Tobias begins to take shape and find his place in the composition. At last the panel appears as far more finished surface than red oxide ground, and I’ve stopped breaking into a cold sweat every time I walk into the studio. Still a little more work to be done on Tobias’ hair and forehead, but he’s getting there. Damian Walford Davis’ poem, written as the painting has been developing, unexpectedly made reference to the boy’s ‘sun-bleached hair’, and so I changed his colouring to keep step with the text. (An improvement as it turned out.) And talking of developments and improvements, the poem came with a title that has defaulted to the painting. I’d long known that it wasn’t to be ‘Tobias and the Angel’, but I hadn’t come up with a better solution. Damian’s is perfect. But I shall save that revelation for the hopefully-not-too-far-off-day when I can show the finished painting here on the Artlog.