Carl likes to paint on a dark background on MDF that he has primed first and then paints plein air. He says that he prefers working outside as painting is easier as you can see what is there
First, he draws in chalk on to the prepared board covered in Vandyke brown, to work out the composition before starting to apply paint. He says he is creating a journey through painting using oil paints and believes the better the materials are, better the painting. Zest-it is used as a brush cleaner, and he also uses walnut oil to mix with the paint.
He paints some of the key areas in thin paint and then overlays a coat of fat paint around the figures. He is just getting colour on in different areas seeing how they react with each other. Because of his experience he knows what colour he wants and has a small book of colour mixes to refer to if he needs a specific colour. He then adds more light colours and starts to get some perspective on it.
There is no need to be too specific, now. He carries on building up the picture using a brush or tissue to rub some paint off as he will be adding more paint afterwards. The aim is to have all the surface covered before the break. He then decides to add some sky in. He can always put a darker colour on afterwards. This starts to give him a sense of unity towards which he can work.
Next, he continues to add paint in different areas to the background. The details will be in the middle of the composition as that is the focus of the painting. Continuing to work on the background, he picks out areas to work on. He likes to have a strong framework in his composition and mentioned how important it is to have your perspective right.
After the break, he starts to paint the tree and adds the sky between, before random yellow is applied to represent traffic lights etc. He then darkens up some areas making sure he is not too neat and adds pure titanium white to make parts stand out. He continues working on various parts of the painting using smaller brushes to add details and works in layers before adding leaves to the tree using a palette knife. He uses white beeswax to thicken the paint. More sky is added between tree branches, eventually adapting it to a twilight effect.
As the composition progresses, a rag is used to blend the sky, before branches are added and then more leaves using a range of similar colours. He washes out some of the chalk lines than aren't needed using thinner and a cloth is used to rub some areas, to blend them in. Towards the end he needs to colour balance the composition by using a continuity of colours, once the framework is in place.
He uses dabs of white and sometimes knocks these back as he says, “You don't often get pure white.” As the painting started to look Christmassy, he decides to add Christmas lights adding light areas where needed. Finishing touches are now added, and some areas are blended again before a few final brushstrokes are added and the painting is complete.
A super demonstration by a gifted artist. I'm sure everyone learnt something that will be of use. We look forward to further demonstrations from him.
After the first week there was an excellent turn out again where members followed along painting an Autumn scene. Again, some super paintings with individuals own interpretations of the landscape.
Two super sessions and we look forward to Steve running another one in the future.
#gillnicholas #salfordartclub #salfordmuseumandartgallery
Gill uses a bowl as a palette so that it is easier to transport and save the paints. She uses just 6 colours, with two extra for special colours, as she is able to mix all the combinations need from these. Todays talk was about producing paintings using glazes.
She talked about using both Galleria gloss and Liquitex mediums and at times Matt medium for the glazes.
To demonstrate the effects she achieves she started by putting some white paint on paper then adding gloss medium . Gill mixed raw umber and medium to get a glaze and compares this with acrylic mixed with water to show the different effects.
For the demonstration she painted two versions of sunflowers . On the first one she covers the canvas with a slightly watered down blue background using ultramarine and white paints mixed together. Then used Burnt Sienna and white for a creamy background before using Raw Umber and Yellow Ochre and Ultramarine for the flowers. Then left this one to dry.
Whilst the first one is drying she started a second canvas this time with a dark base from Raw Umber. Then leaves this to dry.
Whist waiting for these to dry she talked about colour shift what happens when you put one paint on top of another.
When putting one colour on top of a previous colour the first colour will effect the result, but by adding glazing medium first the colours stay true.
She then returned to first canvas adding a thin white glaze which knocked back colours before next layer is applied.
Next she worked on the second painting, just using white. Not, yet, worried about shapes of sunflowers, then drawing the leaves in pale blue before adding colour for the vase.
Continuing she added yellow mixed with medium and paints on top of white paint and this showed the difference from just white mixed with Yellow. Then by putting Yellow on top of the blue for the stalks it turned them green. Burnt Sienna is painted on the center of the flowers. She mentioned that as the painting had a lot of warm colours she now now added some cold colours using Ultramarine. For the next step she added warm shadows before a thick glaze went over the whole painting of raw umber and a little burnt sienna.
Whilst this dried she returned to the lighter canvas and painted raw sienna over some of the flowers, talking about use of complimentary colours used in paintings.
Gill likes to work from life not photographs as that can take away part of the decision making process.
Then she worked on the vase and background, Glazing over some of the flowers that she wanted to stand back, Before adding a layer of clear medium.
Finally returning to work on the dark canvas adding colours, each time using slightly smaller brushes. When finished a glaze coat is added to get even gloss finish.
Gill doesn’t use black in any of her paintings.
Finally before her session ended more details were added on painting putting some darks in the background.
An informative and enjoyable afternoon and it would be interesting to do a workshop using these techniques.
On a side note the set, using two cameras and a television screen, is something the club must look into for the future.
#TomQuigley #SalfordArtClub #salfordartgalleryandmuseum #localartist
Having introduced himself and discussed his working methods, Tom explained that he was going to show us several methods to experiment with a range of different materials.
He liked both organic and geometric shapes and started by crosshatching graphite pencil, which was water soluble then added water. He also used coffee or gravy browning, both of which are good for quick sketchbook techniques.
Next, he rubbed over some graphite marks with turpentine to show the effects that can be achieved. He also used this technique combining graphite powder with a stencil to mask out areas.
Another technique which he demonstrated, was using a rubber with a sharp edge to produce lines on a prepared surface, before adding graphite pencil on top to darken an area.
Having put masking strips on a board and cut into them with a Stanley knife, he used the cut out thin strips to stick onto a piece of already prepared paper and then added watered down coffee on top. Once this was done, he then removed the thin strips to reveal the white lines underneath.
Moving on, he used white acrylic paint and a scraper, made by folding paper, to add to different surfaces and scratched through some of this with a graphite stick.
From one of the experimental sheets, he cut out a shape and added it to the working design to show how things can be be layered to create an interesting composition. Continuing, he added gummed paper to the base paper and the work started to look like the intended map design.
Using more stencils and then darkening some areas with graphite, as well as using card to apply white paint, he started to refine the work.
Drawing on the paper with the pencil, he added detail to create a the 'city-like' scene.
Lastly, he used a paint brush to paint over the masking tape and then added white paint. These layers started to build up, before tight pencil marks were added. He then used the edge of a rubber to remove small areas of graphite, which resulted in a stage where he was happy to finish this session.
His final act was to cut the rectangular work into the more interesting shape shown here.
With experimental works such as this, it’s always possible to keep adapting the composition before being happy with the final result.
A fascinating insight into how these materials can be used.
I'm sure everyone present enjoyed the presentation and learnt new ways to use the materials demonstrated.
An super workshop in a relaxed atmosphere. Lots of materials provided and well led by Hannah.
A record of Saturday afternoon activities.