Mistress Kelle Martina in fur

A surreal setting for this drawing of Miss Kelle Martina.
(See previous portraits)
I was given a free rein to pursue an imaginative line drawing provided the art included leather, gloves, boots and bondage.
So here she sits on a throne in her palace. A miniature toy beside her, wrapped tightly in bonds and attached by a leash, symbolically portrays her dominance.
Through the window we can see a high tower with a high heel pinnacle, and perhaps through the window of that tower a similar scene is happening?

Snake portraits

It happens occasionally that one portrait will lead directly to another commission. This portrait of iconic London muse Laylah explored the theme of a Snake Goddess overlooking a pit of males intertwined with snakes.


When Mistress Kelle Martina saw this she was very interested in being portrayed as the Goddess and a commissioner kindly stepped forward to make her dream come true. It was not an exact copy, though the resulting portrait was similar most obviously being this time in colour. Instead of the wand she now teases one of the snakes with her fingers and the number of males has been reduced to concentrate more on the Goddess herself.


Here is Mistress Kelle receiving the portrait as a Christmas present in 2014.


Which do I prefer?  Neither – the subject in both is beautiful in her own way and the paintings developed according to different inspiration.

See Mistress Kelle Martina’s other portrait

Learn more about Sardax portraiture here

Portrait of Mistress Kelle Martina

This was a commission to paint a portrait of
Mistress Kelle Martina

A3 size colour watercolour.


An initial sketch was made on rough paper then scanned into the computer . I prefer to sketch things out on paper-it is also possible to sketch on the computer using drawing software ( Corel Painter ), but I find I can get better results the conventional way.


On the scanned drawing I experiment digitally with colours and tonal balance. Digital is best here for colour roughs as you can change it so easily. This is printed out and the line-work is transferred down on to thick watercolour paper-(for the geeks this is 300gsm Saunders Waterford HP).
Everything is worked out except fine details before the artwork is started. Trying to draw straight on to the paper without planning is asking for trouble.


First lines lightly sketched using diluted black paint. Just as a guide. It will be strengthened later . To the left a sheet of photo references is always to hand.


Now areas of tone start to be blocked in. This need not be too fine as they are going so dark anyway any imperfections can be covered.


More blocking in. The colouring is gradually built up.


At this stage you begin to start balancing all the tones out. I feel that the subject should be glowing so she is the lightest part of the picture. Everything else is dark in comparison to her. This lightness is of course the whiteness of the paper coming through, the unique property of watercolour. Painting white onto watercolour paint is occasionally necessary but is to be avoided as much as possible.


Then you can allow yourself the luxury of cleaning up the details. My basic principle is to work from general to detail. Never to get bogged down in one part at the expense of others. It is very tempting to work up the “interesting bits”- face, etc. and then get depressed looking at all the unpainted background. I feel the best approach is to bring up all the picture together stage by stage.


















The finished painting.

Now framed and hanging in Ms Martina’s chambers.

See also Snake portraits