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

Oil painting by Nigel Overton

Nigel Overton demonstrated oil painting for Pateley Bridge Art Club.
He explained that cheaper paints usually had far less pigment in them. He recommended that members use the artist quality paints.

He uses low odour thinners and fast drying oil. He often prepares his own painting board using MDF. It needs smoothing with sandpaper, cleaning with methylated spirit, sanding and priming. White or coloured gesso makes a good grounding for oil painting.

He mentioned that care should be taken with oil paints to avoid painting thin layers on top of thick layers, as cracking may result.

This was Nigel’s oil paint pallet

Nigel suggested that painting landscapes outdoors can produce more accurate scenes as you can paint what you see, avoiding distortions that cameras often introduce into images.
He also suggested that the painter should try to stay true to the scene colours and to the aerial perspective.

Nigel started by sketching his underdrawing by brush.

He explained how he painted outdoors very quickly, painting with his brush like a drawing, capturing the moment before the weather or tide changes.

Nigel mentioned that, using fast drying oils, the paint may be dry by morning. To add detail at this stage care in needed. For this he used a small brush.

Unfinished oil painting at the end of the demonstration.

Sample paintings displayed by Nigel Overton

Nigel Overton gallery and courses etc. > http://overtonfinearts.co.uk/

Bob Goldsborough – Colour in Composition

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 colours.

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.

John Harrison – Line & Wash

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
Pen drawing
Watercolour washes
Finished minimal painting

John Harrison showed us his watercolour demonstration pieces.

Previous demonstration
Gunnerside demonstration

John allowed the members to look through his sketchbooks. He has published books of his sketchbook images.

Sketchbook Clappergate
Sketchbook Whitby

John showed members two of his watercolour swatches.

Daniel Smith colours
Paynes Grey and tints

Life drawing with Richard Squire

Richard Squire made a welcome return visit to remind us how to draw from a life model.

Observation
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.

Construction
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.

Ian Scott Massie

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

 

 

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.