Check out EOS Exhibition on Screen

S E A S O N   S I X
FIND A SCREENING

EXHIBITION ON SCREEN, the pioneering series of gallery and artists films for the cinema, returns for a sixth season, featuring three brand new feature films and encore screenings of audience favourite Rembrandt, back by popular demand.

The new films in Season Six will reveal the story behind Degas‘ obsessive pursuit for perfection; how Picasso’s lesser-known early years shaped his rise to international fame; and the profound influence of Japan on the work of Van Gogh. Meanwhile, Rembrandt will return to screens marking the 350th anniversary of the artist’s death.

  Continue below for dates and synopsises!  
DEGAS: PASSION FOR PERFECTION
Directed by David Bickerstaff
Release date: from 6 November 2018

EXHIBITION ON SCREEN journeys from the streets of Paris to the heart of a superb exhibition at the Fitzwilliam Museum in Cambridge, whose extensive collection of Degas’ works is the most representative in Britain. With exclusive access to view rare and diverse works, this film tells a fascinating story of Degas’ pursuit for perfection through both experimentation with new techniques and lessons learnt from studying the past masters. (read more)
YOUNG PICASSO
Directed by Phil Grabsky
Release date: from 5 February 2019

Pablo Picasso is one of the greatest artists of all time – and right up until his death in 1973 he was the most prolific of artists. Many films have dealt with these later years – the art, the affairs and the wide circle of friends. But where did this all begin? What made Picasso in the first place? Too long ignored, it is time to look at the early years of Picasso; the upbringing and the learning that led to his extraordinary achievements. (read more)
REMBRANDT
From the National Gallery, London and Rijksmuseum, Amsterdam
Directed by Kat Mansoor
Release date: from 9 April 2019

Every Rembrandt exhibition is eagerly anticipated but this major show hosted by London’s National Gallery and Amsterdam’s Rijksmuseum was an event like no other. Given privileged access to both galleries the film documents this landmark exhibition, whilst interweaving Rembrandt’s life story, with behind-the-scenes preparations at these world-famous institutions. (read more)
VAN GOGH & JAPAN
Directed by David Bickerstaff
Release date: from 4 June 2019

“I envy the Japanese” Van Gogh wrote to his brother Theo. In the exhibition on which this film is based – VAN GOGH & JAPAN at the Van Gogh Museum in Amsterdam – one can see why. Though Vincent van Gogh never visited Japan it is the country that had the most profound influence on him and his art. One cannot understand Van Gogh without understanding how Japanese art arrived in Paris in the middle of the 19th century and the profound impact it had on artists like Monet, Degas and, above all, Van Gogh. (read more)
Want to see the previous seasons again?
Read More

Painting the Big Picture

Every year Dupont members get together to paint one of the famous masters in huge formate under the guidance of instructor Lucy Parker. Each picture presents us with a challenge. Lucy  enlarges the picture and makes a colour photocopy, this is then cut into 24 pieces and given to members to paint. Members have to work together to ensure the colours match. At the end of the day the picture is assembled and compared to the original.

On June 7th this year Lucy chose the work of Georges Seurat, ‘A Sunday Afternoon on the Island of La Grande Jatte’. Much fun was had by all who joined in with this pointillism challenge.

Read More

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!

Read More

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!

Read More

Lino Cutting Demo

Caroline Marsland, our tutor gave a demonstration of lino cutting at our July wednesday class. I have taken the liberty of copying the description of lino cutting from ‘Gradually Greener in Print making’ from the web site. Carolines comments and instructions are added at the end.

“What is a Linocut?: Linocuts are very similar to woodcuts. It is a printing method using a sheet of linoleum, in which a subtractive cutting method is used to take away the parts of linoleum where you want to leave the white of the page, and keep the parts you want to be inked! In the result you have a linocut that can reproduce the same image over and over again.

A Short History: While linoleum was first invented in the 1860s, it wasn’t used as a medium for printing until the early 1900s in Germany, where it was first used for making patterns on wallpaper! Artists ranging from Pablo Picasso to Henri Matisse have made linocuts, and today it is considered a respected art form. Linocuts are also very popular in teaching children in schools about the rewarding art of printmaking.

Why linocuts?: First off, linoleum does not have a grain like wood does, meaning there is no need to cut in one direction. Also, it is much, MUCH easier to cut than wood, especially when heated. Although linoleum is not quite as durable as wood, you can still make hundreds if not thousands of copies of the same image with a single linocut before it is too degraded to use. Linocuts generally remind me of illustrated children books, which is a style I very much like. One can even make several linocuts to be used together to make a print including color, and in some cases (depending on the ink and paper you use) a linocut print can be colored after wards with your medium of choice.

So lets get started!

Step 1: Materials

Materials

You will need . . .

1. One sheet of linoleum!

You can get these at your local art stores such as Jerry’s Artarama, or even at generic craft stores such as Hobby Lobby. The bigger you go, the more expensive the sheet, but generally they are not too expensive. If this is your first linocut, I suggest getting something around the size of 4″ x 5″. This way you do not have a giant piece to work on, but you also won’t have to work with itty bitty details. For your first linocut, I suggest doing a simple pattern with no positive (left, uncut away) pieces smaller than half a centimeter. I know folks who buy linoleum for flooring when they find good deals, and use this for carving. I have never tried this, but only imagine it is much harder to cut than art store grade linoleum. Stay away from anything pink or white that claims to be good for lino-prints, generally it is a rubber that is much too soft, and you will hack it to pieces within seconds.

2. Linocutting tool with an assortment of blades!

You could buy several different handles with blades and v-cutters permenantly attached for about $7 each. I don’t suggest this, as it is very expensive and simply unnecessary. Most art stores and some craft stores will sell a beginers kit that comes with one handle and 5 or 6 different blades for anywhere between $7 and $20. This is what I have, and it works perfectly! I bought mine from Jerry’s Artarama for $14. There is a similar product here ( http://www.jerrysartarama.com/discount-art-supplies/Printmaking-Supplies/Speedball-Block-Printing-Supplies/Speedball-Lino-Cutters-Handles-and-Linozips.htm ) for those of you who would like to buy your tools online or who want to get an idea of what they are looking for.

3. A piece of glass! (At least 8″ by 12″)

You can get your piece of glass anywhere really. Many glass cutting stores will sell you scraps, as artists often use glass for pallets as well. I would get one that is at least the size of your common printer paper. I simply bought an old picture frame from a thrift store for $3, kept the glass and recycled the frame. You will be using this to roll your ink out onto before applying it to your linocut.

4. A brayer!

A brayer is very similar to a paint roller, but instead of the strange cushy material the roll itself is some kind of rubber. I suggest getting a hard or soft rubber brayer, and these will run from between $6 and $20, depending on the size and quality. I suggest getting a brayer that is at least 3 1/2″ wide. Once again, these are found at art stores and in some craft stores. Here’s an example. (http://www.jerrysartarama.com/discount-art-supplies/Printmaking-Supplies/Speedball-Block-Printing-Supplies/Speedball-Barens-and-Brayers.htm)

5. Ink!

You can also get your ink at an art store or craft store, but make sure it says on the bottle it can be used for print making! Any color you like will do. I found a nice little jar of navy blue speed ball ink for $4. A little bird told me once you can use slightly watered down acrylic, but I have never tried this.

6. Paper!

This is the paper you will be using to put your final prints on. If your ink is semi-transparent, you’ll want a lighter color of paper. If the ink is solid and white, try some darker colors! I suggest artist’s quality light weight paper, though stay away from anything that is very textured, such as heavy duty watercolor paper.

7. A dark magic marker!

8. A pencil!

9. An idea for your print!

For your first print, I suggest a pattern or drawing that does not have a ton of detail and without any shading. Try to keep your thinnest positive points (where linoleum is not carved away) about a half centimeter thick for your first print.

10. BANDAIDS

I cannot stress this enough. If it is your first time making a linoleum cut, I highly suggest you have a box of bandaids on hand. You aren’t in danger of cutting a finger off while making a linoprint, but no matter how careful I am, I always manage to slice a finger or two. Some antiseptic ointment is a good idea as well!”

Caroline covered much of the above information and went on to say that the use of two colours could use the same piece of lino with you doing the first print and then cutting back on the lino for the second to do the second print on top of the first. She suggested that you use the lightest as the first layer proceeding to the darker colours. Just a reminder that when you print, it comes out as a reverse. One can use a professional printing press but these are very expensive. A simple wooden spoon can also be used to rub the paper or textile over the block.
The inks come in water and oil based. Oil gives more of a sheen. There are also special textile paints as well.
She touched on repeat patterns which are used in textiles, and wall papers with Standen House being used as an excellent example of these wall papers.
UK suppliers include Intaglio in London as well as Lawrences in Brighton who both are well supplied.
Read More

The Big Picture

This year the BIG PICTURE chosen by Lucy Parker, our instructor, was WORK by Ford Madox Brown 1852- 1863. Many members of the Dupont Art Club met on May 25th, 2017 to choose and paint a square of this complex piece. It was a fun day and learning experience as Ford was a very skilled  artist and draftsman which we tried to emulate. Wickopedia gives an excellent description of this famous work.

“Work (1852–1865) is a painting by Ford Madox Brown that is generally considered to be his most important achievement. It exists in two versions. The painting attempts to portray, both literally and analytically, the totality of the Victorian social system and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865, when he set up a special exhibition to show it along with several of his other works. He wrote a detailed catalogue explaining the significance of the picture.

The painting was commissioned by Thomas Plint, a well-known collector of Pre-Raphaelite art, who died before its completion.[1] A second version, smaller at 684 × 990 mm, was commissioned in 1859 and completed in 1863. This is now in the Birmingham Museum and Art Gallery. It is closely similar, though for the lady with a blue parasol the face of Maria Leathart, the commissioner’s wife, replaces that of Mrs Brown in the Manchester version.[2]

The picture depicts a group of so-called “navvies” digging up the road to build an underground tunnel. It is typically assumed that this was part of the extensions of London’s sewerage system, which were being undertaken to deal with the threat of typhus and cholera. The workers are in the centre of the painting. On either side of them are individuals who are either unemployed or represent the leisured classes. Behind the workers are two wealthy figures on horseback, whose progress along the road has been halted by the excavations.[3]

The painting also portrays an election campaign, evidenced by posters and people carrying sandwich boards with the name of the candidate “Bobus”. A poster also draws attention to the potential presence of a burglar.[4]

The setting is an accurate depiction of The Mount on Heath Street in Hampstead, London, where a side road rises up above the main road and runs alongside it. Brown made a detailed study of the location in 1852.”

Following are photos of our group painting this BIG PICTURE.

Read More

Spreading a little Love With Art

Spreading a little love with ART

Recently my friend and fellow artist Tina Stiles arranged to visit the Dane seniors home in Hove, UK to teach art.This was initiated by the Brighton and Hove Arts Council who arrange for outreach to the community to enrich the lives of others through having some of their many member organizations volunteer to do things like this. Tina and I are members of the Dupont Art Club.
We worked with a half dozen people who made and decorated their own cards to be sent to love ones. During this time there was laughter and comradely amongst the people with all of them able to complete at least two cards each. They were very happy to have people take the time to work and interact with them.
We each have something to offer others be it cheerful conversation, company or teaching a little bit of art. With art, people don’t have to speak if they don’t wish to and can communicate through their art. They just immerse the themselves in a relaxing activity.
Although we were the ones to give of our time, we were all the richer for this with feelings of giving a little of our skills to enrich the lives of others.

 

 

Read More

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.

Read More

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.

Read More

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.

Read More