Demo Evening ReportsPosted by Maggie Goodsell Sun, November 05, 2017 06:13PM
October 2017 - Textured Acrylic by Terry Chipp
Report by Maggie
Terry started by
showing us an example of the type of picture he was going to do and
explaining his technique.
He showed us how he
uses a stencil & gesso scraped on with a palette knife ...
... to create a
raised shape. This must then be left to dry properly.
You can see the
raised area of a door knocker in this picture. Terry was using a
Terry wet the canvas
& then blocked in the colours using Yellow Ochre, Raw Sienna &
Burnt Umber with damp kitchen roll ...
... adding Phthalo
Blue Green shades to the mix.
He then blended
The next stage was
lifting out colour with a damp cloth.
Terry painted the
shadows in with a brush, using his fingers to blend & soften the
Terry used a small
stencil to put the screws in ...
... and then toned
He used Cadmium Red
Deep on the knocker ...
.... and then
Yellow Ochre for the highlights. Each time he paints something Terry
then blends & smudges with his fingers.
The painting so far.
Detail on one of the
Terry added a purple
& red mix, dragged over the door crosswise to bring out the grain
of the wood. He then decided that the top right panel needed
He used a stencil to
put some random lettering on the panel .....
... dabbing the
paint on with wet tissue. He got through a lot of kitchen roll on
Terry thought the
lettering looked a bit stark ...
... so toned it down
by dabbing paint over it.
The keyhole. Terry
said that adding a few cracks in the wood makes it instantly look
The finished picture
- one that I would happily hang on my wall.
Terry with the
finished painting which shows the size.
An excellent &
informative demonstration by Terry.
Some of Terry's
other paintings that he brought along.
The painting on the
left is the one Terry did the last time he visited us.
Demo Evening ReportsPosted by Maggie Goodsell Mon, September 25, 2017 09:26AM
September 2017 - Bold & Dynamic Watercolours by Paul
Report by Maggie
Paul said that he
never does the same painting twice & does not practise his demo
painting beforehand other than drawing it out prior to the demo. As
he works fairly flat & wet he came prepared with his own camera,
lighting & projector.
The reference photo
drawing in 6B pencil on Saunders Waterford Rough 300lb paper. He
explained that he had simplified it slightly, leaving out parts of
the background that he didn't feel added to the painting.
Apologies for the
glare on some of the pictures - Paul had a very bright light, very
wet paint and the photos were taken from the projected image.
Paul used scale
dividers to get the proportions right when scaling up his photo. He
brought several along for sale & quickly sold out.
Having worked out
the lightest values, Paul worked his way down to cover all the paper.
Starting with Cerulean Blue for the sky he progressed onto Yellow
Ochre for the trees with some Burnt Sienna & Sap Green; Yellow
Ochre & Burnt Sienna on the buildings with a bit of splatter for
Alizarin Crimson & Burnt Sienna for the road.
Paul's palette - he
said he tends to use watercolour neat & mixes on the paper.
Indulging in the
dark arts !!
Sap Green &
Cadmium Yellow for the central fern.
Yellow Ochre + for
Detail on the main
Paul sprayed the
distant hills with water to give a softer effect.
sprayed areas to make the colours run and added darks - mostly by
using neat paint on a damp brush.
More detail on the
focal point - shadows from the trees on the buildings & white
gouache on the sign.
Paul and the
finished picture. He said he usually let the painting dry for a
couple of days before deciding whether it needed more attention. He
did do a bit of tweaking & the final result is on his Facebook
Because the image
was so large on screen & partly due to the glare of the spotlight
it was difficult to see exactly what Paul was doing during some of
the wetter bits of painting. It was only when I took the final photo
that the full extent of the detail was apparent - until then it
wasn't obvious exactly what he was doing to the dry stone wall from
where I was sitting.
Bold & dynamic
it definitely was and Paul managed the right balance of information &
painting as the room was fairly quiet - always a good sign !
You can see more of
Paul's work on his website www.talbot-greaves.co.uk
Demo Evening ReportsPosted by Maggie Goodsell Tue, August 08, 2017 05:03PM
August 2017 - Floral oil painting by Naomi Clements-Wright
Report by Maggie
Naomi started by
showing us how she set out her palette with strings of various shades
of each colour. She said she prefers Michael Harding & Winsor &
Newton oil paints.
Working on a primed
aluminium board, Naomi roughly drew out the subject with paint
thinned with turps. The subject was hydrangeas in a vase with apples.
Naomi then painted
the darkest areas of the picture which in this case were the leaves.
She then switched to
paler greens for the leaves & apples.
Adding highlights to
the background to set the tone & then some shadows
Naomi then started
putting some colour into the flowers
Some highlights on
Naomi said she had
been unsure as to whether to include a distant darker background but
finally decided she liked the contrast it gave
apparent on the photo the white cloth was painted in shades of very
Naomi said that a
painting this size would normally take her 2 days to complete so she
regarded this as a painting to be finished.
Naomi with the
'finished' painting & the subject
Naomi very kindly
sent an image of the painting after she had finished it - the first
demonstrator to do so!
established artist this was Naomi's first demonstration - which
everyone enjoyed. My only criticism would be that while painting she
didn't always involve us in what she was doing.
Appreciating that it
isn't an easy balance to talk, answer questions and get a painting
completed in 2 hours, a demonstration does seem to flow better if
enough information is given to pre-empt questions.
More of Naomi's
Demo Evening ReportsPosted by Maggie Goodsell Sat, July 15, 2017 04:24PM
4th July 2017 - David Lewry, Black Faced Lemur in coloured
by Maggie Goodsell
came well prepared for working flat with his own mike, camera,
projector & screen. He said that he would be working in dry
coloured pencil not watercolour pencil - mainly using Derwent
Coloursoft & Faber-Castell Polychromos.
speed David explained that he would be doing an image of a Black
Faced Lemur which he had already prepared on black paper using white
Trace Down. He said he works on several types of paper with a
preference for HP watercolour paper. Today he was using the wrong
side of Canson Mi-Tientes pastel paper which is smoother.
said he likes to get the eyes completed first as it gives the animal
a character. As he was working on black paper which can deaden colour
he put down a white base first, using circular strokes to fill in the
tooth of the paper.
went over this with cream ....
followed by yellow through peach to dark orange, always working the
strokes like the spokes of a wheel to create the eye. He added black
to the pupil & around the eye.
used a paper stump to pull the black from the pupil and the outer
edges into the iris. That & the addition of a light colour across
the eye really gave it shape & depth. He said that eyes usually
take him about an hour to do.
on the fur around the eye with a grey lavender colour ...
then white & light grey. David said to always work the pencil in
the direction of the fur.
then turned his attention to an ear, blocking in the outer edge
with white ...
and then filling in with bold pencil strokes.
at work !
to his grey lavender, David started work on the nose.
followed this with white and then blended with a grey pencil.
the nostrils ....
and working on the muzzle. David put a series of black dots where the
whiskers would emerge. David turned the paper on it's side to do the
other ear, doing highlights in Chinese White. He said that his marks
were sketchier the further away from the centre of the face he got.
The whiskers were done in white & black.
very impressive finished image
sold the finished painting to one of the members and was donating the
money to Macmillans.
excellent demonstration from David who has honed his technique to
suit the time available. Colour pencil is not a fast way to work, a
finished picture can take several days, so we were all very impressed
with what he achieved in the 2 hours. The image above is one of his
workshop pictures that he says most people can complete in one day.
couple of other pictures by David.
on good quality Hot Pressed watercolour paper, cartridge paper is too
good quality paper you should be able to do about 12 layers of pencil
before it is saturated.
suggests that if you are just starting out with coloured pencil then
aim to buy about 40 as a minimum, either by buying a set or by
tailoring colours to the subjects you mostly do.
work the pencil in the direction of the fur (or feathers).
animals are rarely just black, they usually have brown underneath so
put brown pencil under black as black on it's own can be a fairly
achieves his flat backgrounds by first masking out the main image
with Frisk film, blocking in the background with pencil and then
blending this with a solvent blending fluid - he uses Johnson's Baby
Oil but there are specialist products on the market.
Demo Evening ReportsPosted by Maggie Goodsell Sat, June 24, 2017 04:29PM
June 2017 - Turning Wave, an oil painting by Amanda Jackson
Report by Maggie
Amanda started the
evening by discussing the properties of colour, the colour wheel &
colour harmonies. She said she would be using an analogous colour
scheme for the demonstration i.e. colours that are next to each
other on the colour wheel.
Working on MDF
primed with coloured gesso & the wave lightly drawn out ....
... Amanda mixed a
range of varying tones of her colours ....
... before blocking
in the main structure of the wave.
As she needed this
area to be dry for the later stages of the painting Amanda moved on
to 'one I prepared earlier” - hence the difference in colour.
prepared her palette with varying tones of colour in, as she called
it 'strings' down the palette. She often picked up paint by drawing
the brush across them & then twisted the brush as she painted to
get a marbled effect.
Blocking in the
darkest tones to give a reference point.
Amanda said to make
sure the brush strokes follow the direction of the waves and to
remember that the distant waves will be much more horizontal.
Amanda blended the
colour by pushing pulling the brush between the blocks & then
added some of the light foam areas of the wave.
She then mixed up
all the foreground colours as she intended to do it in one go rather
than in blocks.
... Amanda used a
Liquin glazing medium on the pre prepared dry areas of the wave to
make them look translucent.
She then did more
blending with a soft dry brush.
Adding the foam with
a thick opaque white ...
..... just letting
the paint not the brush touch the surface. Amanda said that she finds
imagining what the water would feel like helps her to paint it.
The finished foam
Amanda removed any
excess paint with a cotton bud and then used it to paint in other
areas of froth.
As an experiment
Amanda tried out a technique she had seen where you put black next to
your brightest white to make it stand out more.
The technique seems
to have worked in the finished picture.
Amanda with the
finished painting and her reference pastel picture.
Another example of
painting demonstration with an amazing amount of information about
colour. If we only remember a fraction of what Amanda told us it
should improve our understanding of how colours work.
Demo Evening ReportsPosted by Maggie Goodsell Thu, May 18, 2017 04:14PM
2nd May 2017 - Andrew Geeson, Loose Watercolour Flowers
by Maggie Goodsell
started by telling us a bit about himself & his methods. He said
he had been a botanical illustrator since 1991 but 4 years ago, in
need of a change, he taught himself to paint loosely. He said he
thought it would be an easy thing to do but was several months before
he worked out a style that suited him.
made a sketch of his subject using a few dots to position it on the
paper, only joining them with a loose broken line when he was happy
it looked right. The paper was Arches 140lb which he said he doesn't
stretch - preferring to use the cockling to good effect.
water to the flower area. Andrew changes his brush size to suit the
size of painting. For this he mostly used a size 16 with a 3 for
detail - both synthetic. He said the large brush size keeps him
said that he prefers to mix his colours on the paper, allowing them
to bleed together and working light to dark. He prefers student
colours as he finds they blend together better.
wet the foliage area, making sure the water didn't touch the still
wet flowers. Once the area was painted he used the brush to lightly
flick foliage paint up into the flowers.
pot was worked in the same way.
the background, Andrew again making sure the new paint didn't touch
the areas already done until he wanted it to.
finished pot of lavender.
the petals on a second painting.
uses the torn edge of kitchen roll to remove excess paint.
finished sunflowers - complete with bees.
with both paintings
interesting demonstration which hopefully inspired the group to give
this method a go.
of the amount of water he uses Andrew has to work flat - so the
camera & screen came into it's own for this demonstration. We
positioned it over Andrew's shoulder & only occasionally had to
remind him that we couldn't see through him !!
of Andrew's other paintings
Demo Evening ReportsPosted by Maggie Goodsell Wed, April 12, 2017 11:36AM
April 2017 - John Harrison, Line & Wash
report by Maggie
John started by
telling us a bit about his background. He said that he had drawn
since he was old enough to hold a pencil but then went on to become a
professional drummer, retrained as a graphic designer & spent
many years running a design & illustration business before
becoming a professional artist.
John did a quick
pencil sketch before doing a more detailed pen drawing. He said that
other than for demos he prefers to go straight in with pen. He uses
Unipin Fineliners 0.1 - 0.8 on Saunders Waterford 300g rough paper.
He likes the rough texture as the pen produces less well defined
Pen detailing on the
wall. Apologies for the quality of some of the photos - as John works
flat I had to take some from the screen & there was a strong cast
shadow from the camera.
More pen work - John
said he regards his style as 'pen with paint ' rather than painting.
Using a squirrel mop
& working wet in wet John painted a cobalt blue sky and the
Working wet in wet
on the house - dropping in odd colours to suggest the stonework.
Work in progress -
you can see how fine the nib of the pen is. John carried on painting
through the tea break with a fair crowd round him - fortunately
nothing was spilled !!
picture. John said that he would look at it another day to see what
else needed doing.
An entertaining &
informative demonstration from John.
Waterproof ink will
move if not completely dry when water is added - this can give some
Paynes Grey is a
good colour for shadows, especially the makes that are more blue than
Always carry (&
use) a sketchbook - John brought along several of his to show us and
said that so many people asked if they were for sale he produced a
book of his sketches.
Demo Evening ReportsPosted by Maggie Goodsell Sat, March 25, 2017 09:41AM
March 2017 - Peter Dalziel, Pastel Portrait of the Duchess of
report by Maggie
Peter started by
telling us a bit about his background, including his new venture as a
cruise ship art tutor for Fred Olsen. He said that he prefers to do
portraits from a photograph as sitters tend to move about.
Peter told us that
it is best to get an overall plan first rather than concentrating on
detail too soon. This picture demonstrates the use of triangles to
establish the relative positions of the features of a face.
Working from a photo
of the Duchess of Cambridge, Peter sketched out the main lines using
conte pastel on tinted pastel paper.
Peter used a fairly
gentle background to help project the image forward.
Defining the face
Progress of an eye -
Peter said to remember that when painting eyes you are basically
painting part of a golf ball.
Peter used a tinged
white to blend the colours on the face, taking note of the contours
Peter said that he
prefers not to paint teeth but if you have to, the trick is to paint
the shadow around them and then use a blender to lightly pull the
pastel down to form the teeth.
When using pastel
Peter, being right handed, works from left to right across the
picture to avoid smudging. He said he would normally do both eyes at
once to get them the same colour.
It was at this stage
that Peter realised that he hadn't quite got the eyes right. In the
studio he would have rubbed off the pastel on the offending eye - he
thought probably the first one - and started again.
Peter said that a
portrait would normally take him 3-5 hours - he managed an impressive
amount of detail in just 2 hours.
Peter & the
Duchess of Cambridge.
A selection of
paintings by Peter in a range of media
Thanks to Peter for
an interesting & informative demonstration
Peter uses a double
ended blender, very useful for quickly making different marks
A blender can be
used to pick up colour and use it elsewhere.
The top lip is
usually darker than the bottom one.
Shading in the
corner of an eye will give it roundness
commissions Peter likes to see where the picture is going to hang as
this enables him to paint the background in a sympathetic colour