Wet felting with Valerie Wartelle

Valerie Wartelle came to the club to tell us about her work in wet felting, illustrated with slides, sketch books, sample felted pieces and finished pictures.

Valerie has sketch books to record landscapes and subjects from which to create felted pictures. She also works from photographic images.

Valerie explained that she buys wool tops in a wide range of colours and does not dye fabrics. The fibres in the wool tops are already aligned (carded). which is necessary for bonding fibres together or into woven fabric.

As Valerie states on her website – “The process uses wool tops, hot water, soapsuds and friction to interlock loose fibres together to create a stable fabric.”
She slowly lays fine layers of wool fibres onto a plain flat woven fabric, together with linen fibres and silk threads.
The process needs warm water and physical agitation of the mass of fibres to encourage individual wool fibres to bond with each other and intertwine with the silk woven fabrics.
The pieces can be squeezed, pressed, rolled on the table or through a mangle.

The resulting matted wool is bonded, stable and colourful.

Valerie explained how she sews linen and silk threads and fibres into her paintings to make organic forms.

Landscape scenes may be created with subtle or bright colours blending into each other.

Valerie has a website with more details of her vision and methods as well as courses she runs.
https://valeriewartelle.co.uk
There is a short film showing her processes. Go to the following page and click on the image.
https://valeriewartelle.co.uk/my-practice

Mick Burton Continuous Line Drawing

Mick Burton explained and demonstrated continuous line drawing and colouring at the May 2022 meeting in Glasshouses to a full house.

Many artists have used continuous lines in their artworks, Mick showed images of drawings by Picasso and Salvador Dali that used continuous lines.

He demonstrated how lines could be drawn in sections or at key crossing points before joining up loose ends to complete the drawing as a single flowing line.

He provided outlines of familiar images to enable members to construct continuous line drawings.
These are some of the results by members.

Colouring
Mick explained how enclosed areas can be coloured in a systematic way to emphasis the shape and flow of the subject. There is plenty of scope to vary the patterns.
These are some results by members.

Abstract Drawings

Mick showed members some of his abstract paintings. There is immense scope to create patterns and shapes with colours flowing around the lines.

Flypast over rolling hills by Mick Burton
Overlapping squares by Mick Burton

Artworks by Mick Burton
Examples of his work can be viewed at > mickburton.co.uk/
Some of the artworks shown to members

Stainbeck Artist by Mick Burton
Stainbeck artist in acrylic by Mick Burton
Horse by Mick Burton
Dottie in acrylic by Mick Burton
Pair of robins by Mick Burton
Usain Bolt by Mick Burton

Tracey Krupianka Seascape

Tracey made a return visit to demonstrate acrylic painting of a seaside scene. An enlarged image was projected onto the wall


She commenced with a blue/grey mix for the sky, applied with a flat brush. She added white to to the sky mix for the distant clouds, as illustrated.

Tracey painted layered horizontal blue greys with a smaller flat brush to create the sea, then blocked in the middle ground and foreground with a burnt sienna as a bright undertone to enhance the foliage to be applied.

After the sky paint had dried, Tracey applied white with a rough dry brush in swirling patterns.

Tracey then used a natural sponge to apply a dark green over the complementary orange ground.

Tracey added the chimney and windows and applied patches of burnt umber and Paynes grey with the flat of a pallet knife and rooflines and window features with the edge of the pallet knife as illustrated.

Rocks created with burnt umber, Payne’s grey and purple. In foreground, dark burnt sienna and dark green applied with scrapped pallet knife. A stipple brush used to apply yellow and greens and sponge to apply yellow ochre, lemon yellow and white to lighten the green gorse.

Tracey used the pallet knife to paint alternate dark and light for the steps and hand rails

In left foreground, dragged white to form grasses and in right foreground, red and yellow ochre dragged with knife.

Tracey applied a splatter of light colour using a toothbrush.

Painting at the end of the session.

Tracey Krupianka Acrylic Painting

Following a successful Zoom demonstration of flower painting in April, Tracey was invited to demonstrate landscape painting. Tracey choose to paint a snowy woodland scene in acrylic paint on board.

A splendid turnout on a cold winter night

Tracey had painted similar scenes before. She used a variety of acrylic brands with mainly flat brushes, swordliner brushes and a Rosemary’s “deerfoot” stippling brush in soft badger hair.

Background washes

Background trees using flat brushes

Undergrowth painted with Deerfoot stiple brush

Painting in progress at the break

Aplication of white acrylic with a pallet knife

Rabbit

Human Figures Added

Painting at end of demonstration

Cath Inglis Pastels

Cath Inglis is a pastel artist and tutor from York who is also a professional associate with the SAA, a member of the Society of Women Artists, winning awards at their London exhibitions, and an Associate Member for Unison Colour Pastels and an online tutor for the Pastel Academy. She paints a wide variety of subjects including landscapes animals and portraits.

After having six Zoom demonstrations we had our first live demonstration. We had 18 members and guests and observed COVID precautions.

The image projection system helped to enable members to see Cath’s detailed painting and the sound system amplified Cath’s commentary. Thanks go to Gordon for organising it and passing on to three members on how to set it up.

The subject for the demonstration was a golden retreiver. Cath has used the image for many demonstrations to art clubs but each one is unique, uses many colours and shades.

Images of golden retreiver outlined on grey Hermes sandpaper.

Cath uses soft pastels made by Unison and Sennielier and thin, harder pastels by Conte for painting the detail. Pastel paints can be removed with a stiff brush and new colours applied.

Cath applied base colours with the side of the pastel (the paper covering needs to be removed). The light hair colour was Unison portrait brown (2464 – a light yellow). A purple on nose and black under the nose and lower jaw.

Cath demonstrated painting an eye in pastel on Canson Mi Teintes paper, colour Moonstone. This specialist paper has a good tooth suitable for pastel painting.
She used shades of blue, browns, oranges, purples and whites to catch reflected light.

A close up of the eye on the grey Hermes sandpaper.

Detailed colouring around the mouth using many colours and shades of red, blue, purple. Highlights on nose, cool blues under lips

After background coloured in purple, stray hairs applied.
Dark specks applied to muzzle and light hairs under nose.

The portrait at the end of demonstration.

Paul Talbot-Greaves

Paul is an experienced artist from Brighouse who previously ran a demonstration and a workshop for the club in 2016.
In September 2021 he ran a demonstration on Zoom for 14 members. The subject was a canal scene based on the following photograph. Images during painting were taken from a computer screen.

Photograph of canal

Paul choose Sanders Waterford 300lb (640 gsm) paper half imperial size (22 by 15 inches).
He used fresh tube paints. alizariun crimson, Winsor violet, sap green, cobalt blue, ceruleun blue, french ultramarine, burnt sienna and Winsor yellow.

Paul explained how he split the picture into shapes which he had sketched in beforehand.
He seeks to maximise contrast and started with a light blue wash for the bright area of sky and canal, light crimson for the canal path and light yellow for the grassy bank and the part of the trees on the left.


Paul then established the dark areas, starting with a dark green/blue mix for the distant trees above the canal and the trees to the right in shadow. A lighter green in the trees to the left catching the sun from the right.

Further bold dark colours in the trees on the left.

Relections in lighter tones

Shadows painted across canal path and banking. Details of canal lock added in white.

Finished painting image sent by Paul

Sunday stroll at the waterside, watercolour by Paul Talbot-Greaves