The Dupont Pub Quiz 22nd March

Last Wednesday evening saw the return of the popular pub quiz, held at the Duke of Wellington. Six teams competed for the prize of cash prize of £20, which was won by Team Gin It to Win It. Eve Cole officiated as quiz master and kept order among the enthusiastic teams. Everyone gained a lot of information. For example: when did rationing end? Which sport prohibits the wearing of beards?  Which cheese is wrapped in nettles? And many other “fascinating facts”

Jane Jukes ran a very profitable raffle, which netted £28 for club funds. Thanks to all who donated prizes, including the landlord, who gave a presentation boxed Chivas Regal and kindly provided pizzas to keep up the competitors’ strength!

Special mention for Team Princess Cowboys,  who entered the spirit of things and dressed for the occasion (see below).

A very enjoyable evening’s entertainment was had by all and thanks go to Tina Stiles O’Brien for, once again, organising a splendid event which raised £78 for club funds.

In response to requests from club members, further quiz dates will be announced during the year.

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Perspective Demo 15th March

Caroline gave a very interesting demonstration of the use of perspective last week. There was a detailed and fast commentary to accompany the diagrams, and for that reason, this report has only shots of the demo. Caroline has asked that, in the interests of clarity, anyone who would like to have any further explanation should speak to her.

We all enjoyed the session very much, and watched in awe as Caroline deftly produced what seemed like architectural drawings at great speed. One Point Perspective was very useful for those of us attempting the terraced houses of Brighton/Anywhere, and Two Point Perspective no less so. The planning of stairs was particularly helpful too. With regard to still life drawing of vessels, the planning of an ellipse and cup showed method as opposed to freehand.

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Life Drawing Deomonstration

Life Drawing
On March 1st Dupont art instructor, Caroline Marsland gave us a lecture and demonstration on life drawing.
She started out by advising us that we need to decide at the beginning what we want to say in the picture. We can be accurate, want to accentuate certain features, show certain emotions, etc.
She recommends that we do several quick sketches first before doing a large drawing.
Look at the general shape of the figure. Don’t start with the head. Draw the shape of the back, the shoulder placements along with the hips, and legs. See if you can see shapes in the body. identify points on the body to line them up accurately, look at angles of these shapes.
Perspective is important with accurate drawing. A child’s body if approximately five times the size of it’s head while a man’s is seven times the size of the head. There are three heads size to the waist and hands fall to the thighs. For head measurement, from the palm of your hand to your finger tips are usually the measurement from the chin to just above the eyebrow.
Look at negative shapes to assist with accuracy. Build up shadows for shape. Squint for these shadows. Always step back from your drawing to judge the accuracy.
In order to judge the size, hold your pencil out with a straight arm against the part of the distant  body you are drawing and compare it to other parts.
Use any paper which has tooth to it. Charcoal and chalk are dramatic and charcoal and watercolour work well together. She warned us that some of the charcoal sticks available now are quite scratchy. She recommends the Windsor and newton ones  give a smooth finish.
This workshop is a precursor to an all day workshop which Caroline will be giving to Dupont members in June, 2017.

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Portraits in Watercolour 15th February

In discussing the differences between painting young and old faces, Caroline began with a very helpful hint: use wet in wet for young smooth faces, wash over first and drop in the colour, giving the bloom on the cheeks.

The model this week was a Cuban woman of some years, accompanied by her cigar. Starting by penciling in the features, beginning at the nose, Caroline then outlined the mouth and lastly the eyes.

To paint this very colourful subject, the following palette was used:

Firstly she used a weak yellow wash generally.

Yellow Ochre was the base colour, mixed with red & green.

For the brown, Caroline always mixes her own with red and green.

For the wrinkles she mixed Cadmium Deep Red with Ultramarine and Yellow Ochre was made and orange for the eye sockets.

For the olive green of the cheek patch and background, Hookers Green, Claret or Cherry red were used and a purple used for the lips.

We all watched with awe as the aged face emerged under Caroline’s deft brushwork. The following pictures give an idea of the gradual building of the portrait.

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Pen & Wash 1st February

Caroline uses a dip pen which gives both thin and thick lines.  She uses a writing nib No. 5,with a ball on the end. Cartridge paper can be used, but water colour washes won’t flow so well.

First, we should think why we want to use pen and wash: which part should be mostly ink, which is strong and will be the focal point.

Method 1: Wash First

Shapes can be put in quite roughly and allowed to dry. When putting the ink features in, cross hatching can suggest shade and darker areas.

Method 2: Ink First

Lightly mark the features with the pen. Also you can draw in pencil first to get softer lines.

Trees can just be suggested by the shape of a trunk and using a wash for the rest.

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Mixed Media Demonstration

Caroline Marsland demonstrated the use of mixed media to the Dupont Art Club  class on January 18th, 2017
It is important to chose the media to match the painting. Layering is the key to mixed media.
She pointed out that almost anything can be used in a this type of painting.
Suggestions for the first layer could be regular or water colour paper which could be painted, layered in tissue which is glued on, or use of old maps, newspapers, fabric, canvas, wood, metals, old books, etc.
Layered materials which can be used are all types of paints, inks, pens, pencils, charcoal, pastels, chalks, waxes, as well as fabrics, pieces of wood, leaves, wire, modelling paste used with stencils, etc.
In her demonstration, she chose a photo of a Maori painted face which she drew and layered with stick charcoal using a child’s birthday wax candle to highlight the eyes and added water colour to the face. She glued on hessian for the hair and painted it black.
She encouraged everyone to search online for demos using mixed media to find new ideas and other sources of inspiration.

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Buildings in Watercolour 4th January 2017

The New Year’s first demonstration by Caroline was a most helpful and interesting series of practical demos and tips:

When painting distant building, not much detail is needed, just use little marks. Use just a suggestion of windows showing highlights and keep it simple. Score the windows first, and then put a wash on, allowing the paint to sink in.

There is no need to detail each brick. Just use texture by dropping in colour and letting it bleed.

Straight lines are not a necessity, as some old buildings have settled.

Artists presented were David Curtis, Ray Campbell-Smith and Alexander Creswell.


Using a birthday cake candle, Caroline drew in a few bricks and washed over with a reddish colour, then splashing over with a darker hue.

Paint in suggestions of bricks on a wall; allow to dry and then wash over.

Put on a wash of brown and a darker colour, then another colour, keeping it wet. Scratch in so that the paint will run into the scratches.


Caroline again used the candle, drawing the outline of a window. She then filled in the window frames with suggestions of reflections and put washes on the bottom of the window and around it.

Windows can be half shaded, to show the direction of light.

This session was a very useful simplification of cityscape painting and drawing, for those who feel challenged by the detail of buildings!

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Painting a glass bottle 7th December

In this very interesting demonstration, Caroline started with a pale green wash, onto which she loosely sketched the shape of the straight sided bottle. Then she put in a white background around the shape.

Using a flat brush she painted in the four corners and the base of the bottle, then the round neck. A lighter tone of the green base colour filled in the body.

Caroline said that the complex and numerous shapes and reflections could not all be recorded, so we should select some shapes that appealed. A green bag and red bauble that were behind the bottle were incorporated.

Keep the highlights until last and use a rigger and white paint. When painting round bottles, make sure the ellipses match. Caroline finished with some shadows thrown around the base of the bottle.

bottle-1 bottle-2

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Christmas Cards 23rd November

Caroline began the session with a very interesting history of the Christmas card, which began in Victorian times. The first recorded was in 1843, with a very simple subject of two young people, obviously well to do, with no yuletide references. These cards were for the wealthy at that stage. There is no record of Father Christmas until 1907’ Moving through the decades, politics and fashion dictated the content. In the 1940’s the theme of absence and longed-for reunion prevailed, with so many being apart. In the 1950’s the American glamour girls appeared, along with versions of Norman Rockwell’s images of families enjoying material abundance.

We were then shown how to cut a Christmas tree out of folded cardboard and several examples of using strips of paper to build a tree on a card and other craft materials that could be used, such as buttons for baubles.

The next demonstration was on a square card, onto which Caroline , using water colours, painted a snowman in a blizzard. Using the rule of three, the image magically appeared, using water to splash into a wet blue sky for snow. The focal point of the greeting, which was on a billowing red scarf, finished a delightful card.


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Using Wax Resist

On November 9th, 2016 instructor Caroline Marsland gave us a demo on how to use wax resist in our paintings.

Caroline used small birthday type candles for this with watercolour paint on paper. It didn’t matter the colour of the candles as they appeared to be clear on the paper. She chose to show us the use with a landscape of the sea and shore. She started off with doing a light pencil drawing of the scene including the layers of waves. She then used the small candle to draw in random areas to be high lighted and left white although she said that one could use this method over a painted area if that was what you wanted preserved. Once the tops of the wave layers were drawn in, the went to work painting in the waves with various colours of blues and greens with the cool colours in the background and warmer coming forward. She used a lovely squirrel hair brush, 10 flat pro art which gave her the ability to do fine detail. She mentioned that one could splatter over the scene as well.

Another fine demo for our Dupont members. Come join us if you like. img_4246 img_4247

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