Eastwood Art Club - Past Demonstrations

Demonstrations

Thursday 28th March 2019

Yvonne Taylor - The Yellow Chair

Acrylics using a palette knife

Yvonne found her inspiration for the yellow chair in an old cafe in Kashmir, the Jewish district within the beautiful city of Krakow in Poland.

Working on a piece of mount board, a rough mix of colours are applied to seal the board. The restricted palette colours are cadmium yellow deep hue, crimson, indigo, phithalo blue, ultramarine, titanium white and zinc mixing white.

Painting from the centre outwards, Yvonne lays down the yellow for the chair back, left side, and cuts in the background colour over any rough edges. She uses a no 24 W&N palette knife to lay down colour and detail.

Mixing a dark tone with crimson, ultramarine and cadmium yellow, darker areas are established. The green for the walls comprise of mixing white, phitalo, indigo, ultramarine blue, cadmium yellow and a pin prick of crimson.

The yellow of the chair has a small amount of crimson and titanium white to make it warmer and more opaque. Liquitex gloss medium and varnish are used at various points. This assists with the transparency of the layers.

The finished painting. Yvonne likes to work with broken colour, thin layering of paint building up texture, both real and implied.

Yvonnes’s palette is a piece of white card. At the end, she smears any remaining paint over its surface with the intention of it becoming a support for another painting - a forest scene. The card will be glued to a backing board and framed.

Thursday 7th February 2019

Andrew Taylor - Still Life in Oils

Still Life set up by Andrew

Andrew then uses a stick to paint in vertical lines and horizontal lines in the still Life

A wooden board is previously primed with four coats of gesso then painted with Paynes Grey and vermillion. Andrew then uses a stick to determine the vertical and horizontal lines of the objects in the Still Life.

The shape of the objects are sketched in using a fine brush. Areas of depth are indicated.

Using a larger filbert brush, colour is applied. Lamp black is used to define the edges of the jug and handle. The jug is a mix with light vermillion and highlights are established using vermillion, lemon yellow and white.

Warm tones are used for the pumpkin and the wine in the glass. Colours used are vermillion, lemon yellow with green. Andre reminded us that horizontals attract the most light.

The painting so far. The cloth is lightened in the left hand area and highlights put on the copper pot.

A painting Andrew did previously of the same Still Life. Note the change of colour in the jug and colour tones in the cloth.

Thursday 15th November 2018

Lesley Banks - Canal Study in Oils

Canvas is painted using a mixture of thinned oil paint and Sansodor

Underpainting is started using thinned paint.

Lighter areas are painted using white, lemon yellow and cadmium orange

Darker areas are painted using green, purple and Payne’s grey

Overpainting is started using thicker paint and watercolour brushes. Masking tape is useful in defining straight lines. A sponge can be used for trees and smoothing paint.

The painting so far

To see more of Lesley’s paintings go to: lesleybanks.com

Thursday 13th September 2018

Demonstration by Fraser Jenkins

Large Scale Portrait using Graphite Materials

To see more of Frasers’ art work go to : www.etsy.com/uk/shop/Drawandrepeat

e-mail: fjenkinsart@gmail.com.

The photograph Fraser was working with.

After an initial sketch to establish facial features, Fraser began by drawing in the nose, eyes and mouth using graphite pencils. To create skin tones, graphite powder was applied with a tool like a cotton bud.

Hair and darker areas were drawn using graphite pencils and crayons. A special pen containing rubber helped to lift off the graphite to lighten hair.

The finished picture

Thursday 28th March 2018

William Dobbie - Landscape in Oils

For more paintings by William Dobbie go to : williamdobbieart.com

Using acrylics - alizarin, ultramarine, hooker’s green and a touch of titanium white, Billy starts by painting a base for the sea area

Clouds are added in oils using a mixture of titanium and cadmium yellow, then darkened with raw umber, then ultramarine for blue sky

Sea is painted with a mixture of ultramarine and touch of titanium and yellow

The finished painting

2nd painting. Sunset is painted by using cadmium red to outline hills then ultramarine, alizarin and titanium. Raw umber is used to darken areas

The finished painting

Thursday 1st February 2018

Peter Nardini’s Demonstration - Scene with Figures using Acrylics

Peter uses a limited colour palette of cadmium red, cadmium orange, yellow, phthalo blue (red and green tones), white and black acrylic paint. He paints with a dry brush enabling painting to dry more quickly.

Peter begins his demo with a mounting board covered with black and red acrylic paint.

After painting the board with a mixture of watered down phthalo blue ( green tones) and white paint , Peter sketches the first figure in charcoal. He then fills it in using a mixture of red and black acrylic paint.