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
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 !!