Terry Chipp, a successful artists from Doncaster, came to Pateley Bridge to demonstrate an acrylic painting of a night scene in Venice.
Colin Swinton gave a demonstration of how to create granulating colours in watercolour washes. He showed where to use them, how to graduate colour washes and add dry brush strokes.
Colin recommended using cold pressed watercolour paper (“not” paper). Rough watercolour paper could also be used. Hot pressed paper and stretched “not” paper did not work well.
Of the many colours that granulate, Colin chose some popular ones in combination to demonstrate the effect of granulation and colour separation.
• Burnt sienna and french ultramarine blue.
• Lemon yellow and french ultramarine blue.
• Raw sienna and cerulean blue.
• Cobalt violet and raw sienna.
As a demonstration painting, Colin chose a cottage scene. It was roughly drawn to create interesting shapes. He started with some brown on the cottage.
He then made a wet wash sky using two mixes of blue and encouraged separation by tilting the paper to move the wet washes across the paper, adding dark colours to create more interest.
He painted the foreground in yellow and added darker dry brushwork for a textured look.
The cottage was brought forward with the dark green trees and a graduated red across the roof.
The finished demonstration painting illustrating the techniques of granulation, graduated colours and dragged dry brush
Neil talked about about his career from graphic design and as a self taught painter in Wembley, moving to Harrogate, then setting up in Whixley and today in Glasshouses.
Even though his early paintings in a variety of styles sold they were not distinct enough to enable him to have a one man show. He learnt from this difficulty, listened to curators advice to paint what interested and inspired him. He developed a unique style of altered reality, merging landscapes and domestic features with an element of fantasy.
One of his many ideas was his easel illusion. This is a painting apparently on an easel with further levels of the illusion of paintings stacked in front, as illustrated. This is all painted on a thin flat board. This opened up further opportunities to display in galleries.
He repeated this format to make further large “easel” paintings and some in smaller sizes.
His many ideas in his unique style of multiple images in ambiguous combinations have lead to national and international interest. His paintings have sold world wide.
He increased his sales with quality prints at affordable prices.
Neil paints in traditional oils on gesso surfaces and on smooth clay board. He uses low odour thinners and Liquin to enable him to paint smoothly with watercolour brushes to give better control than traditional stiff hog hair brushes. Liquin also reduces the long drying time of traditional oil paintings.
Neil gave a short demonstration of trees in a grassy landscape. He showed how diluted oil colours could be easily mixed together, moved around and blended on the surface to make varied colours and textures.
His paintings can be seen in Sutcliffe Galleries in Harrogate, Artful Arts in Pateley Bridge High Street and on his website https://neilsimone.com
Helen Cassidy demonstrated painting on a textured surface. She used tissue paper combined with various fillers to make ridges and structures on the surface to enhance the effect of the paint as it catches on the ridges. She also uses other structured materials to create textures.