We have been reading the Government instructions and recommendation regarding Covid-19 and the actions organizations should take. Having listened also to comments from members, we have decided the time has come to close the club with immediate effect.
We do this reluctantly as we know many members see their time at Dupont as an important part of their week.
Not knowing how long the situation will last, and because we want to stay in touch with our members, we are looking at setting up “Dupont Art On-line” using our website. Our tutors are working on programmes and demonstrations which will be available to members, providing an ongoing link with Dupont. As soon as we have more information we will be in touch.
Thank you for your support, please stay safe during this very difficult time.
Charcoal as a medium lends itself particularly well to moody urban landscapes.
Caroline decided to draw this snowy street scene
Using Windsor and Newton charcoal, which is a good quality with velvety texture, Caroline began by blocking in the shapes of the buildings. She then lightly rubbed over the charcoal to smooth it.
She applied the charcoal across the road and then used a rubber to erase the tyre marks and show the snow.
She went over the buildings to outline the edges and put in marks for the windows and the arches. It is important to keep your marks consistent as this will make the drawing harmonious.
She determined that the vanishing point was at the meeting of the two sides of the road in the far distance. She then drew light diagonal lines out from the vanishing point to the edges of the paper to get the perspective right.
The focal point of the drawing is the lamppost as it is the area of greatest contrast as it stands out against the bright sky.
Caroline went on to use a thinner piece of charcoal for the details. She put in the snow on the bicycle , and on the signs by using the rubber. Remember it’s easy to rub out and redraw any areas you’re unhappy with until you get the desired result.
Start out by choosing your main object, then you can add interest by selecting additional objects which compliment this. It’s probably best to have a theme, which can be anything – the possibilities are endless.
You should use an odd number of objects as this is more appealing than an even number. Make sure you have variety in size and shape as well as colour. When arranging the objects try to ensure that you use the shapes to lead the eye into and around the image.
A square format works well for still life, but depending on your subjects you can also use portrait or landscape.
Good lighting is essential and it may help to position an Anglepoise lamp to get good shadows which create tonal value.
This is the still life Caroline prepared
She started by lightly drawing the main object in outline which was the large bottle, which she positioned slightly right of centre. Next she drew the small bottle outline, noting its size and shape relative to the first object. Continuing, she added the onion the orange and the bottle top, carefully checking where objects overlapped. The scissors were then drawn in very carefully, as the long point of the blade is used to lead the eye . When trying to place an object at an angle like this, it may help to hold your pencil horizontally up towards the object and tilt it to the required angle. Then place the pencil at this angle on the paper. Don’t use an eraser if you are unhappy with the positioning, just redraw in the correct position next to it. The danger of using an eraser is that it is easy to redraw the same mistake once you’ve removed the original.
Once all your outlines are in you can go back and enter the details . Finally you put in the shadows. These are very important to add tonal value . The dark line on the scissors leads the eye up to the dark top of the onion and from there up to the hanging leaf. This will create harmony.
It is a good idea to try this as an exercise to change the way that you look at things. By working upside down you draw only the shapes you can see and not what you think should be there.
Caroline started by using this photograph pinned upside down
You can, if you prefer, simplify things by splitting the photograph into four to help you in positioning.
Using a 7B pencil she first drew an ellipse ( representing the tabletop ). Using this shape to work from, she went on to put in the oblong shape underneath and the black square to the left of that. From there she entered the curves which take the eye down from both the square and the oblong to the bottom. She continued in this way, plotting in the main larger shapes.
After all the main shapes were done she moved on to the more intricate parts. This is done by paying close attention to where things are positioned relative to the other main shapes already done. This really will hone your observational skills.
Finally think about adding tonal value. Caroline used an 8B pencil to shade in the darkest areas first then the lighter areas using a variety of hatching and crosshatching.
Only when she had finished did she turn the drawing the right way up.
this was a very good representation of the original photograph
Brighton and Hove Arts Council Art Show
22nd to 25th April 2020
Once again we are looking for two pictures to use in the publicity for the Art Show.
One picture will be used on the oyster and flyer and in our Social media activities, the other on the Private view flyer.
This is a very important part of the publicity so this year there will be a bottle of champagne for the two artists who are selected. Those will be presented to the Private View.
All Dupont Members are invited to take part.
Pictures should be sent to Johnhirdbhac@aol.com as soon as possible. The closing date is Monday 3rd February.
The two winners will be selected by the entire Exective Committee of BHAC.This usually takes quite a while, and as everyone seems to have a favourite picture, it usually ends by taking a vote.
We encourage all of our members to get involved with this.
These can be used for a myriad of different effects. They are especially useful for painting buildings or any other subject which has straight edges, and are economical with the paint as often only one stroke is needed.
A BRIGHT is a shorter and stiffer version of a FLAT which will give you bolder strokes.
A flat brush is great for getting perspective and you can gently tap it to get a nice thin line as shown in the guttering and windowsills above.
Don’t throw away your old ones as these can be used effectively for texture , fur or feathers.
is a flat brush with curved sides, great for giving a softer edge such as in clouds or petals. Caroline holds the brush at an angle to the paper and tries to touch the paper with only the paint, not pressing down too hard on the brush.
A FAN BRUSH
is a specialist brush for doing texture, fur and feathers. Bob Ross can be seen on YouTube demonstrating painting fir trees using this brush.
is the one of choice for Monet and is useful for short expressive strokes. If you use a large one it can hold a lot of paint and be a good choice.
A FAT HOG
is an enormous brush which holds a huge amount of paint and is very good for stencilling
gets its name as it was first used for putting in the slender rigging of boats. This is best used with really thinned-down paint making sure the brush is well loaded and with a good point. You an also use this for hair and fur but it’s best to use it for the finishing touches as it would be quite time consuming to draw in every single bit of hair. It’s great for cats’ whiskers.
are best kept separate from your other brushes as you’ll ruin them if you get acrylic or oil on them.
It is worth investing in a good large brush with a good point as this will last a long time and be very flexible. You can draw using the point and even do washes with it.
Washes over large areas are usually done with a flat brush or a hake.
Caroline likes to use Pro Art brushes but is also happy with Graduate. You don’t need to buy sable or other real hair brushes as synthetic brushes are just as good to work with.
Caroline chose the two colours of sienna and ultramarine blue as they can be mixed in many different ways to give you both cool and warm colours.
The group selected this photo for Caroline to use as her inspiration.
When starting a watercolour it is best to work from light to dark. Looking at the picture, first determine where your lightest areas are.
Caroline was using White Knight watercolours and a large round brush with a good point to it. She began using a dilute sienna for the sky and the reflection, and let this dry. She then mixed two shades of grey using both colours . She began to put in the tree line using the lighter colour. She used the brush in small upward strokes moving along the tree line. Then she drew up the water in a horizontal stroke to avoid a harsh line. She went on to add a darker line underneath for more tonal contrast. You may need to revisit the darker area as it will dry lighter.
Once happy with the top part she went on to do the reflections carefully putting them in the correct position .Using a dry brush she put in some texture.
She put in the darker trees using a rigger for the trunks and finally the darkest trees .
She decided that the little island in the foreground would be the focal point, so she painted this in a warm tone using only sienna at first. She added some more sienna to the parts of the painting for cohesion.
She put in the ray of light by swiping a tissue in a diagonal line which was very effective.
Finally she put in a ghost wash to of ultra marine to add mood to the background.
Caroline suggested that to get inspiration for your card it is a good idea to have a look at cards from earlier years. Christmas cards have evolved in their design from the Victorian age to the present day.
We looked at several different cards from the Art Deco to the war years , here are a few examples:-
Caroline decided on a stylised angel for today’s demo.
She started by drawing out the shape to fill the card using the angel wings to stretch up into the corners.
She then chose a focal point which in this case would be a light being carried by the angel. Next she angled the lines of the wings so that they drew the eye to the focal point. You can find many different styles of angel on the internet on which to base your own creation.
Once happy with your outline you must choose your colours so that the angel comes forward in the painting.
Caroline started with a turquoise wash on the angel’s robe and then used a cobalt blue for the background. She mixed a warm red to add interest to the robe. The light is then added using a bright yellow and this colour is also added to the angel’s halo and as reflected light on her wings.
This was just a quick sketch from which she would go on to produce the finished card.
If you would prefer to make a humorous card , again there are many examples on the internet. Last year Caroline made a card for her friend who had a cat called Jack. She drew Jack as a Christmas tree with his little paws holding candles and a fish shaped Christmas present under the tree.
Keith started by mapping out the outlines of fuchsias in a vase using a 4H pencil. To create more interest in shapes and colour he added in two butterflies. He then carefully painted in the background by filling in the negative spaces between the flowers and leaves. Remember that the shapes created by the negative spaces are themselves a very important element in your mosaic of colour.
As he was painting a brightly coloured piece, he made sure to keep the background a subtle complementary colour. In this case, a pale blue to bring out the magenta in the flower. Old Holland permanent rose and permanent magenta were used for the fuchsia. Always use a freshly mixed paint and don’t be tempted to use some old ready mixed paint from your palette which may have become tainted. He used a green gold colour for the leaves. Using a filbert you can get a nice fine line when needed and also get enough paint on the brush to fill in the spaces; a sable brush is well worth the money.
For the more intricate little areas he used a small flat brush and if needed turned the painting upside down to let the water move around within the correct area. If you do get a small puddle forming, dry off your brush and use the brush to soak up the excess.
In watercolour the general rule is that you can apply up to three layers of colour after which the colour goes dead. If this happens you can always get yourself out of trouble by going over it with a lighter shade of pastel or pastel pencil as used in this example.
Failing this you can paint over with a thick layer of white gouache then wait for this to dry fully before going over with a quick sweep of another colour.
When painting the butterfly’s wing Keith used a graphite pencil to put in the delicate edge and then blended this into the colour.
Here are another two examples of Keith’s use of negative space: