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
Demo Evening ReportsPosted by Maggie Goodsell Mon, February 27, 2017 10:49PM
7th February 2017 - David Hyde - Acrylics, Egret in
by Maggie Goodsell
started by giving us a bit of background about himself and his
methods. He said that with acrylics he prefers to use Liquitex Soft
Body - this needs less thinning than heavy body and therefore stays
more opaque. He works on 2mm MDF board cut to the size of the frame.
He masks out the area to be painted, allowing room for the a mount.
He would also usually work flat.
masked off area & the preliminary painting.
worked over the background a bit more to give it more of a feel of
water and then removed the masking tape. He said the colour of the
masking tape can be off-putting when trying to get tonal values
impressive reveal as David pulled off the Frisk masking sheet - we'd
all been wondering what he had used.
painted the feet in a bright yellow and then worked in blue on the
neck. He said he alway moves the support round to get the optimum
painting angle for the brush strokes.
blocked in and some work on the body. David said that for white birds
it is far easier to work on the white background and add shading than
it is to paint white feathers.
moving the board around to get the right angle - in this instance
working on the beak from tip to base.
decided the water needed a bit more attention so put a bit of masking
tape back. He was also unhappy with his choice of blue for the neck
so toned it down with green.
down again to work on the beak. In this closer view it is easier to
see the shading on the feathers.
said that he would usually walk away from his painting at regular
intervals to check how it looked from a distance. He found that our
large screen saved him a walk !!
of the eye - David said the head & eyes are usually the first
thing he paints not, as in this painting, almost the last. You can
also see where David has added white highlights & 'flicky' marks
for the feathers
amazing image painted in a very short time. He said that given more
time he might have put more reflection of the bird in the water but
that there wouldn't have been much as the water was a bit choppy.
said that the fine detail alone usually takes him several hours aided
by nice music & a glass of wine or two - he had to make do with
tea & biscuits this time !!
with the finished painting.
excellent demonstration from David - he was everything a demonstrator
should be but often aren't.
was clear spoken, informative, entertaining & rarely stood in
front of the painting.
you leave each layer to dry properly or it may lift off when
overpainting - a good excuse for a coffee or a glass of wine !! Some
artists use varnish or glazing medium between layers to give them a
mostly uses plates for palettes, only moving onto a staywet palette
when he is doing fine details at the end - saves mixing colours when
he is tired !!
detail brushes wear out quickly on wood so budget for one per
painting - David prefers W&N Galeria.
a small amount of white in a mix will give a feeling of distance -
David used this technique in the furthest leg.
thinning the paint a lot David uses acrylic glazing mediums as too
much water can cause acrylic paint to become unstable. When it's
finished & dry he uses a satin varnish to even the painting up.
Demo Evening ReportsPosted by Maggie Goodsell Fri, January 13, 2017 11:41PM
At our December 2016 meeting we held a painting competition. Members were invited to paint their own version of The Old Mill, Lyme Regis from this photo.
Twelve members rose to the challenge which was judged by John Gray of Riverbank Studios, Spalding
1st place (centre) Wyn Cocks, 2nd place (left) Sally Slade, 3rd place (right) Colin Twell
Prizes were donated by the SAA & Mo Teeuw
Thanks to everyone who took part & to John for doing the difficult task of judging
Wyn Cocks 1st Place
Sally Slade 2nd Place
Colin Twell 3rd Place
This one wasn't signed - any ideas ?
Demo Evening ReportsPosted by Maggie Goodsell Thu, January 05, 2017 05:39PM
6th December 2016 - Mo Teeuw - oil landscape
by Maggie Goodsell
Mo Teeuw kindly
stepped in when the booked demonstrator - Fraser Scarfe - cancelled
at very short notice. She said she would be doing an oil painting of
a scene from the Norfolk Broads adding Griffin Alkyd oil paints to
her mixes to speed up drying time.
Mo's reference photo
Working in a thin
dark wash Mo blocked in the fields - bringing the horizon down to
give a better visual effect.
She then blocked in
the reflections in the foreground water and started painting the sky
- aiming to do the bulk of it in one go.
The sky completed Mo
started blocking in the water and .....
Mo then worked on
the water & reflections in the foreground.
deliberation Mo finally put in the boat and water round it.
Mo, as usual, gave
us an entertaining & informative demo with lots of tips.
John Gray of
Riverbank Studios came & judged our December Challenge painting
competition. First place went to Wyn Cocks, 2nd to Sally
Slade & 3rd to Colin Twell.
All the entries will
appear on the blog as soon as I have worked out who painted the
unsigned ones !!
Demo Evening ReportsPosted by Maggie Goodsell Tue, November 15, 2016 11:15AM
November 2016 - Acrylic Ink & Pastel Painting by Trevor Osborne
Report by Maggie
An interesting &
informative demonstration from Trevor Osborne
Trevor did his
initial drawing in permanent ink followed by a background wash with
acrylic inks. He then built up the painting with Pastel.
Demo Evening ReportsPosted by Maggie Goodsell Sat, October 22, 2016 10:21AM
October 2016 - Acrylic Ink painting demonstration by Sue Williams
Report by Maggie
Sue started by
telling us that Acrylic Inks are waterproof when dry and very
lightfast. When using them it is worth remembering that Magic Color
are brighter than FW but FW are thicker - and they are both messy to
use, or at least they are the way Sue uses them !
Sue puts the inks
out in the wells of a palette - she said she finds that if this is
covered in clingfilm & put in a poly bag the inks will stay
useable for about a month.
Sue chose to do
poppies for her first painting, lightly drawing out some flowers.
She wet the paper
around the flowers on the left hand side of the picture before
starting to block in the background, mixing her colours on the paper.
Starting with Purple
Lake, Lagoon Blue & Astral Lemon ......
... Sue introduced
Asian Lime & Emerald green before adding a few flowers in the
Sue then tapped some
colour onto the background which she worked with the brush a bit to
give some texture.
poppy with Indian Yellow gives a more vibrant red.
The distant poppies
were painted with Solar Scarlet, the main flower with Mars Red &
Shaded areas on the
flowers were a mix of Purple Lake & Mars Red with a dark green
just below the flowers to lift them. The centre of the main poppy was
a mix of Purple & Olive Green.
Sue used a stick to
paint the stems - she said that wooden coffee stirrers are excellent
For her second
painting Sue drew out the scene using her coffee stick again - she
said she likes the looseness this gives.
Using Pink &
Yellow , Sue started blocking in the road ....
... adding Cobalt &
Lagoon Blue for the sky.
She painted the roof
with Red Oxide and used Golden Sand & Asian Lime for the
.... adding table
salt for texture.
Sue added more salt
& more ink & said that she would wash the salt off under a
warm tap when the painting was completely dry.
Sue painted the tree
using scrunched up cling film dipped into the ink.
The final details
were added with a brush.
The finished picture
Sue decided that
there was just enough time to do a third painting ! She painted a
medium of acrylic & pumice over the whole surface to give
texture. Sue then worked quickly to do the finished picture. She said
it gives a far better result than leaving it to dry first as you can
push the wet ground around.
Working on the hills
.... starting on the
The fence was
scratched out with the end of a brush.
Sue finished the
.... before adding
the chickens & scratching out a few details with her fingernails.
demonstration from Sue, pictured here with all three paintings.
For those of us who
say we don't have time to paint - Sue completed all three in less
than 2 hours !
Demo Evening ReportsPosted by Maggie Goodsell Mon, September 26, 2016 04:30PM
September 2016 - Watercolour painting by Phil Biggs
Report by Maggie
Phil Biggs stepped
into the breach when the booked demonstrator's car broke down. At
3.30 pm he was mending his conservatory roof, at 7.30 he was giving
us an excellent watercolour demonstration of Gosberton Church.
Phil had obviously
spent the intervening hours productively as he came with the image ready drawn out. He said he'd used a bit of artistic license by
removing a few trees to give a better view of the church and give
some distance to the picture
Phil started by
dampening the paper (but not as wet as usual because of the angle of
the board) leaving a few dry gaps to give hard edges. He said that it
was usually raining in his demonstration paintings because of having
to work upright !! He used Raw Sienna low in the sky and behind the
big storm clouds. The clouds were a mix of Ultramarine & Burnt
Umber with some pure Ultramarine in odd gaps.
Using a mix of
Ultramarine & Light Red, Phil put in the distant trees, changing
to a mix of Burnt Umber & Ultramarine in front of this. He said
he always mixes his own greens.
Phil used varying
depth mixes of Burnt Sienna & Indian Red for the distant
buildings, the slate grey for the roofs was a mix of Winsor Blue &
Indian Red. He made the tree on the left fairly dark to stop the eye
leaving the picture.
Detail on the church
required removal of the glasses !!
The church roof was
painted in Paynes Grey - artist quality PG is more blue than grey,
unlike the student version which is usually very grey. The limestone
walls were a mix of Cobalt Blue, Light Red & Raw Sienna. Phil
painted the windows with a mix of Paynes Grey & Burnt Umber.
Phil added more
trees with a mix of Paynes Grey & Cadmium yellow, darkened with
Burnt Umber. Tree branches were Paynes Grey & Burnt Umber, the
yew hedge in front of the church - Winsor Blue & Burnt Umber. He
then painted the cornfield in a varying mix of Cadmium Yellow &
Raw Sienna, making it a bit greener in the foreground.
The fence line was
painted in a dark greenish mix.
Phil then added some
detail to the grass and a cloud shadow of Paynes Grey & Raw
Sienna in the foreground to keep the focus on the church.
Phil wet some of the
sky again and then darkened those areas with a mix of Burnt Umber &
Phil and the
Phil kindly donated
the painting to the society. The mounted painting will be raffled on
the 7th- 8th November when the Society will
again be exhibiting at the Action Medical Research Christmas Gift
Fair in Springfields Exhibition Centre.
A couple of Phil's