Category Archives: Medium
Robert Dutton gave a chalk pastel demonstration to Farsley Art Club. He used Canson Mi-Teintes pastel paper, charcoal and various soft and hard chalk pastels.
He worked from a photograph of a mill town in a valley. He started by establishing the positions of the elements in the scene using charcoal in loose strokes. He smudged the charcoal in the sky and town area.
Robert added colour with browns and greens, again in a loose manner.
He added details into the buildings with a hard eraser.
He added further colours.
Part completed painting at the end of the demonstration.
Sample paintings by Robert Dutton
Demonstration by Lucia Smith of dales landscape in soft pastel
Landscapes need planning to achieve a better balance than the source sketches or photographs.
Soft chalk pastels
Lucia teaching how to apply dark and light blue soft pastel on Art Spectrum pastel paper
Lucia applying sky colours to card prepared with Colourfix grey primer applied over acrylic underpainting.
Parts of sky, clouds and grass on demonstration painting
Some completed pastel paintings by Lucia Smith
Demonstration by Terry Chipp of a Venice street in acrylic paint on board.
Terry had already sketched the scene in pencil, pasted over with gesso at varying thicknesses, then gouged the partly hidden lines to reveal them and make shallow grooves and ridges along with added marks to supplement the textures.
Terry wet the gesso surface to aid paint spreading and applied undiluted ultramarine blue and red with kitchen paper to the sky and central area..
Then he applied a brown mixture to the remainder so that all the white was covered.
After wiping off paint with dry kitchen paper to reveal some of the drawing, Terry then revealed more white around the light with wet kitchen paper.
Terry painted dark edges to the bridge and to buildings and some light brown and light yellow to areas in the lamp light.
Mid tones applied to background
Painting at the end of the demonstration.
Paintings displayed by Terry Chipp at the demonstration (photographed in indoor lighting)
A demonstration by Paul Talbot Greaves in watercolour of a Pennine scene.
Initial sketch from photograph
Pallet of strong watercolours, including dark green, violet and black.
Bright green sunlit grass. Background hills and basic cows shapes.
Violet as first stage of establishing dark wall and shadows. Clear water splashes.
Wall shaped at top with black. Wall and shadow darkened further. Cows coloured.
Distant field colours refined. Horizon and edges of green shadow softened.
Unfinished painting at end of demonstration.
Samples of watercolour painting by Paul Talbot Greaves (under plastic covers)
A demonstration of pen sketch and watercolour wash by David Newbould
Sketch using brown felt tip pens
Trees created from dark scribble and light quarter tone using depleted pen
Stonework added at edges and slates with broken lines
Colour washes applied to sky and trees. The ink proved to be not permanent! Pink edges!
Multiple colour washes applied and green pastel to cover unwanted pink. Finished painting
Sample paintings displayed by David Newbould
Bruce Mulcahy gave a demonstration using artist quality acrylic, applied with a fairly small white nylon brush, on 200lb cold pressed Bockingford watercolour paper with a slightly rough random texture.
Bruce sketched the position of the main shapes from the photograph of boats in Staithes beck. He established the dark areas with a “black” made from cobalt blue and burnt umber.
Bruce, working from dark to light, painted the similar areas of colour across the scene, creating a unified painting.
Bruce worked through the painting methodically adding the larger areas, a light cobalt blue sky, grass and light sand.
In the short time available, Bruce added detail to the houses and painted the boats.
Painting at end of demonstration, needing an hour or so to refine.