Category Archives: Demonstrations
Anthony Barrow first illustrated how to sketch the shape of a head using an oval, a centre line down the face and eye spacing. He used heavy lining wallpaper prepared with gesso.
The paper was prepared with willow charcoal rubbed in to make a grey basecoat. The basic head shape and position of key features were drawn with a charcoal stick.
Anthony worked on the features in charcoal and darker areas with compressed black charcoal. Highlights were created by wiping charcoal areas.
Anthony applied some hairspray and a wet acrylic wash (mix of burnt sienna, red and blue) over the face to fix the image so far.
The face was refined with more charcoal drawing and white chalk pastel.
The final result was impressive and inspired members to try charcoal portraits.
Phil Biggs came from Spalding to demonstrate a watercolour painting around Cummock Water in the lakes.
Phil’s colour pallet
Cadmium yellow, raw sienna, burnt sienna, burnt umber, light red, cadmium red, indian red, cobalt blue, ultramarine blue, winsor blue and paynes grey.
He used various sizes of squirrel mop brushes and Arches cold pressed (“not”) paper.
For the sky, he used two greys: burnt umber/ultramarine blue and paynes grey.
For the mountains, he mixed various colours coming forward from light hills to dark hills: light red/cobalt blue, ultramarine blue/indian red, raw sienna/cadmium yellow and raw sienna/ultramarine blue.
Phil had already sketched the outline of lakeland mountains, trees and a farm. He added some grey and a little blue into the sky and a couple of distant hills in .
Phil mixed a darker grey for the next layer of mountains, leaving a misty layer.
The nearest two mountains with more mixed greys tending to green and brown.
Phil added tree lines along the lake, trees behind the house. He then washed light colour into the fields and added a hedging across.
Darker greens completed the foreground.
Phil then worked at a conventional slope to complete the sky.
The painting at the end of the demonstration shows a dramatic sky and hills.
The following paintings, and more, can be viewed on Phil Bigg’s web page > artprofile.co.uk
Images copyright of Phil Biggs, artist from Spalding, Lincolnshire UK.
Heidi Farrar gave a presentation of her paintings of furry animals.
Mother bear painted in acrylic and reproduced onto canvas print.
Based on an photograph of a Canadian grizzly bear.
Heidi demonstrated her method of painting hairs in detail using different tones.
Painting in this detail can take over 50 hours.
Wolf painted in acrylic
Panda painted in acrylic
Red Panda painted in acrylic
Heidi brought a peacock painting in a colourful style.
More details of Heidi Farrar’s art > http://www.heidifarrarfineart.co.uk/
Jo Dexter demonstration of landscape in oils
Oil painting palette
Painting on board prepared with Liquin quick-drying medium,
central area in light yellow
Darker paint dabbed on and blended with wide brush
Terrain added in varying tones and blended
Darker blues and various grasses by brush and rocks with pallet knife
Painting at end of demonstration
A similar painting that Jo was working on.
Mick Burton gave a demonstration workshop at Farsley Art Club.
Mick showed drawings by artists in styles ranging from rigid geometrical designs inspired by islamic mosaics, through complex landscapes, portraits and animals to exquisite, rapidly executed, dynamic “scribbles” by Picasso.
He explained his own background as an amateur artist in the 1970s as he developed his system of drawing and colouring animals. He took up his hobby again in retirement. He showed many line drawings and paintings of animals, people and landscapes.
Mick Burton demonstrated how he converts his initial pencil drawing into a line drawing with a lion as a subject. He did this in sections but kept the same careful style so that his final drawing was coherent and the sections joined with no loose ends or more than one line.
He also demonstrated his method of creating an abstract drawing with several lines travelling around the page as if part of a sphere and enclosing complex spaces. He showed how the spaces can be made into a sequence for colouring adjacent segments of colours in a progressive tonal range.
As Mick explained, artists had different styles, some using a scribbled approach and many used more than one line. The Farsley Art Club members showed their own artist flair for variety in the following line drawings.
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