Collage Demonstration 7th March


Caroline demonstrated the art of Collage today, showing how to build up an image using paper, including magazines and papers in a good variety of colours.

Torn Mosaic

First she drew a line drawing of a face and then cut out pieces of coloured paper from fashion magazines, which give a good variety of colour and pattern for this type of collage work.

It is best to lay out all the pieces before gluing. Use an indoor wood glue and always use a spatula to flatten, going over the edges. Leave the mosaics for a minute to avoid the edges curling. Use small pieces and gradually build up the image

Ripped Paper

Torn into long shredded lengths

Three Dimensional

You can order books on Amazon featuring animal, birds or butterflies to be cut out and stuck on the image. Collect old music sheets, maps and old books to provide resources. Below are works featuring beans, beads, photographs and many other accessible materials.

When your image is ready and dry, use a gel medium or varnish to seal and protect it.

The images following give ideas of how adventurous this art form can be.

Caroline is holding three Collage workshops at Lawrence’s Studio on March 12th, 19th and 26th for those who would like to explore this activity further.



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Composition – A talk by Caroline Marsland. 22nd February

The talk began with Caroline listing five headings, under which she would develop the subject of composition:


Tonal Values



Warm & Cool

Line: When thinking about your composition, consider where lines go. In the above picture by Tissot, all heads are in a line in front of the railing, to the tree, down the invalid carriage, up the steering stick. None go off the page. So the image is formed of a triangle.

The intention in composition is to move the eye around the picture. Think of what is most important, then put it in the middle. In the above picture all lines forma a triangle to the focal point of the woman.

Tissot was very good with groups of people, so when looking at a picture  look for the lines, as in the picture below.


Tonal Value:

What draws the eye is the contrast between light and dark. The light is on the rifle and the dark background pushes the woman forward.

Tonal Range: As between white and black. Impressionists used mostly light. Peploe combined tonal values using strong and light values, as below


Ferguson used red and green to take the eye around the face, above. He used cool blues and greens for the background , and put all the colour in the face and hat. Use cool colours for the background and warm colours in the foreground. In the Norman Rockwell paintings below, note that the eyes are drawn to the portrait eyes and palette. Similarly, the cool background in the scout picture emphasises the warmth of the figures in the foreground.



Chroma is the value of a colour in terms of brightness/dullness

In the Rockwell picture below the emphasis of the dark suit throws the lightness of the table.

Similarly , the tattoo picture with the dark denim and pale pinkness of the skin.


Warm and Cool

In any picture, pale blue will be in the background and warm;, high chroma colours come forward. The higher the chroma, the more forward, as in the previous picture. Though it is interesting to note that in the Circus painting below, warm colours prevail overall.


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Monoprinting 24th January

Acrylics and oil sticks, along with materials easily assembled at home, monoprinting was the focus of today’s demonstration.

Using an oil stick and a glass sheet (ex-refrigerator), Caroline covered the glass with a layer of oil colour, then laid the paper on top, and used a pencil to draw the desired image, The first impression was quite faint, but further pressing with various implements brought out a stronger image.


Judy then produced her gel pad (must be placed on a plastic sheet to avoid absorption on surfaces).

Here acrylic paints were used and slathered onto the pad using a brayer roller to get an even spread. Paper was applied, and a dotted roller to give texture to the print. Judy noted that any image can be cut out and used as a mask at any point in the process.


The third part of this very engaging session began with Caroline putting the glass panel on to a grid-marked sheet, which had the “impression” sheet taped, to facilitate a multi-colour print process.

Caroline then painted a yellow pattern of circles on the glass, printed, then red circles.


Finally painting black around the patterns before removing the circles before printing the black , which produced the very attractive image below.


The final demo involved painting a sky and water scene, cutting a circle of paper (moon!) and inserting it in the image. Paint was wiped away from the path of moonlight and the paper pressed onto the plate, producing the most effective image below.


Equipment list:

Rubber roller

Glass plate (or card covered in Cling Film) or a gel pad

Acrylic paint or ink

Paper, Scissors etc.

Et voila…..with thanks to Caroline and Judy, you are a printer!

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Pen and Quink Ink Sketching

Instructor Caroline Marsland took a different take on using pen and ink in our art. She used the water soluble quink ink which comes in a few colors.

She started with talking about the nibs. Dip nibs come in a number of shapes for different uses. The drawing ones are quite sharp and can tear watercolor paper. Smooth paper fairs better. She prefers writing nibs and ones with a rounded tip. They also can have a reservoir added but one has to be careful that ink doesn’t drip out. She does not recommend biros or other felt pens as you can’t get them to widen or become thin with pressure which helps to show emotion in the drawing.

Before starting, one must decide if you want to do the wash first or the pen drawing. These both give different results.

The demo started with using the pen first to outline the chosen art. She used some cross hatching and varied the width of the lines. She said to ask yourself, ‘how much pen do I want to put on or what kind of strokes or dots  to make? Once the drawing is completed, you must carefully add the watercolor wash knowing that some of the ink will dissolve into the colors. This effect can also be achieved using charcoal pencil. You can go back over the dried piece to enhance any lines or colors.

Putting the wash on first is done with drawing the image with watercolor and a brush, letting it dry (unless you want it to bleed) and adding the quink ink lines and dots after. See below to note the difference in results.

These are just two ways to use these lovely mediums. Play with them and see!

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Painting Snow

Dupont instructor, Caroline Marsland gave a demo on painting snow on Dec 13/17. She used acrylic paint mixed in big batches of colours and started with a quick sketch. She informed us that snow was painted cool the foreground and warmer in the background. It works dark to light. Very often tracks in the snow lead your eye into the picture.

Snow reflects all the colours around it. Watch out using grey as it kills the picture. Colour makes snow look bright, especially cad orange , yellows and pinks. Cobalt blue gives a clean look. Different whites can be used for buildings. Build up your painting and check tonal values.


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Painting Rust Demo 15th November

The title of this week’s demonstration may not sound that exciting, but Caroline presented a very interesting session, bringing a rather ordinary subject to life with innovative techniques.

There were three images of different forms of rust, each requiring different treatment, as sectioned below:

Mosaic Rust


Mixing  Cadmium Red and Cadmium Yellow deep making a rust colour, paint on a few shapes in purple, then fill in with a darker red and high light with orange/yellow. You can use a damaged brush .For the flakes mix white with blue for three shades of grey. Gradually build the flakes, using the three greys and inserting dark shadows, as below



Dripping Rust


Using a flat brush,  put on a water wash.  Mix Yellow Ochre & Orange and allow it to drip down. Then add the red and allow it to move around with the flat brush. Add the dark brown on top and, while still wet, sprinkle with sea salt.


Rust Columns


Put a water wash on first, using a blue grey. Wash in between grey infills using a yellow layer.

Put orange onto the yellow and allow to drop. Splatter with dark red/brown.


We were all engrossed and found the demonstration really riveting!



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Painting Fur & Feathers Demo 1st November

This demonstration was most helpful for those of us wanting to paint animals and birds.

Caroline started by introducing us to painting short feathers, as those on the owl below:

Mix three shades: dark, medium and light of the colours of the feathers. Start with the dark shapes , loosely and with little strokes.

Use the medium brown and build up layers, putting on blocks of colour. Use the white of the paper for the lightest part of the feathers

Put in the lighter shades, pulling in colours using the side of a flat brush with little flicks, allowing dark colours underneath to create depth.


For longer feathers, as in the tail feathers of the hen draw out the outlines first, then put in the dark areas. Fill in the shadows using the medium shade.


When brushing long feathers, start at the quill and work outwards.


For fur use dark tones first and follow the direction of the fur. Use a rigger for finer points.

Think about the highlights, which go on last

Use a dryish “damaged “ * brush with unwatery paint for the wispy fur ends..

Using a mid- grey rather than white, build up the light areas. A useful trick is to use a flat brush with a different colour on each side

*Any old flat brush will be suitable. Just snip it irregularly with nail scissors until it is nice and spikey!

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The Zorn Palette Demo 18th October

Ivory Black, Lead White, Vermillion, Yellow Ochre

Anders Zorn (1860-1920) was a noted Swedish artist. He was born on his parent’s farm and showed early talent, which culminated in his studying at the Royal Swedish Academy of Art. His career climbed after this. He was portraitist to the rich and famous, travelling the world. He painted portraits of three American presidents and King Olaf 11 of Sweden.

He and his wife, Emma Lamm, eventually bought some land near his village and moved a cottage from his grandfather’s farm in which they lived. Zorngarden is now a museum and remains much as it was in his time there. There are a number of examples of his work on Wikiart.

Mixing: Always start with white for flesh tones + yellow ochre and red. To strengthen the colour, add a little black. Green can be mixed with black and yellow ochre.


Build shapes of colour to do portraits. Starting with shadows, use an ochre mix. Work dark to light. Set the shadows and then put in the mid-tones (pinker). Keep the acrylic reasonably thick, to avoid scratch marks and paper showing through:

Shadows: black + red +yellow ochre

Light tones: white + red

Wrinkles: black + yellow ochre + red


With the Zorn palette you don’t have to think about colour too much. It’s all about tonal values.

Below is Carolines’s palette, showing how many hues can be mixed from the Zorn Four.

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