Bob Goldsborough travelled from
Birkenhead to talk about using colour in paintings. He illustrated
how a colour can appear to be darker in front of a light background.
It can also appear to change its hue (colour), shifting away from
similar nearby colours.
He explained how the traditional primary colours of Red, Blue & Yellow can mislead artists when mixing colours. The ones he used to construct his colour wheel are based on the primary colours used by printers and graphic designers: Magenta, Cyan & Lemon Yellow.
He briefly showed how colour wheels are
based on positioning three primary colour around the wheel. Opposite
each primary colour its complementary colour. If the primary colour
is mixed with increasing amounts of its complementary colour, the mix
will gradually lose its intensity, dulling towards grey or black
without changing its hue (colour). The mixed colour gets darker and
can be lightened with white.
He proceeded to paint a landscape on a
light purple background, mixing colours using complementary colours
(opposite colours on the wheel), plus white where needed. He painted
quickly in blocks of contrasting colours with other interlaced
He also illustrated aerial perspective with a tones reducing at further distances from the observer. He did not proceed to the next step of creating more detail in the foreground which would emphasise the perspective.
Bob brought along images of his paintings, showing his use of colour.
Twelve members met at Lofthouse Village Hall where we were warmly welcomed by the artists from “updale” who meet each Monday. Some come as visitors to our monthly club meetings. After coffee, the Bandroom Gallery was opened for us to see the work they produce and sell: paintings, cushions, cards, small decorated boxes, jewellery and painted stones, all beautifully made and reasonably priced. Several of us were tempted and bought! If you want to visit the gallery it is open at weekends from 10am to 4pm. We had a great choice of cottages and views to sketch and were invited to look into a private garden and some strolled down to the River Nidd. We continued sketching after a lunch break as we were fortunate with a dry day. We collected £21 for the Lofthouse Village Hall funds.
John came to demonstrate his approach to line and wash and to show us his demonstration pieces and sketchbooks. He worked from a photograph of cottages, used a unipen with watercolours, painting flat on watercolour paper. He had his own camera projection onto the wall.
John Harrison showed us his watercolour demonstration pieces.
John allowed the members to look through his sketchbooks. He has published books of his sketchbook images.
John showed members two of his watercolour swatches.
Audrey had recently visited Farnley Hall on an arts bus trip and had asked Guy if club members could sketch in the grounds. He kindly agreed and on the day he showed us where we could sketch. We followed in the footsteps of JMW Turner who visited regularly between 1806 and 1824.
The building has a Georgian block looking out over Wharfedale towards Otley Chevin opposite.
There is an earlier Jacobean building at the rear.
There are extensive grasslands with isolated trees and extensive mixed woodland.
Members spread out around the buildings.
Compulsory dinner break.
After a day sketching and painting, the members had produced different interpretations of what they saw.
Josie Beszant talked about her interest in collecting and illustrated her work with cabinet displays and artworks.
Her website states:
“I am a collector of stories, poems fragments of things. This spills out into my art work, whether it is in painting, collage, assemblage or sculpture the work is always about things found that I am fascinated with. This could be a scrap of a photo, a discarded letter, a story told or a song. I am interested in the beauty of the damaged discarded and broken which is a constant theme running through my work.”
She explained her early interest in natural and made objects during her childhood staying with her grandparents in a cottage with lots of interesting objects and access to the countryside. She developed an interest in drawing, making and mending things. These interests developed into making clothes, stained glass, plastering etc. as well as painting pastels and watercolours.
Her interest in old objects developed into creating collages of old photographs, old family stories, envelopes, animal bones and old objects. These represent past connections and emotions. They could be tales of unrequited love or separation.
Josie and artists, Hester Cox and Charlotte Morrison, create new ways of displaying objects in store at Ryedale Museum. These included, old glass, fragments of wallpaper from demolished houses and moths.
They were also involved in exploring and illustrating the archives of Sunny Bank Mills, Farsley. Josie incorporated the ideas into the construction of aprons from teabag material and found scraps.
Collage of old objects is not popular in the UK but has a market in the USA and Europe. Her other painting work is more important for sales from her gallery in Masham.
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.
The track (part of the Nidderdale Way) at Sandy Lane
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.