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I have got to the point when I start to wish I worked in a more impressionistic style - despite the weeks of work, there still seems to be so much to do!

I begin by returning to the main figure and initially concentrate on the horse's legs. Contrary to popular belief, medieval warhorses where not massive Shires. They did have to be strong enough to carry a man in armour - and perhaps wear armour themselves - but they also had to be manoeverable. I have therefore decided to make the Grand Bastard's mount reasonably stocky, with a muscular neck and slightly 'feathered' legs.

Moving up, I spend some time on the rider's legs before working on the horses head. As with any painting of a living creature, it is the eye that makes it appear alive - in this case it is looking a little alarmed, perhaps excited, but certainly animated.

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It is almost impossible to keep track of all the areas I work on, refining and adding detail - and I'm sure it would be rather boring to read about every brushstroke - but you will hopefully get some idea of how the painting progresses from the pictures.

The mounted squire has received some attention, and is now nearing completion. I have tried to make his violet caparison look more like velvet, which reacts in unusual ways depending on the direction of the pile. I have shown quite a lot of reflected light in the shadow areas, which keeps it looking bright and sunny. Like the central horse, this one is also very animated, something that I hope keeps the painting look alive.

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I have also adjusted the height of the trumpeter on the left and painted the 'Bastards' arms on the trumpet banner. De la Marche describes the trumpeters as wearing red jackets, with the golden tree embroidered on their chests - something I would have liked to show but which is sadly hidden by the figure's pose. Amongst the other details I have added are the blue lion on the banner fluttering into the composition on the left (the Arms of Bruges), and the beginnings of some spectators in the large window of the Market Hall. The brickwork now also has some texture, like the buildings in the background.

I am on course to finish the painting next week, so I hope you will log-on to see how it finally turns out. We will be publishing it as a print later this year, after I have allowed a few weeks to 'live' with the painting and make quite sure I'm completely happy with it.

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Graham Turner's jousting career has progressed a long way from the start he made whilst writing this Painting Diary in 2004, and he has now jousted at venues such as the Tower of London, the Royal Armouries Museum, and the Historisches Museum in Bern. The incredible experiences he has gained riding and competing in full plate armour at this high level have had a profound influence on his life and work, and you can find out more about Graham's jousting and his armour by CLICKING HERE

A large range of prints and cards reproduced from Graham Turner's medieval paintings are available from Studio 88, and full details of these, plus all Graham Turner's currently available originals, can be found on our website.

CLICK HERE to be taken to the relevant section of the site.