Demonstration by Helen Cassidy

Local artist Helen Cassidy made a return visit to demonstrate how she paints acrylic landscapes.

Helen’s used a range of acrylic colours. Titanium white, buff, warm grey, prussian blue, indigo, purple, olive green, yellow ochre, burnt sienna.

Helen had already prepared a board with burnt sienna as a background, with crumpled tissue to create random texture. She roughly painted the mountains with a purple/prussian blue mixture.  Using a small brush she added dark rock edges and started to paint the dark banks of the river.

Helen then used a rag to apply browns either side of the river.

She then applied buff colour by rag into the sky. The darker colour showed through a little.

Helen then rubbed the buff on rag over the textured dark hills to produce rocky highlights,  then worked in shadow in indigo/purple with a small brush.

After painting the river loosely in a purple/prussian blue mix, she added various colours to the valley, olive green, yellow ochre and burnt sienna, with a medium brush in a scumble effect. She used darker shades for the lower valley sides.

She added growing vegetation with vertical strokes in yellow ochre and added trees in an indigo/purple mix.

Again using a rag with buff, Helen rolled a mist over the top of the mountains

After adding foliage to the trees, Helen painted in an eye catching white house, completing the demonstration painting.

 

Demonstration by Jeremy Taylor

Jeremy Taylor is a Yorkshire teacher, artist and demonstrator who mainly paints in oils and watercolour. He came to Pateley Bridge Art Club to demonstrate watercolour landscapes.

Jeremy explained that he had been painting for many years and was self taught. He described how he spends a lot of time thinking about a painting and planning how to do it before commencing.  This enables him to paint quickly, avoiding changes that can ruin a watercolour and achieve a fresh look to the painting.

Jeremy used 140lb (300gsm) branded watercolour paper, as he believes that paper quality is important to achieving good results. He does not stretch his paper as it frees his approach to painting and encourages him to start again on the other side if it goes wrong. He thinks that this happens quite a lot in watercolour painting compared with oil painting which can be corrected more easily.

He usually limits his colours to warm and cool hues of the primary colours. His brushes are usually acrylic, 1.5 inch flat brushes for backgrounds and small round brushes for detail.

   

For his first demonstration he wet his paper thoroughly with several applications of water, then applied sweeping strokes of blue across the sky with his wide brush. He painted yellow ochre patches and strokes across the foreground, adding darker blue to create lines of hills.

He added trees in various shades of mixed green in the mid ground and background and did some scratching out for tree branches using paint tube caps. As a focal point, Jeremy painted a cottage with a warm colour and etched in a path. The photograph under dim indoor lighting does not do justice to the finished result.

After the break, Jeremy painting a snow scene in limited colours. He wet the paper a little less than the previous painting. He left areas of white paper to show the lighter snow. He washed in blue in various shades.

Jeremy added trees lines and walls, then tree branches with minimal strokes and some fine pencil for the thinner branches. The tree crowns are suggested by a light misting of browns and grey colour, avoiding greens. He added a path then a shepherd and sheep create areas of interest that would balance the composition.

The demonstration showed how results can be achieved with a freer approach to painting. His many suggestions and his dry Yorkshire humour were much appreciated.

Examples of his work
Jeremy brought examples of his paintings in a wide range of subjects. The following are just a sample. The images again suffer from poor lighting and reflections.

All images are copyright of Jeremy Taylor.

Sketching in Hartwith

Audrey arranged a sunny day in an interesting area that we drive through quickly, wondering what the pond is doing there and why there is a toll bridge?  It was time for exploration and a trip to the bluebell woods. But first a morning cuppa.

Meanwhile others had started sketching the house


The wisteria was blooming in the sun

The mill pond across the road was a refuge for the ducks and a cool place for walk

Hag wood, up the road, was full of bluebells, garlic, trees and artists.

Despite the distractions there were good results achieved

    


 

Lesley Seeger, artist from North Yorkshire

Lesley Seeger is a North Yorkshire painter of colourful abstract flowers and landscapes, mainly in acrylic in a format of 3 foot square. She has been painting for 25 years and was influenced by her time in Sri Lanka.  She is artist in residence at Burton Agnes Hall.

Her style of painting changed over the years as she experimented with colours and repeated shapes, sometimes a riot of colour,sometimes limiting to a predominating colour. She also used scratching out to reveal colour underneath.

Her work moved towards landscapes, especially of Yorkshire scenes, with the familiar composition of front, middle and distant with a movement through it. Her work progressed from hot colours into lighter, calmer compositions.

Details of her work, with better images of her work than on this blog, can be seen at >  www.lesleyseeger.com

Lesley gave a slideshow of paintings images from 2007 starting with some imagined landscapes as illustrated. 

In 2009 Lesley developed her abstract flower paintings

In 2010 Leslie started to develop sketches into painted landscapes


In 2013 Leslie produced abstract floral paintings as “observed landscapes”

In 2014 Leslie took on more commissioned landscape work

 

Leslie combined floral and landscape

These are a couple of recent painting that she brought along

Some of Leslie’s more recent work.

 

Sarah Garforth – Drawing Techniques

Sarah Garforth gave a talk to the Pateley Bridge Art Club on some of her drawing, painting and printing methods, illustrated with her artworks.

Sarah is a well known Nidderdale artist with a studio in Ramsgill. She described how she immerses herself in the countryside, sketching local scenes.

She sketches, takes notes and collects samples to help with her studio paintings.

She adds colour notes in her sketchbook whilst travelling.

Sarah also showed us her drawing materials, including graphite sticks in dark, darker and even darker. They have useful pointed end, flats and hexagonal edges and ends for creating varying marks and shading.

Sarah enjoys making dip pens of elder twigs. She makes a point and a cut to delivery ink from the soft middle. They make interesting varying lines.

She draws with willow charcoal, clutch pencils that have thick pointed leads in limited shades and Mitsubishi Uniball eye micro pens.

Sarah showed us one of her drawing on Japanese Gampi paper.

For sketching scenes on location, Sarah also uses an Elegant Writer calligraphy pen with a chisel edge to make marks in varying widths. The ink can be spread with a water pen to separate into shades of blue and grey.

Sarah showed us her sketchbooks compiled on her travels. She includes descriptions of places visited and includes local collected images.

Sarah has developed her interest in printing methods. The drypoint method involves scratching into a soft plate to create a printable image.  The plate is not as durable as engraved plates.

Sarah showed us a couple of impressive monoprints. They were produced by indents made with a wooden tool into Japanese vellum paper placed over plexiglass that had been inked with water based lino ink. The process creates lines on the other side of the paper of a different nature to those created directly by pen or pencil.

The solar plate printing method requires a detailed drawing. The image is transferred to a polymer covered metal plate using daylight that reaches the plate through the drawing. The plate is processed in water to fix the indents. The completed solar plate can be used to print many images.

A print from the solar plate.

Sarah also showed us the way that a range of Daniel Smith watercolours can be used to split into constituent parts to make interesting paintings.

Sarah Garforth’s work s can be seen at > www.sarahgarforth.co.uk/
There are also details of her monoprints and working methods in her blog.

Details of the Ramsgill Gallery >www.ramsgillstudio.co.uk/

 

Spring Exhibition

Spring Art 2018 Exhibition runs from Friday 6th April to Monday 9th April at St Cuthbert’s School Hall, King Street, Pateley Bridge HG3 5LE
Update – the exhibition has finished, however, images of the paintings can be seen here > April 2018 exhibition images

Valley by Sandra Gascoigne

• Original paintings & artworks
• Browsers of mounted paintings & prints
• Landscapes, figures, still life & abstract
• Watercolour, oils, acrylic, pen & ink.
• Photography, embroidery, printing, collage etc.
• Artwork greeting cards
• All works by members
• Hot drinks and delicious cakes

Previous exhibition images > – August 2017