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Demonstrations and Workshops

Pastel Demonstration by Les Darlow #LesDarlow

26/4/2018

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Picture
Les explained how he trained as a technical and Scientific Illustrator,  and having freed himself of the technical preciseness of a photo realistic painting, he now paints expressively and creatively; producing paintings that are based on feeling, light, energy and movement. This all started after he was bought a set of pastels, as a Christmas present, and realised the potential of these.

​He likes to grade his pastels by the level of hardness, in a similar way to pencils and would like companies to do the same. For the demonstration he would be using Pan Pastels, as these are very pure and can be mixed like paint with  special micro sponges. These also rub out easily with a rubber,

He used a Canson  Mi-Teientes paper, which is semi-rough, and drew out his composition with a pencil and then drew a line down the side of the paper. Here, he showed the power of the pastels by doing a range of colours.

​He explained that you needed to avoid over blending and to remember the glazing effects you could achieve. The warm colours in the sky were added first before adding some blues, reds and purples. He then used a rubber to bring out some highlights.

​Next, the mountains are added before some of these colours are dragged down into the water, Blues are then dragged across the water and tints are added. On the left side, land is added and darks are used for the shoreline. A harder pastel is then used to pick out details, as he continues to refine the work.


All this was completed before the break and when we returned we were treated to a second painting.
This time A Canson Touch paper was used as this had a rougher texture.  Bright calligraphy ink was used to colour the paper ready for the pastel.

​Blues and greens were used for the water with blue black for the darks. The paper was then dried with a hair dryer ready for the pastels. 

​For this demonstration he used Conte pastels that are a lot harder than the Pan ones used earlier.  The sky was warmed up with light colours and then he started to draw into the water. He worked with white to bring out the waves, adding turquoise and dark blues where needed. The rocks are next where texture is added, all the time being careful not to over work areas. Conte sticks are then used to define crevices and cracks in the rocks.

​Time seems to have flown by and we are in awe of the quality and effects he has achieved in such a short time. An exceptional nights demonstration by a master of this medium.
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Demonstration by #DavidCoulter April 18th 2018

19/4/2018

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David had been to the gallery earlier in the day to do some sketches and take some photographs, in preparation for this demonstration. He chose one of these images to paint tonight.

​His canvas had been prepared with an Umber wash, which acts as a neutral background. He uses a limited palette of about six colours, including Raw Sienna, Burnt Sienna, Prussian Blue, White and Black.

​The painting was started using White, to pick out the highlights, before moving on to a blue grey mix. He squints to see the tones needed. He says he uses acrylic like watercolour, at this stage, to make it lighter,  and painting quite fast at first.

​A smaller brush is used next, a bit  like a pencil to draw in shapes. He draws in the chairs using a dark colour, letting this dry before working on it again. He says not to be too wary of mistakes at this stage, as you can always work on them later.

​At this stage, a mirror would be used to see the image from a different perspective.

​Next, a subtle colour is used to paint the walls. He mixes a little Raw Sienna with White to reduce the harshness, before using it on the painting. Continuing to bring out the highlights, he looks for the reflections on the tables and chairs etc.  He likes to give people something in a painting to think about and likes a theatrical feel to his work.

​Details are now added and the painting starts to come together. He emphasizes that he likes to use Black, whereas some artists prefer to mix a dark colour. Next, a little weak Prussian Blue is added to  certain areas, give the painting character so  that it doesn't appear flat.

​As he works on the tones, he uses the same colour, in several areas, to ensure a unified composition.

​The painting is then turned upside down, as  this helps to see any areas that still need work on them.

​After turning it back, he is at the stage where he can't do much more on it. This is fortunate, as it is nearly time to finish. In his studio he would probably add blue washes and more glazes on it.

​An excellent and informative demonstration appreciated by the members. David is very knowledgeable about the use of paint. As well as telling us about his technique, his anecdotes of art history was impressive , as he regaled us with several  interesting facts as he worked. 

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  • Home
    • Members of the committee and club rules
    • Contact us
  • Programme
    • Blog Demonstrations workshops Etc
    • Members pictures whilst the club is closed March 2020
  • History of the club 1947-2017
    • History of the club 2017-
    • present Members Gallery >
      • Derek Croft
      • Ken Dovid
      • Tony Easom
      • Lynn Kirkley
      • Hilda Kirkman
      • Dorothy Pointon
      • Brenda Vitler
      • Peter Walker
      • Robert Watson
      • Liang Sun
      • Philip Westcott
  • Future Events
    • News and Past Events
    • Videos of past demonstrations. Useful information etc
  • Exhibition Information
    • Entry Form and Rules Downloadable
    • Exhibition 2021
    • Exhibition 2019
    • Exhibition 2018
    • Exhibition 2017
    • Exhibition 2016
  • Downloadable Files