NEWS

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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OIL PASTELS DEMO by Caroline Marsland

Caroline brought  oil pastels by Sennelier, which are an excellent choice as they are pigment rich and a delight to work with. Cheaper brands such as W. H. Smith are not so good as they are all wax and hardly any pigment.

Sugar paper is a good alternative to the preferred pastel paper and is cheaper. The most important thing is to use a paper with a good tooth to hold the pastel.

Selecting a colour that is closest to the mug to be painted, Caroline started by drawing a central vertical line to aid in the drawing of the mug. She then used good observation, not forgetting negative spaces, to make an outline of the mug. She squinted to see the reflected colours in the mug and then blocked these in. You can mix the colours on the paper, and then these can be deepened or lightened by layering until the desired hue is achieved. You may like to use your fingers to blend.

Caroline then worked the bottom half of the mug, building up layers . She made the inside of mug totally black as it appeared and then using the edge of the white pastel she put in the highlights round the rim and on the handle. She also used a torchon to make additional highlights and other small marks of colour. You can take off marks made with oil pastel using this tool, unlike chalk pastels (unless you scrape them off!). Using this tool she pulled out nice shapes in the reflected colours .

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Still Life in Charcoal Demo by Caroline Marsland 6th. March 19

Before starting the drawing, Caroline gave a few tips on working in charcoal:

  •   Sandpaper the paper for dramatic marks
  •   Use good textured paper
  •   Think … Where are my darkest shadows going to be?
  •   WORK BIG!

Blocking in very lightly, Caroline sketched out the group of bottles. Using light strokes to plot the work makes it easy to erase, should it be necessary.

Working dark to light she used heavy marks to start with, noting that wonky lines and random marks make it more interesting.

Using a small piece on its side, dark areas were blocked in and the fiddly bits (little shapes) were made using the end and the edge of the charcoal. At this point Caroline suggested working quickly, so there is “no fiddling”!

To make the image livelier, the background was strengthened, using strong lines and shadows.

Hatching is another useful technique to introduce texture. An eraser can then be brought in to remove parts of the darkest areas, in this case to give the shine on the bottles. Chamois leather can also be very effective instead of an eraser.

Thanks to Christine Elsdon for the notes and photographs.

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Charcoal portraits

The best charcoal to use is Windsor and Newton as it has good deep coverage and is just lovely to use.

Always break the stick into a smaller piece and then you can use it side on or using a corner.

You should use a rough paper with a tooth to give the charcoal something to catch on. Pastel paper is ideal for this.

When tackling a charcoal portrait, you should first decide which method you want to use. Caroline demonstrated both using shadows to define your shapes, and later drafting out your image using the charcoal a bit like a pencil.

She started by covering the entire paper with charcoal lightly, then she put in all the large shadow areas like the eye sockets and under the nose and the outline of the head.

Next she used a rubber  to erase all the lighter areas of the face and eyes and put in all the highlights. She frequently rubbed it on a piece of sand paper to clean the rubber. She used careful observation to ensure that the facial features were correctly sized and positioned, taking note of measurements of spaces between nose and mouth, eyes and nose etc. It’s just a matter of making continual adjustments until you are happy with the end result . Remember you can rub out and replace the charcoal as often as needed. You may prefer to use a charcoal pencil for the finer details, Caroline herself just used the corner of the stick of charcoal. You can also use your fingers to blend it.

The little girl was done using the drawing technique with the corner of the charcoal and then blending with the fingers.

 

 

 

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Watercolour Painting of Patterned Fabric

Caroline Marsland took the Wednesday Dupont class through how to watercolour paint a patterned fabric on paper. We were not painting the fabric. 

She started off by lightly drawing the general shape of the fabric lightly with pencil. She then painted in the the colour of the fabric first with all of the shadows that are in it. She layered the shadows for best effect and used tissue paper over the wet parts to show texture at times She worked away from the centre with a wet in wet technique. For the really white areas, she suggested using masking fluid. You need to exaggerate the shadows because when you put the pattern in, they will disappear somewhat. 

Once the background is dry, she said to very lightly draw in the pattern first with complex patterns  but with a simple pattern, she just paints the patters in.

Some suggestions: Remember to sqint, She painted from light to dark to light as needed. 

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Dupont Christmas Party

December 13th was the date for a joyful Christmas party with over 50 past and present members of Dupont in attendance. Many went home with purchases from our bring and buy table and we all were given a chance to vote on the  painting card which was handed in by Dupont members. As can be seen below, there were a number of impressive paintings displayed. The final favourite voted on by members was by Sandra Emery with her two field mice, who went home with a bottle of bubbly for her submission. The party ended with a huge raffle draw which is always a favourite. As can be seen in the photos, great fun was had by all. 

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Painting with Charcoal and Watercolour

On November 14th instructor Caroline Marsland did a demo on painting using charcoal and watercolour. This was done on 140 pound watercolour paper. This medium is good for moody pictures. There is usually a tinge of charcoal in the watercolour leaving a shaded picture. She used a piece of charcoal but using a charcoal pencil is fine.

Caroline started off with a drawing of the shadows in dark charcoal. She used a loose dribble runny wash for the sky. In order for this not to run into the foreground, she turned the painting upside down to prevent this while painting. Once it is dry, she overpainted it to give it a darker, more dramatic look. The foreground was painted with watercolour which blended into the black charcoal shadows.

The overall effect was a quick moody picture of moody stones.

 

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