NEWS

Painting in the style of Monet

Caroline Marsland lead us in a demo of a Monet painting. She pointed out the Impressionists of whom he was most famous, were into seeing colours in their environment. `Monet painted with thick oil paint later stumbling with thick paint when his eyesite become poor. He used small strokes that blend often giving a feeling of a haze. His strokes for the sky were often verticle and the water horizontal. He often used a ground color of blue or cream. He painted at the lighter end of the light-dark scale.

`his brief biography is as follows:

Claude Monet, in full Oscar-Claude Monet, (born November 14, 1840, Paris, France—died December 5, 1926, Giverny), French painter who was the initiator, leader, and unswerving advocate of the Impressionist style. In his mature works, Monet developed his method of producing repeated studies of the same motif in series, changing canvases with the light or as his interest shifted. These series were frequently exhibited in groups—for example, his images of haystacks (1890/91) and the Rouen cathedral (1894). At his home in Giverny, Monet created the water-lily pond that served as inspiration for his last series of paintings. His popularity soared in the second half of the 20th century, when his works traveled the world in museum exhibitions that attracted record-breaking crowds and marketed popular commercial items featuring imagery from his art.

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Monoprinting by Caroline Marsland

Caroline gave us three demonstrations of monoprinting

Monoprinting is a spontaneous  and quick way of working, and good for getting texture.

The first example was using an oil stick. She started by preparing a frame using an old cat food box made of cardboard, tracing paper and regular printing paper. She then glued the frame in place so it wouldn’t move when she rubbed the top layer onto the framed part.

She ripped out shapes to form mountains from a separate piece of paper and carefully placed this on the framed paper.  You can draw this out if you prefer.  Then she pulled the tracing paper , which has been covered with the oil stick, over the top. She then rubbed hard over the frame and once the tracing paper was removed it revealed the outline of the mountains . Then, turning the torn paper upside down, she placed it to form the reflections of the mountains.  As some of the oil stick has already been removed the second rubbing will be lighter, which worked well.  She then went on to add more details by drawing on the tracing paper and reapplying some more oil stick where needed.

Next she did another print using charcoal. Pastel paper is best for this as it traps more of the charcoal and stops it just moving  around the paper.

She coated a sheet of pastel paper with charcoal then placed this charcoal side down on top of her regular printing paper. She did her drawing on the back of the coated paper and used rubbing to create the shadows.  You can use hatching and crosshatching if you prefer.

For the final demo, she used acrylic paint, and a piece of glass ( from her fridge) and printing paper.

First she coated the glass, starting at the bottom with a mid blue going darker to black at the top to represent the night sky. She put the paint on very thickly making the strokes dynamic to show the energy released by the fireworks. She then folded the paper over the glass and pressed very hard down on the paper.  Next she lifted the paper and, by flicking the paint, spattered several colours onto the glass.  Again press down very hard with the printing paper. Finally she added some buildings to the bottom of the glass and pressed down on top with the paper.  Resist the urge to paint directly onto your print!

 

 

 

 

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Fish painted in watercolour

Caroline’s subject this week was “fish, painted in watercolour”. The vibrancy of the medium was well suited to this subject as can be seen in her beautiful rendition of a tropical fish.
First Caroline lightly outlined the fish in pencil then applied the fish scales and part of the body in a light tone. She carefully left some areas without paint to be filled in later.
The fish’s tail lent itself to some experimenting with use of paint. The tail was painted and then scored with the end of a paint brush to suggest lines and again some areas were left free of paint.
While the paint dried Caroline applied a viridian green loosely to the background to suggest water and reeds. Contrasting colour was used as opposed to considering tonal values at this stage, whereas later darker tones were used to enhance the body of the fish.
Finally the details were carefully painted in with a rigger and some of the white areas were washed over with a pale tone. Some of the painting was left to drip and flicking paint on the green gave it a watery feel.

 

 

Thanks to Judy Richardson for photos and text.

 

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The Zorn Pallet

On April 24th instructor Lucy Parker gave a brief talk to the Wednesday Dupont class  on the zorn pallet used by many artists She described the colours used as yellow ocher, cad red medium. black and white. She said that in using oils, the dark colors should be laid down first. This was a brief outline of her colour mix. 

 

It is described as follows on line:

“The Zorn palette refers to a palette of colors attributed to the great Swedish artist, Anders Zorn (18 February 1860 – 22 August 1920). It consists of just 4 colors being yellow ochre, ivory black, vermilion and titanium white. Cadmium red light is commonly used in place of vermilion by modern day artists.

Whilst this may seem like an extremely limited range of colors, Zorn demonstrated through his paintings just what is possible with such a limited palette. Here are some of his paintings which appear to utilize the Zorn palette:”

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A successful BHAC Exhibition

A very successful  Brighton and Hove Arts Council Annual Art Exhibition  took place April 10th  -13th. Trustee,  John Hird was quoted as follows;

“Many thanks for your support last week at what turned out to be our best art show.
 
    I have been involved for the last eight years and this year was the most successful.
 
    We had 135 pieces of art work, paintings, embroidery,sculpture,drawings and calligraphy.
 
    We sold 15 works of art and had 1022 visitors, the largest number we have experienced.
 
    Congratulations go to Victor Perkins of Dupont Art Club who won the Peoples Choice Cup for his oil painting  ” Grace “
 
   The runner up was Vanessa Reynolds of Adur Art Collective.
 
   Please pass on our thanks to all the members of your club who took part, I am already looking forward to next year.
 
John Hird
    Trustee
   Brighton & Hove Arts Council
www.bh-arts.org.uk
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Using a Grid for Complex Subjects

Lucy was our instructor for the Wednesday class and took us through the use of grids when drawing accurately. Anytime you want to draw something that requires accuracy such as a portrait, pet, vehicle, a complex still life, etc. we may wish to use the grid method.

It starts with drawing a grid of squares over the photo of the work you wish to copy. These squares can be numbered and lettered  to make it easier to follow when drawing. Next you then draw the same numbers and letters  of squares onto your drawing paper/canvas. You then

carefully copy each square from the grided photo copy onto your painting/drawing surface. Be careful at the corner of the eye and bridge of the nose as these can be tricky.

If you don’t wish to mark the photo you can always copy the grid onto clear acetate and layer it onto the photo. There are also various grid drawing assistance apps on your tablet which you can download and layover the photo to be copied.

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Pen and Wash demonstration by Caroline Marsland 3rd April 2019

When selecting a paper for pen and wash, a smooth hot pressed watercolour paper is best, as rough watercolour paper catches on the pen.

Caroline chose to work with India ink, you can also use Quink.  She doesn’t recommend hobby craft ink, as it can wash off when your wash is applied, whereas the India ink is permanent.

She prefers to work with a mapping nib rather then a drawing nib, which can be a bit scratchy. The joy of using a dip pen is in the good expression you can get from the different thicknesses of strokes.

First, think about what part of your painting is going to be pen and what part wash. You may want it mainly one or the other.

This is the photograph Caroline was working from ( it’s the steps up to Whitby Abbey)

Caroline chose to start with  the pen, as this gives the most freedom of expression. You should look for where the light is coming from and then make your lighter strokes on the side that is getting the light.

She started with the lamppost as this was central and then worked out from that. Remember it doesn’t have to be perfectly drawn; it is your impression of the scene.  If you prefer, you can draw it out lightly in pencil first.  Dip pens are good for squiggles and shapes to suggest bushes. You shouldn’t try to put in every line. A few details are all that’s needed and the viewer fills in the rest.  If you have an accident and get a splurge on the page, this can be covered using white gouache.

The distant subjects should be drawn lighter with the heaviest lines saved for the foreground. Caroline used a rigger for the railings to make them stand out. Random lines are always more interesting to look at than rigid straight lines.

Check that your ink is dry before starting on the washes. Bear in mind that warm colours make a subject come forward, while cool colours will make it recede. Put in your colours  paying attention to the shadows, and not being too exact with the paint, it’s ok if it bleeds a little. You don’t want it to look like painting by numbers!

Caroline used ultra marine and sienna to get the lovely dark shade for the windows. The more distant the lighter your  paint should be , so the stairs are paler at the most distant part which helps with the perspective.

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Brighton & Hove Arts Council Annual Exhibition

The Brighton and Hove Arts Council’s Annual Art Exhibition

Friends Meeting House
Ship Street, Brighton, BN1 1AF
10 – 13 April 2019
Wednesday – Friday • 10am – 5pm Saturday • 10am – 4pm
• Over 100 works of art by local artists • Vote for the Picture of the Year
• All art work available for sale
Participating groups include:
ADUR ART COLLECTIVE • ATTIC ART CLUB • DUPONT ART CLUB • EMBROIDERERS GUILD (BRIGHTON BRANCH) • ROTTINGDEAN ART CLUB • SEAFORD ART CLUB • SOCIETY OF CATHOLIC ARTISTS (SUSSEX REGIONAL GROUP) • SOCIETY OF SUSSEX PAINTERS, SCULPTORS AND PRINTMAKERS • ST THOMAS MORE ART GROUP
Show sponsors:
Brighton & Hove Arts Council
Registered charity No. 270293
www.bh-arts.org.uk
@BHArtsCouncil @BH_arts_council

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