Our demonstrator for our September meeting was Colette Clegg, a local artist who specialises in animals and still life subjects using a variety of mediums.
For our demo, Colette demonstrated still life using a mixed selection of garden flowers in a clear glass vase. Her pre-prepared canvas had a base of violet acrylic paint on which she roughly sketched out her subject using black oil. Working with a palette knife, Colette produced a vibrant semi abstract painting.
This was Colette’s very first demo and she rose to the occasion.
Report by Anglea Vizard
A glass vase of flowers were her choice of subject
A good combination for a still life project
She outlined the shapes of the flowers using charcoal stick
that pink canvas background seems to have done the trick.
She likes the squidgy nature of oil paint for sure
Using palette knives and credit cards alone what’s more
Excellent colour mixing is the way to go
Remember that fact a good result will show.
Burnt sienna and French ultramarine for good grey
Cadmium red and cadmium yellow for orange anyway
Mix your own colours make them your own
Remember that fact and get into the Zone.
Glass vases are good to paint because the shapes are abstract
Mix up lots of variations of green too a very useful fact
For the Zinnia French ultramarine cadmium and white
Soon the colours of the flowers came in sight.
White flowers always contain a bit of blue
Don’t put all the flowers in a line is also true
The stems appeared with edge of a credit card no less
Using the lost and found method with great success.
Lastly a really useful tip for sure she shared with us all
Store left over paint in tubs in the freezer no matter how small.
With the Royal Wedding day and of course the F A Cup
I was really surprised how many people turned up
They came to see Jamel Akib in action that famous day
So we will all remember Saturday 19th May.
He started with a grid and black pastel drawing
The subject a yacht with a sailor man in
For the flesh he used raw sienna and white
The sail he added orange so it looked just right.
We learnt all about FAT over LEAN
We all know now what it really does mean
Thin paint on first so it dries really quickly
Then add the next layer much more thickly.
He used a four inch brush to cover his huge canvas
A massive feat for something so enormous
Always get the focal point correct before you start
And tonal control is the secret to really good art.
For the second half he transformed a lady dancer
Changing the orange background to lilac was the answer
We all need to get one of those metal rulers too
Squeeze the paint directly onto the canvas,ooh!
Remember light is the most important thing
Makes your work more interesting
Thanks Jamel for such an inspirational demo
Loosen up and be free is the way to go!
Rick Holmes is a very versatile local artist. He paints in watercolour, oil, pastel and mixed media. He is a member of The Pastel Society, Royal Society of Marine Artists, Wapping Group, Farnham Art Society, Chelsea Art Society and Guildford Art Society. His works can be seen at his website http://www.rickholmes.co.uk/index.htm.
The subject of Rick’s demonstration was perspective, an area of art that can be very challenging! Using a reference photo of a London street, Rick demonstrated two different view points. One was when the artist was standing and one from a sitting position.
The eye line is where the horizon and the vanishing point are, when the artist looks straight ahead. All lines above go down to meet at the vanishing point. Those below go up to meet at the vanishing point. Vertical parallel lines are wider nearer the front of the painting and get narrower towards the back ie. Lamp posts.
This was a difficult subject successfully illustrated by Rick in a very interesting demo. Please see Angela Vizard’s report below.
On his last visit he did an upside down head!
Today he is doing architecture instead
Pastels are his medium of choice this time
So I’ll carry on with this artistic rhyme.
The subject, London’s Northumberland Avenue
A challenging subject quite tricky too
With Chinese ink perspective lines went in with ease
Perfect buildings, people, buses, cars and trees.
Unison pastels were then used with such skill
A red double decker soon appeared just brill
He was full of tips and useful information
Answering our questions with no hesitation.
For the second piece of work he used a different view
From a sitting down position the perspective was new
His explanation was extremely effective
Shedding a whole new light for us on perspective.
He enlightened us on the use of the dreaded black
He uses it all the time so we will bring black back
We learnt a lot during the course of the demo
Filling our heads with lots of amazing info.
At the end there were two finished paintings
Side by side each giving a new view of things
Come back soon Rick we are all hungry for more
Your next visit will be just as riveting I’m sure.
I spoke too soon at the last demo when I said how grateful I was that we hadn’t booked our event for the “snowy weekend”! Saturday morning was quiet while people waited to see whether the roads would remain passable but luckily, by lunchtime it wasn’t too bad and they came along to see what our exhibition was all about. It seems to be the perfect location and attracts people of all ages.
None of this would be possible without the help and support of the Committee and some of the members who helped setting up/taking down, transferring to and from the overnight storage and generally helping “man the sales desk” during the exhibition. A huge thank you to all involved.
The demonstration this month, Expressive Portraits in Oils by Peter Keegan, was very well received. Much of Peter’s time is spent working in his studio at The Courtyard Art Studio – http://www.thecourtyardartstudio.com
Judging from the excellent portraits on display
We are in for a good demonstration today
With oil paint and low odour turpentine
Mapping out the face with straight lines looks fine
Working from a photo of Cheryl on his iPad
Comparing the head shape to a rugby ball I might add.
Using sap green,raw umber and ultra marine blue
white ,cadmium red ,yellow and alizarin too
Squint,the easier it is to see the tonal value
An excellent tip that’s what we all need to do
To create a likeness constantly compare parts of the face
It’s important to get the eyes correct and in the right place.
When modelling the eye area work from dark to light
With a few skilful strokes from his brush it looked just right
Painting portraits should always come from the heart
Always get to know your sitter before you start
Peter filled our heads with loads of useful information
While working on Cheryl’s complete transformation.
Portraits produce zero room for error we knew
So oils are easier than watercolours it’s true
By the end he produced an excellent likeness
With a skill that looked so completely effortless
Definition of a portrait with his own words of wisdom
“A moment in time”captured between two people just AWESOM.
Using Saunders Waterford paper of two hundred pound.
An expressive Scottish Landscape should soon be found
A country full of charm her favourite place
I can’t wait for more this should be ace.
She quickly stuck tissue where the mountains were
Then off white texture paste where the heathers occur.
With acrylic ink on damp paper came a lime green sky
Lots of shades of magenta and drips made us all sigh
Soon before our eyes a zig zag pattern came in sight
Helping us meander through her painting with delight
Using a roller she then added heavy body acrylic
Naples yellow, unbleached titanium white, looks idyllic.
Oil pastel and neocolour for wax resist effect
Pink for the heather, absolutely perfect.
Always have a quiet part of the painting
Too much colour is quite overwhelming
Dark purple and burnt sienna reduces the harshness
Remember without dark values the work is meaningless.
One thing I learnt from this demonstration
Real Art is about experimentation
If you want your painting to be exciting and more
You must take risks, go for it and explore
Thanks Soraya for such a wealth of information
You really are a true inspiration.
Our demonstration subject for January was painted by Roger Dellar. The subject was interiors. Members chose a photo of two dancers in their dressing room. After roughly mapping out the composition in burnt umber, Roger painted the darker colours in blocks before cutting in with lighter shades. He shared his techniques, thinking process and reasoning throughout the demo. All agreed, the finished painting was delightful!
Details of Roger’s work and achievements can be found on his website here.