Dupont Art Club Exhibition Results

Thank you to the hundreds of viewers who cast votes for their favourite painting in this year’s Annual Art Exhibition which took place on line. We are proud to announce the winner and runners up.

Winner: Natasha Owen for Foamy, with her mixed media. painting. Natasha wins a bottle of champagne and the Dupont cup for a year.

The Runner Up is Victor Perkins for Beckets’s Mate, with his acrylic painting. Victor wins a bottle of wine and a certificate

 

The second Runner-up is Wendy Webb for Teddy, with her pastel painting. Wendy wins a bottle of wine and a certificate.

Congratulations to all prize winners. The competition and exhibition have been a resounding success. We thank everyone who took part, entering their work or voting.

All the pictures will now be transferred to the Gallery Page of the website. Anyone who would like to purchase a piece of art can send an email to dupontartclub@gmail.com with their contact details and they will be put in contact with the artist.

Read More

Dupont to Temporarily Close and go ONLINE!

We have been reading the Government instructions and recommendation regarding Covid-19 and the actions organizations should take. Having listened also to comments from members, we have decided the time has come to close the club with immediate effect.

We do this reluctantly as we know many members see their time at Dupont as an important part of their week.

Not knowing how long the situation will last, and because we want to stay in touch with our members, we are looking at setting up “Dupont Art On-line” using our website. Our tutors are working on programmes and demonstrations which will be available to members, providing an ongoing link with Dupont. As soon as we have more information we will be in touch.

In the meantime, check out our posts
below from Carolyn’s demos and have a little practice with them.

Thank you for your support, please stay safe during this very difficult time.

Read More

Charcoal drawing by Caroline Marsden 11/03/20

Charcoal as a medium lends itself particularly well to moody urban landscapes.

Caroline decided to draw this snowy street scene

Using Windsor and Newton charcoal, which is a good quality with velvety texture, Caroline began by blocking in the shapes of the buildings. She then lightly rubbed over the charcoal to smooth it.

She applied the charcoal  across the road and then used a rubber to erase the tyre marks and show the snow.

She went over the buildings to outline the edges and put in marks for the windows and the arches. It is important to keep your marks consistent as this will make the drawing harmonious.

She determined that the vanishing point was at the meeting of the two sides of the road in the far distance. She then drew light diagonal lines out  from the vanishing point to the edges of the paper to get the perspective right.

The focal point of the drawing is the lamppost as it is the area of greatest contrast as it stands out against the bright sky.

Caroline went on to use a thinner piece of charcoal for the details. She put in the snow on the bicycle , and on the signs by using the rubber. Remember it’s easy to rub out and redraw any areas you’re unhappy with until you get the desired result.

 

Read More

Still Life by Caroline Marsden

Start out by choosing your main object, then you can add interest by selecting additional objects which compliment this. It’s probably best to have a theme, which can be anything  – the possibilities are endless.

You should use an odd number of objects as this is more appealing than an even number. Make sure you have variety in size and shape as well as colour. When arranging the objects try to ensure that you use the shapes to lead the eye into and around the image.

A square format works well for still life, but depending on your subjects you can also use portrait or landscape.

Good lighting is essential and it may help to position an Anglepoise lamp to get good shadows which create tonal value.

This is the still life Caroline prepared

She started by lightly drawing the main object  in outline which was the large bottle, which she positioned slightly right of centre. Next she drew the small bottle outline, noting its size and shape relative to the first object. Continuing, she added the onion the orange and the bottle top, carefully checking where objects overlapped. The scissors were then drawn in very carefully, as the long point of the blade is used to lead the eye . When trying to place an object at an angle like this, it may help to hold your pencil horizontally  up towards the object and tilt it to the required angle. Then place the pencil at this angle on the paper. Don’t use an eraser if you are unhappy with the positioning, just redraw in the correct position next to it. The danger of using an eraser is that it is easy to redraw the same mistake once you’ve removed the original.

Once all your outlines are in you can go back and enter the details . Finally you put in the shadows. These are very important to add tonal value . The dark line on the scissors leads the eye up to the dark top of the onion and from there up to the hanging leaf. This will create harmony.

Read More

Painting or drawing upside down by Caroline Marsden

It is a good idea to try this as an exercise to change the way that you look at things. By working upside down you draw only the shapes you can see and not what you think should be there.

Caroline started by using this photograph pinned upside down

You can, if you prefer, simplify things by splitting the photograph into four  to help you in positioning.

Using a 7B pencil she first drew an ellipse ( representing the tabletop ). Using this shape to work from, she went on to put in the oblong shape underneath and the black square to the left of that. From there she entered the curves which take the eye down from both the square and the oblong to the bottom. She continued in this way, plotting in the main larger shapes.

After all the main shapes were done she moved on to the more intricate parts. This is done by paying close attention to where things are positioned relative to the other main shapes already done. This really will hone your observational skills.

Finally think about adding tonal value. Caroline used  an 8B pencil to shade in the darkest areas first then the lighter areas using a variety of hatching and crosshatching.

Only when she had finished did she turn the drawing the right way up.

this was a very good representation of the original photograph

 

Read More

A winter scene in watercolour using only Sienna and Ultra Marine 11/12/19

Caroline chose the two colours of sienna and ultramarine blue as they can be mixed in many different ways to give you both cool and warm colours.

The group selected this photo for Caroline to use as her inspiration.

 

When starting a watercolour it is best to work from light to dark. Looking  at the picture, first determine where your lightest areas are.

Caroline was using White Knight watercolours and a large round  brush with a good point to it. She began using a dilute sienna for the sky and the reflection, and let this dry. She then mixed two shades of grey using both colours . She began to put in the tree line using the lighter colour. She used the brush in small  upward strokes moving along the tree line. Then she drew up the water in a horizontal stroke to avoid a harsh line. She went on to add a darker line underneath for more tonal contrast. You may need to revisit the darker area as it will dry lighter.

Once happy with the top part she went on to do the reflections carefully putting them in the correct position .Using a dry brush she put in some texture.

She put in the darker trees using a rigger for the trunks and finally the darkest trees .

She decided that the little island in the foreground would be the focal point, so she painted this in a warm tone using only sienna at first. She added some more sienna to the parts of the painting for cohesion.

She put in the ray of light by swiping a tissue in a diagonal line which was very effective.

Finally she put in a ghost wash to of ultra marine to add mood to the background.

Read More

Painting a Christmas Card 27/11/19

Caroline suggested that to get inspiration for your card it is a good idea to have a look at cards from earlier years. Christmas cards have evolved in their design from the Victorian age to the present day.

We looked at several different cards from the Art Deco to the war years , here are a few examples:-

Caroline decided on a stylised angel for today’s demo.

She started by drawing out the shape to fill the card using the angel wings to stretch up into the corners.

She then chose a focal point which in this case would be a light being carried by the angel. Next she angled the lines of the wings so that they drew the eye to the focal point. You can find many different styles of angel on the internet on which to base your own creation.

Once happy with your outline you must choose your colours so that the angel comes forward in the painting.

Caroline started with a turquoise wash on the angel’s robe and then used a cobalt blue for the background. She mixed a warm red to add interest to the robe. The light is then added using a bright yellow and this colour is also added to the angel’s halo and as reflected light on her wings.

This was just a quick sketch from which she would go on to produce the finished card.

If you would prefer to make a humorous card , again there are many examples on the internet. Last year Caroline made a card for her friend who had a cat called Jack.  She drew Jack as a Christmas tree with his little paws holding candles and a fish shaped Christmas present under the tree.

 

Read More

USING OIL PASTELS 16/10/19

Caroline introduced a session on oil pastels by saying that it is wise to use the best quality pastels. The ones she had were Sennelier (£3.50 a stick, or can be bought in boxes). For paper, a rough surface is needed and she was using a brown paper scrapbook (Seawhites).Caroline had a photo portrait of a long haired Roma male as her model for today’s demonstration.

Beginning with a dark brown outline, Caroline sketched his features with the edge of the pastel. She blocked shadows with dark brown, followed by red and green reflected on one side of the face by the grassy background. The green was toned down by use of yellow ochre on top. Various colours were applied and built up either by layers of pastel or by blending with fingers. A useful tool was a paper pencil-shaped blender, which could be dipped onto the pastel to pick out small delicate areas. This method was useful for sections of the eye, such as upper and lower lids, and for the light reflected in the iris.

 

 

 

 

Read More

PAINTING ROTHKO AND COLOUR THEORY 2/10/2019

Mark Rothko. B 1903 D. 1970

Markus Rothkovitz was a Latvian of Jewish descent. His family emigrated from persecution and settled in Oregon in 1913, where he started painting. In 1920 he moved to the New York Art School where he became anti-establishment and was influenced by Klee, Cezanne and Picasso.
Rothko taught children for 20 years. He liked the simplicity of children’s art. In the 1950s his art became completely abstract, using blocks of colour and influenced by the Fauvists. In the 1960s he used blocks of intense colour, following which he suffered from depression, reflected in his use of darker colours with less luminosity.

Demonstration
Caroline chose a thick first coat of yellow, then mixed Phalo green and purple as a compliment to the colour wheel.

Then mixed an intense orange and placed it into the yellow square.

There then followed a succession of different choices of colour to illustrate the effect of one colour on another.

 

Read More

Painting in the style of Vincent Van Gogh

Van Gogh was born in 1853, and had a tormented life with a lot of anxiety. It is possible that he may have been a manic depressive. He only started painting aged 27 and tragically died aged only 37.  However during those 10 years he produced roughly 2,100 pieces of work. His early work was very dark and his younger brother who ran an art gallery in Paris advised him to  change to a brighter palette. He therefore evolved from the Potato Eaters to  his much better known works like the Cafe at Arles or his famous Sunflowers. His favourite colour was yellow followed closely by cobalt blue, which together make for a striking painting. He had a unique style of painting which was driven by emotion.

He used various brush techniques including contour painting and pointillism. His famous Irises were painted much more flatly using the silhouette method of outlining the subject first.

Caroline started her painting of sunflowers by a background of a pale blue colour onto which she painted the outline of the sunflower in a light brown.

Then she mixed up 3 shades of brown and using small expressive strokes she quickly filled in the centre of the flower. Next, she went over this with a darker shade of brown for depth. Van Gogh would have done layer after layer using very thick oil paint straight from the tube. After this, she filled in the petals with a dark yellow colour using swift expressive strokes.

Using a filbert she went over the background with a strong blue and then mixes of white and blue and green and blue making sweeping strokes to create movement.

Then she went in with a paler yellow on top of the petals , leaving some of the original colour showing through. She used wiggly lines to add movement and liveliness to the painting. Lastly she put in the leaves using viridian green and white. She mixed  very dark brown using cobalt blue red and green for the very darkest areas in the centre of the flower.  This is the finished work.

 

Read More