Australian Fine Artist

Posts tagged ‘art demonstration’

Lorna Gerard

Venue: McClelland Guild of Artists

Topic: Animals in Action – Mixed Media

Lorna has been a practising artist and teacher at McClelland Guild for several years. Even though I have also been a member since 2005 I didn’t know anything about her. It is a shame since she is so full of fun and has some very innovative and creative ways to present her artworks.

As usual before a demonstration, I look up the artist on the web to see what they are like and what type of art they produce. it gives me an idea about what I am about to see, the style, subject matter and how experienced or educated the demonstrator is. This is not only out of curiosity but also as I am also aiming at demonstrating and teaching, I like to know what people are looking for when they invite someone in for workshops, demonstrations etc. Chance favours the prepared mind as the saying goes – or something to that effect.

Anyway, back to the demonstration. Lorna arrived with a prepared foam board with gold leaf adhered to it. Over the top she had lightly drawn in a couple of birds which would be her main topic. She told us that she won her first award for art at the age of twelve and had loved art all her life. Something I can relate to. From her beginnings learning with oils, which she later had to give up because of the fumes from the turps, she has now mostly settled on mixed media using foils and other added media to acrylics.

Lorna says that her art gives her life challenge and meaning and enjoys the experimenting she does to achieve new effects. Her use of gold leaf as a background to paintings stems from icons done in the middle ages and the beautiful works done in places like Persia for their very old books, which were on display in Melbourne only last year. Her style is also something that is very suitable for book illustration or gift cards (one of which I bought because it just “called to me”!

The backing of “corflute” for her works means that they remain very light and easy to frame and transport. The leaf adheres to this very well and it is fairly archival, especially when well framed and the surface sealed beforehand. The surface is usually left overnight to dry before it is drawn or painted on.

Using mostly her own photos or a combination of copyright free photos from the web, Lorna builds up her images in a manner very familiar to oil painters, starting with her darks and layering the paint on top to building up her tonal values.

One thing I need to point out about Lorna’s mention of copyright. She said that you need to alter 25% of any photo etc to avoid copyright infringement. This is actually not true. The image needs to be “significantly” changed or different. You need to not be able to identify a significant feature or focal point. This area is very “grey” and varies from state to state and country to country. It can be a legal minefield, and even if you paint from your head or memory of something you have seen it may still be dangerous. Ask the Flutist from Men at Work, who did not go out of his way to “copy” a particular song but what he produced sounded a lot like it, so they were sued. We live in a society that it getting more and more litigation happy and I would be remiss if I didn’t warn potential and existing artists who wish to sell their work of the dangers here. If at all possible use your own material or get permission from the copyright holder to use their material (preferably in writing so that anyone coming along afterwards can not accuse you of breaking copyright – such as heirs to estates). Remember also that Royalty Free does not mean Copyright Free.

Back to the demonstration which by the break had white birds with some lovely tonal features showing up their forms happening. White birds does not mean a big blob of pure white in the middle of the painting. Whites come in temperatures, which can be cool or warm. If you look at something white in nature you may also find it reflecting a lot of the colours around it and of course, as it goes into shadow it darkens. Being a painting means also that you have the creative licence to add colours that are of similar tonal value to make the work your own. which I did with the white horse I took for the demonstration competition. He had yellows, oranges, mauves, purples, blues and greys in his coat with surprisingly very little pure white. I am happy to say that he won that competition!

In the background after the break for coffee, Lorna added branches and magnolia flowers as background features and to also create a scene for the birds to be settled in. These were also built up from darks (Paynes Grey and Burnt Umber) to the lighter tones on top which also gave the branches form. The hot pink with lighter highlights really popped of the gold surface behind them and the piece looked more and more like a scene from an oriental storybook. this stage of the painting is where the creativity really takes over and the artist assesses what features they want in, where they want them and how to balance out and finish the painting.

A small brush was used to paint in fine lines and features and the painting was left to dry. Lorna expected to do more finishing touches to it in the studio when she had a perfectly dry surface to work on, so that she could keep the colours clean. It gives her a chance to put it aside and look at it with “fresh eyes” before doing any of these final touches. This can be a good habit, allowing yourself the chance to have a break, walk away and come back and look at your work from a distance with a fresh perspective. It may surprise you how something will nearly jump out needing to be altered, fixed or deleted that you hadn’t seen before.

Overall a very interesting and creative session from Lorna. For those who have not used gold or silver foil before, or looked at its application in history, it was an opportunity to expand their knowledge and hopefully inspire some new thinking. For those of who have used it, it is a good idea to see how other artists use it and possible some new applications. As with most demonstrations and artist chats – you don’t know until you go along and participate.

Bill Caldwell

Venue: Berwick Artists Society

Topic: Landscape in Oils

I am borrowing from Bill’s website to introduce him here:

“Bill Caldwell is an Australian realist artist, represented in numerous international private collections...”

I had the pleasure of meeting Bill and his wife at the demonstration night at BAS and chatting with them not only about art specifically but about their interests and welcoming them to the meeting. His wife is a charming lady by the way and her name is the same as mine, so we really hit it off!

Bill is a member of the Melbourne 20 Painters Group. Not a group that is that easy to get into and only filled with extraordinarily talented artists! He was born in Geelong and started his art career in the 1970s. As he has a background in commercial art/sign writing Bill’s drafting skills are very good and he has an eye for details, especially regarding buildings. He is a past winner of the Camberwell Art Show and describes his style as impressionist/realist which is about what I would call mine – or at least where I am trying to head with it.

Bill is a member of the Peninsula Art Society and teaches there regularly. He loves painting landscapes and especially loves painting plein air so that he can capture the light and atmosphere of a scene.

Bill has 4 fundamental rules to painting:

  1. Drawing
  2. Tone
  3. Colour – including temperature and intensity
  4. Technique – a mastery of the medium, ability to mix the colour you want and apply it effectively

Bill’s first challenge to painting that he sees for all artists is managing the light. Getting what you want in a timely manner before it changes. As the sun moves at 15° per hour your shadows will moves fairly quickly, so we need the ability to work quickly when painting plein air. (possibly creating just small sketches in paint with the additional help of note, drawings and photographs for finishing off in the studio)

The painting for the demonstration was from a photograph taken in Yackandandah in NE Victoria. He has painted this scene before so worked from a print of his previous work rather than the original reference photo. This town, like Bright has a wonderful atmosphere created by the trees lining the streets. The English trees reflect the seasons and add a layer to the colours of the landscape and township that Australian foliage alone does not have.

From a rough outline on linen the surface was covered with a thin mix which was then rubbed back in places to not only start working out the tonal values but also help the surface to dry a little.

Bill uses basically the same set of colours on his palette for all his works only straying from these for portraits and florals. He says that a simple palette allows you to become familiar with the colours and how far you can push them. He also uses a grey scale so that he can constantly check his tonal values.

As with most traditional tonal painters, Bill started by blocking in his darkest darks with both warm and cool darks. He then worked his way through the lighter areas of sky and background and established his lightest lights. After this came the mid tones of the buildings and foreground. With the canvas now covered he moved to a mix of turps and stand oil which is a mix he feels helps him control the paint and give it a nice buttery feel as you apply it. As a sideline here, Bill allowed us to have a play with the mix on his painting to experience how lovely the feel is applying paint this way. It did feel very nice, especially on the beautiful linen rather than canvas which I usually use. I called it “yummy” which he thought was a very appropriate description.

It was interesting at this early stage that Bill rubbed back some of the work with a paper towel to removed excess paint and soften some of the edges. This prepared the surface for more paint and keep it clean rather than muddying up by mixing in with the previous layer. This is also a good time to stand back and asses who everything is going.

Bill was right in the zone as he started on the next part of the process. The luscious feeling of mixed paint applied to canvas or linen he said, was an addictive feeling which he wants to pass on to his students. At this stage it is a matter of blocking in all the mid tones for all the areas on the surface. With the use of several brushes so that colours and tones are kept very clean, areas that are sunlit are clearly visible from those in shadow. Cool areas are shown with cooler colours and the warmer areas by warm tones. The colours and clever use of tonal values push the background to the back and pull the foreground forward and settle items underneath others out of the bright sunlight.

The application of a warmer version of a colour on one wall of the feature building brings it forward and intensifies the feeling of hot sun touching it. The addition of a cool mauve to the white areas in shadow, pushes them back and creates the atmosphere of a cool verandah.

The small features of the street and buildings were not included in this painting, as the demonstration was to show us what level we should expect to be able to get to if painting plein air with the time available to catch the light. Indications of windows, doors etc were painted in rather than every little bit. After he was creating a painting not a photograph.

Bill mentioned as he worked that he uses Winsor & Newton paints and the best quality linen he can afford. If you are intending to sell your work, he said, you should produce the best quality you can. As well as the fact that if you want your work to last for a long time, linen is the best way to go, as it outlasts canvas.

As he was finishing off the painting Bill said that as you paint outdoors especially, remember what it was that attracted your attention in the first place as it is easy to get sidetracked.

The finishing details and mark making finished off the work and changed it from just the representation of a place to a painting, from blocks of paint to something with texture and interest. You can either do this on site or later in the studio. Just keep in mind that nothing replaces the joy of painting in front of the actual scene and the fun of interacting with all the people you meet along the way.

I would like to personally thank Bill for sitting down with me after the demonstration to tell me that he thought I had done a really good painting for the monthly competition. We had a very friendly chat and I am honoured that he took the time to spend with me. I would love to see him give another demonstration in the future – hopefully one of the other guilds of which I am a member will invite him along! He has a lot of knowledge, wisdom and understanding and seems very happy to pass it on.

Julie Goldspink

Venue: Berwick Artists Society

Topic: Floral Theme in Water Colour

I am borrowing from Julie’s philosophy on her website to introduce her here:

“Julie works in the area of traditional media but does a lot of experimenting in the area of Mixed Media, while she is probably best known for Watercolours. She likes to describe herself best as a Realist impressionist and doesn’t like to be governed by one style, medium or subject. Watercolours are wet into wet technique.

“Art is an addiction for me that never wanes, I hope to be able to enjoy painting and exhibiting for the rest of my life. As I travel around I realise that there wont be enough years to paint all the scenes I see in this life time. I will have to be reincarnated for a few lifetimes, I am sure of that.”

“You have to be passionate and self critical about painting when your putting yourself on show. For the public and hopefully selling to people from Australia and overseas.”

“The love and magic of creating a new artwork lives in the soul, and in my case consumes every part of me plus every minute I can spare Then when I do get an opportunity I go off on another plein air painting trip, or another workshop to learn something new. As life is an eternal learning journey and my inspiration is born out of all the beauty of this world and not the ugly as we see portrayed in so many artworks these days.”

I last saw Julie demonstrate at McClelland Guild of Artists last year. She makes water colour look fun and easier than we would think. Her wet in wet technique has the brush gliding across the paper or water colour canvas, with seemingly no effort at all.

The society has upgraded the video equipment this year, so not only can we see more, but the colours are much truer to real life now. In the case of watching Julie this is important as her florals have so much vivid colour and lovely washes in them.

Julie has a liking for strong contrast and light and darks for her florals, or even her landscapes for that matter. This means with such great tonal range she creates paintings that jump off the surface and are striking artworks that capture the attention from across a room. Her use of the wet in wet technique means that colours are allowed to run into each other and edges can be kept soft.

Using Daniel Smith paints and 300gsm water colour paper, which was pre stretched Julie was in control of her materials. If an area dried off a bit too quickly she had a little spray bottle to dampen it up again. With only about two brushes for the whole work she was able to achieve some broad washes of colour as well as a lot of mark making and harder edges as she got to the completion part of the painting.

Over the space of the demonstration Julie built up layers of lighter colours moving from cool yellows in the centres of the proteas to the very warm reds and cool greens of the leaves, with deepest purples overlaying warm pinky reds for the background washes.

“Don’t be afraid” she said, “just think about the colour”. “Practice using your darks, so many people are afraid of going too dark with water colours, but the darks balance the lights and add tonal contrast and depth – practice and get used to them’.

From thin first layers, the paint got stronger and thicker. The modelling of the flowers became visible and the painting began to pop off the surface. In areas Julie also used an old credit card or even her fingernail to scratch in lines for texture. The brushes which were a mix of natural and man made fibre held their tips and some very fine lines and dashes were added.

Dry brush marks over the top of colours also added texture to the painting. The finish was to add refined edges to the leaves and flowers and also to to add some depth to the background colour. This helped to push the focal point forward.

Julie brought along some samples of her work done on both paper and water colour canvas. Another way to present water colour paintings which is attractive to buyers these days who do not want paintings that need framing. The canvasses have specially made gesso and the work can be covered with a varnish to protect them instead of glass. For more contemporary or modern styles of painting, or even impressionist to realist paintings, this is a good option as well as needing lees materials and turnaround time to produce.

Julie is an enjoyable demonstrator and keeps the attendees involved and interested right through her process. She always leaves you knowing more than when you arrived and inspired to give something a try.