're drawings or paintings. Did they all began as drawings? They all began as drawings without exception. And sometimes it may be out of various impulses. But sometimes it may be simply that the old things have become too encoded and dark and rough. And that I picked up paint in order to go on with that. And then the viscosity, et cetera, of your paint. You say that it's always experimental and different every time. Absolutely. I never know what it's going to do. But I think that's true of everybody who paints. Do you think that happens to almost the same extent with the drawing materials or not? To a certain extent it does. The last but one drawing that I finished, it's very odd. They have started recently with the same things, same sort of paper, same sort of graphite and so on. But the last but one drawing, I don't know what it was. It behaves differently every time. The materials behave differently. In the last but one there were patches of, I tried to rub out what I had done that were simply ingrained in the paper to such an extent that the whole drawing became very, very dark and encoded as those were happening in the dark. And I didn't know how it could possibly finish, but perhaps sweetness or possibly even the strength that I'd never leave anything, I'd go on and on with things. And then suddenly I found that taking a different form of graphite, I worked across this dark, scratched, variegated, laboured mass of rubbed out blotches and managed to find an image in it. But working with the same material, same paper, same stuff, it never happened in precisely that way and it happens differently every time. It's very mysterious. Everybody who paints genuinely, I think, is at the mercy of the unpredictability of the materials they work with. When you were speaking to Richard Calvabresi, he asked you whether you ever were tempted to use a spray gun. No, I haven't. I wasn't tempted. I never got round to it. I like to feel that I'm actually engaged with what, in my mind, is a three-dimensional form displacing space. And I can't imagine doing that in any specific way with a spray gun. I never know what will happen in the future, but I've never been even slightly tempted. I don't mean that I think it's going to be on the pale or wrong or anything like that. I can see it absolutely works for people, perhaps people with a more adventurous or subtle attitude to painting, but it wouldn't work for me. There's a definite relationship between portraiture and caricature and it would be ludicrous to deny it. After all, how do we recognise people by the way they diverge from the proportions of other people? And this is exactly what caricatures, talented caricatures of whom there are not all that many, what they hone in on. Some of Rowlandson's ladies seem to me to be as lovable as their caricatured. And indeed, Max Beerbaum's, where Coleridge is talking to a table, everybody's fallen asleep because of his legendary ability to go on talking for six hours, is actually an affectionate tribute to Coleridge, rather than any sort of exoriation of him. There isn't even a very fast hard line between caricature and portraiture. Good portraiture can often have an element of caricature and actually quite caricatures, and yet one feels splendid likeness as like Max Beerbaum, verge on portraiture. Good art in a sense all has an element of caricature because caricature, what is it finally but forceful portraiture? I think all good painting is abstract. I think non-figurative painting is abstract painting with impoverished material. And when I drew in the National Gallery, of course all sorts of considerations go through my mind when one's drawing, but it is really a question of drawing the forms, not the implications or the effect they have on people or what the story behind it might be, hardly aware of it. I was drawing these coherent and subtle and surprising collections, forms that make a single form in order to give myself an idea of how a worthwhile image is constructed. None of these considerations about whether it's a portrait or who it's of. I mean, obviously nothing is not thought about. One can think of as many things about painting and drawing as one does about life, but I certainly didn't draw it because it's a portrait or anything like that. I think I was tended to be on the whole drawn to a certain form or collection of forms that are needed at the time. And what happens when you're drawing from a mirror image? That's a good question and it's very different because if you have somebody sitting in front of you and you want to understand what you're drawing, it's not a retinal image. You have to have the lump and the displacement of air in your mind. So you go look around the side a bit, get an idea of what's going on, see people in motion and what you're drawing is the whole head in the whole space. Now, if you're looking at yourself in the mirror, try to look around the side, your head moves around the side as well. So you don't get the same image. So I do very much more many different things. I draw myself in the mirror. I look even more than I usually do at the image in the mirror. I sometimes look at the image and the drawing and the reflection. I move around a lot and I do very many different things. And sometimes I do what I hardly ever do when I'm working from people. I look and remember and move the image somewhere else and try to see what I've done and try to work while looking at the mirror. It's a more complicated process simply because the model is not static. To make a very broad generalisation, there is a way of working in art. I might cite, say Van Eyck or Broegel or Bosch or Dali where the artist seems to have to be walking a tightrope and seem to have to be enchanted and concentrated on what he's doing so that the work gradually accrues without any slackening, without any diversion and is in doubt until the last moment. There's another sort. There might cite, I don't know, hundreds of people, Maneol, Rembrandt or myself, where we do the thing again and again and again. In my case, if we do the second one, I think even more than the first sort, what comes out as something akin to handwriting and I can no more characterise or analyse it than I could by voice or behaviour in general. It's absolutely un-self-conscious. It's the result of my practice which is of a particular sort.