Spring postcard challenge for members of SACS - Still Life in portrait format
This is where you can find details of the latest changes to our website - http://saacs.org.uk, plus news of exhibitions, events, members' news and activities and demonstration evening reports. Members - Email Katie to have your activites, achievements, art courses and painting holidays added.
You can also now find us on Facebook - https://www.facebook.com/spaldingartsandcraftsociety
Something to look forward to in this dismal weather - SACS at the HUB 'paint together'
Come & join us for a lively afternoon.
An ideal opportunity to paint your postcard for the Spring Challenge.
Tuesday 20th March
1.30 - 4pm at the Pinchbeck Community Hub & Library.
Members £3, guests £4
by Maggie Goodsell
Peter started the evening by giving us a rapid talk about himself & what he does, his exhibitions & courses and an insight into all the different media there are and how to best use them - we were exhausted !!
Peter came with a ready prepared drawing on white canvas. He said that he starts loose & finishes tight, working what he called his jigsaw method - having the right colours & the right shapes.
Using a ½” flat brush Peter started blocking in colour - he said to paint shapes & colours, rather than what is there.
Peter said that when you have paint left on your brush, don't just wash it off - look for somewhere else in the paintings you can use it.
Peter likes to keep the whole painting going at once.
He worked through the coffee break to get rid of the white background. Once that was gone Peter said he would have a better idea of the tonal values.
Peter brought out the shapes by working darks around them.
Adding highlights with a smaller brush.
The finished picture
A couple of Peter's other paintings
An interesting demonstration showing how to plan a painting & bring it all together at the end.
Peter filmed the demonstration - click on the link to see it on YouTube
Observations on the demonstration
The first half hour of the evening was, as I said, a rapid delivery of a huge amount of facts that left us all a bit dazed. Peter seems to do everything at the gallop but maybe it would be better to reduce the amount of information so that the audience have some chance of retaining any of it.
In common with many demonstrators Peter, when not facing the audience, was much less audible. I am not deaf but even sitting on the front row I struggled to hear what was being said. I know that others further back heard virtually nothing.
We do have a microphone & although not perfect, I think this should be used at all times.
AGM & demonstration
The AGM starts at 7pm - volunteers needed to join the committee.
This will be followed by
Stephen Martyn who will be painting a Norfolk scene using a limited watercolour palette at the March meeting
Tuesday 6th March at Pinchbeck Village Hall, Knight Street, nr Spalding, PE11 3RB
members £2.50, visitors £4.50 inc tea & coffee.
7.30pm – 9.30pm. All welcome - doors open at 7pm
Report by Maggie Goodsell
Vic said he would be doing a pastel painting on black velour using a limited range of just four colours - blue, sanguine, white & black. He said he prefers a harder pastel as they are better on velour and that velour will take many layers of pastel.
Vic took this picture of a North American wolf called Nuka at the UK Wolf Conservation Trust in Berkshire. He said that the black velour background would give a more dramatic & atmospheric picture.
The initial sketch using a white pastel. Vic did this freehand but said you could use white Tracedown.
Starting a tonal sketch
Blending into the pile of the velour
Blocking in the fur using the flat side of the pastel and blending. Vic said that you need to be patient when working on black velour as it takes several layers to make an impression.
Vic called this the 'Slapping on Stage' or Stage 3 in his process. Blocking in colour without too much thought.
Vic blended in the blue & added sanguine.
Stage 4 - More white pastel to give shape & texture to the fur. Vic said that since winning a competition with a looser style than his old almost 'photographic' style he now doesn't spend days painting individual hairs on animals, preferring to give a general impression of texture with just a few tweaks at the end.
Using black pastel to tighten up areas & to strengthen shadows. Vic said that you can blow excess dust off the velour but be very careful not to spit on it as this will irreversibly damage the pile.
Adding some detail. Vic said to note that when wolves howl they do not show their top teeth.
Stage 5. Vic defined the teeth & eye & added some atmospheric breath - it is after all in the cold tundra.
Vic and the finished painting.
An excellent & entertaining demo from Vic who showed that less can be more.
A Runaway Horse called Sebastian - Pencil & Acrylic by Jane Lazenby
Report by Maggie Goodsell
Jane started by telling us a bit about her background and how she likes to work - apparently she usually paints sitting cross legged on the floor!
The subject of the demo was to be a horse called Sebastian, who had decided that he had had enough of performing at a show & took flight. Jane said she was just in the right place to take the photo.
Jane said that normally she would just draw the subject and make alterations as she went. The time constraints of a demo make this impractical so she used trace-down for the image.
Using Derwent Coloursoft pencils on mountboard, Jane started to lay down an underdrawing. She said she keeps turning the pencil to maintain it's point.
Using Atelier Interactive Acrylics, Jane started blocking in the background with a Burnt Umber / Winsor Blue mix ....
... using the same colours on the horse.
Jane working on some highlights
Colour was then added to the horse using mixes of Cobalt, Cerulean & Pacific blues with Magenta & White. Jane said Sebastian doesn't have a deformed mane - it is tied up in braids as he has a very long flowing mane which can get in the way.
Adding more detail & colour in stages
Jane returned to pencil for a bit to tighten up some areas but found the lack of tooth on the mountboard a problem so switched back to acrylics & a finer brush.
Using acrylics, Jane extended the background area.
Jane, the finished painting & the original photo.
An interesting & enjoyable demonstration - Jane's love of horses came through very strongly.
A selection of Jane's paintings. She said that the more detailed ones were commissions, the looser ones were how she likes to paint for herself