Winter Scenes by club members
Andy Grinter from Green Dragon Framing talked about picture framing. He has been framing pictures for fifteen years.
He talked briefly about the history of framing including in ancient Egypt and in 13th century Europe. Early church paintings were often included in structures such as altar pieces or tabernacles. As art became more portable, frames were needed. The renaissance of art in Europe created demand for Italian carved frames.
In the 17th century the trend was for frames to match the furniture. Impressionists adopted simple white frames. Subsequent owners re-framed them. Only one Van Gough painting remains in its original frame despite the artist painting to match to frames.
A frame supports the painting and creates an edge. Framing is part of the design of the painting, the mount board adds distance and colour. It adds value and helps to sell a painting. Buyers often want a frame to match their decor.
Framing can be expensive, especially as good quality materials should be used, such as conservation quality mount board to preserve the white of the bevel edge, and good quality wood such as oak and ash. The lighter woods are more popular than the darker woods that were popular in the past.
A major breakthrough in framing was the development of flat glass and later float glass. Mr Grinter showed us some anti-reflective Schott glass alongside ordinary framing glass and low reflection etched glass. The anti-reflective is very clear and will enhance a painting but is quite expensive. He also mentioned that linen canvas is worth considering for oil painting as it is more stable than cotton and takes oil better.
Mr Grinter showed the members how a double mount can improve the look of a painting with a coloured outline.
He also showed how a coloured mount can overwhelm a painting with too much colour. The white or cream outer mount reduces the impact.
Mr Grinter also showed more complex mounts with some depth, creating shadows. He also paints mounts to create more subtle colours along the edges and along the lines created by the mount boards.
Andy Grinter trades as Green Dragon Framing at Art in the Mill in Green Dragon Yard, Knaresborough.
The sun came out on request for the last sketching trip for 2018. Audrey provided hot drinks before members ventured out into Blazefield. There were plenty of subjects, including panoramic views across, up and down Nidderdale.
Many thanks to Audrey for her hospitality and another interesting place for a sketching day in splendid series this year, with almost perfect weather. Plans are in hand for an exciting sketching series for 2019.
Richard Squire made a welcome return visit to remind us how to draw from a life model.
He explained that although there are guidelines to proportion, careful observation of the subject is vital, as each person is different and the angle of view changes the relationship of features and perspective changes relative sizes.
A sound construction is vita
l to a drawing or painting. He illustrated with diagrams and sketches how to establish the overall outline of a face or full figure. This enables the artist to contain the drawing on the page and be able to divide the space into sensible proportions.
He showed how to mark the key angles, such as the eyeline, nose, mouth and chin and the middle vertical of face. Then to place facial features, allowing for how much offset these are with a tilted face.
The placement of facial features should be carefully checked at this stage against the original to avoid the difficulty, or impossibility, of later changes. Artists should draw more lightly than he was doing so that changes can be easily made at this stage.
The same method applies to the body, establishing the arm and leg angles with a straight centre line and body angles. The proportions are particularly important where the body is angled towards the artist.
He showed an example of a finished sketch ready for painting.
Richard showed us one of his life drawings and two of his portraits.
Members worked on their sketches with guidance from Richard.
The Pateley Bridge Art Club sketching group met for its October outing at the Red Lion in Burnsall, starting off with a customary coffee break before settling to sketch in the lovely Wharfedale village. There were 12 members and 2 guests.
Members were invited by local artist Diana Rosemary Lodge (Rosie) to look at her paintings.
The artists always have time for lunch.
Sketches at the end of the day
Alex Purves made another visit to Pateley Bridge Art Club. This time to talk about, and illustrate the work of Dame Laura Knight and her fellow artists. Laura Knight (1877 to 1970) was a successful, popular English artist with a long career in painting, engraving etc.
Alex described her progress from Nottingham School of Art, where she met her future husband Harold Knight, who also became a successful painter.
They moved to Newlyn in Cornwall where they thrived in the company of fellow artists. She achieved success with her plein-air realistic paintings of women and of children, some were accepted at the Royal Academy.
She also painted in an impressionist style in thick paint.
Alex also illustrated the works of Alfred Munnings, Walter Sickert, Roger Fry and Harold Gilman.
One ground breaking work was a self portrait of herself painting a nude. This was a reaction to early restrictions she had faced in the world of art. It was an important picture for her and has been acclaimed as a significant work.
She worked as a war artist in both world wars, sometimes showing war work by women.
A key work post war painting was of the Nuremberg trial scene, showing destruction in the background.
Laura Knight painted many fine portraits.
These are a small selection of the painting and photographs that Alex showed us.
We were also treated to a display of paintings and sketches owned by a guest, some not yet authenticated.
Old Sleningford Hall
Summerhouse and Woods
The party met in the Stables Gallery and had a grand tour of the grounds, gardens, lake and woods (part of the National Gardens Scheme). There is an old mill, walled garden, summer house, potting shed and greenhouse. Plenty of sketching subjects.
After a starter coffee, sketching started outside and moved into the Stable Gallery, a studio used for art courses, during the afternoon rain. Audrey promised sunny weather next year.
The smaller than usual group of sketchers produced the following results
Ian Scott Massie is a watercolour painter and printer based in Masham, North Yorkshire. His works can be seen, and bought, in Masham Gallery in the market square. His works, and details of painting courses and books, can also be viewed on his website at > www.ianscottmassie.com
Mr Massie made a return visit to talk about and demonstrate watercolour painting.
He recommended that members use the best paper. He uses Bockingford and Saunders Waterford. He often uses cotton paper 140lb, either hot pressed or cold pressed.
He suggested that synthetic brushes are adequate and much cheaper than sable brushes.
He showed us his sample strips of watercolour combinations that help him plan colour mixes.
Before commencing Ian softens the paints on his dishes with a little water. He uses, amongst others, indigo, burnt sienna, permanent rose, yellow ochre, quinacridone gold, neutral tint.
Ian paints flat onto taped watercolour paper on board, tilting his board when needed.
Ian used strong pigments and plenty of water to diffuse the colour.
He allows the initial washes to dry before painting the skyline with dark colours with a fine brush.
Ian washed the base of the skyline with water to make a soft edge and added some colour into the sea.
Completed watercolour study
Ian showed us some more colour mixes that he uses for colourful landscapes.
He demonstrated a dales landscape with sky and hills in blue colours and foreground in warmer colour mixes
Samples of Ian’s work
Tony Noble gave a talk to Pateley Bridge Art Club on his career and showed us images of his work.
He had a strong grounding in life drawing and portraits in pencil in a local art group.
Tony gave up teaching in 2008 and became a full time artist working mainly in oil on board. He has several in progress to allow for drying times.
He also paints in acrylic and watercolour.
He showed us his early portraits of children.
Tony entered his portraits into the BP Portrait Awards at the National Portrait Gallery and was accepted 5 times.
This double portrait is of his Mother-in-Law and her sister.
He also paints portraits and animal paintings as commissions.
He has a studio in Redbrick Mill in Batley. Many of his paintings include detailed objects associated with the subjects. In many cases, the level of detail and his realistic approach take months to paint.
Tony painted the portraits of a local biker gang and their leader.
His other major subject is of local buildings. He paints old mills, shops, flats, car parks and old garages. They are realistically painted with every brick detailed. He has painted many in Batley, Marsden and Leeds.
He has had paintings accepted into the RA Summer Exhibition twice. Paintings have also been accepted in other competitions.
Many images are at wide angles, appearing even more photographic.
Tony also painted a series of garages in various states of repair.
Many more paintings can be seen at www.tonynoble-artist.com
On a glorious day there was another good turnout for the monthly sketching day. The location on a hill farm had good views around, especially from the nearby hilltop tower.
There were interesting buildings around the hamlet, including a Methodist chapel, a former pub and agricultural buildings.
After a welcome coffee from our hospitable hosts, the members spread out to sketch their chosen subjects.
Our hosts found enough chairs for the sharing lunchtime feast and entertained the group with humorous tales from country life and time spent judging cattle at shows.
These are some of the sketches squeezed in between the distractions.