Don’t forget to check the details to access the demonstration with Roger Dellar on Zoom this Wednesday, 25th January.
Roger will be taking us onto his allotment in a presentation called ‘Living on the Veg!’ This is expected to be an oil painting, which will be great to watch. And you’ll learn everything you need to know about painting your veggies. I wonder if that gets rid of blackfly?
Members will receive their Zoom link details by email in the next day or so.
If you need help setting up or accessing your Zoom system, contact Roy Brophy as soon as possible (and not after 7pm on Wednesday!). If you need a refresher, you could look at page 8 of this lovely guide from West Hunsbury Parish Council, which I found on the web.
Well, two for the price of one! Fifty people were entertained as Peter painted, from scratch, two very different pictures – in parallel! – during his demonstration on Wednesday evening.
One, a townscape of a shopfront in Bath. Here is the reference he used…
The other, a loose pen/ink/watercolour of an autumn/winter landscape.
Peter started with the townscape using a straight edge to set some perspective guidelines and then sketched in the form of the buildings using a 4B pencil.
A wash for the sky was then followed by some details of the buildings in pen. Throughout the demo, Peter explained the different types of pens and materials. (Click here for a link to a list of some of the materials he was using).
At this point Peter switched to the second painting.
This was started with some very rough pencil sketching – it was difficult to imagine what was coming – it was all in Peter’s imagination. A wash for the sky followed by some very loose brushwork “daubings” for the ground areas.
A little penwork to the foreground to indicate some grasses then all change again – back to the Townscape for some more detail, and then back to the landscape for some more dramatic work to the foreground.
The evening progressed, back and forth between the two paintings, with plenty of information from Peter on his techniques and thinking. By the break the images were….
The pace quickened in the second half as more and more detail was added to both pictures.
The techniques described and demonstrated by Peter were of value to any artist. Particularly fascinating was watching the leafless trees develop – and then – hey presto! a few splatterings from a brush and just a few remaining winter leaves. The result was very natural looking.
The results …
Still some work to do, but a very interesting two hours.
This was a difficult demonstration for our audio/visual technician Richard, as Peter worked one moment on an upright easel, and then the next – flat on a table. Richard’s camera work was brilliant and everyone had an excellent view of the artworks as they came to life. Thank you Richard!
We can often judge how well the demonstration is working for the audience by how many depart at the break. On Wednesday everyone remained, and the audience were almost silent throughout, and (except for a few pertinent questions) – completely enthralled.
A brilliant demo with lots of inspiration, techniques & information, with time to chat to friends and like minded people, in comfortable surroundings, coupled with super AV equipment with everyone able to see the work in progress very clearly. Thank you Peter and all concerned with making it happen – an excellent evening.
At our Zoom demonstration last Wednesday Paul Berryman showed us his secret to shadows – use the Terminator!
Apart from a film character, ‘terminator’ is the word used for the border between sunlight and dark on a planet or moon. So this border between light and shade is what Paul focuses on when drawing life models.
He showed us how he draws, quickly and in one considered line, the outline of the model. Then he outlines the critical edge to the deep shades – the terminator. If I said he then fills it in and blurs it to the correct tonal values that would make it sound easy – but in essence that’s the plan.
What to use
It does depend on what you use, and Paul generously shared the tools he used on the demo as follows:
General’s Charcoal pencils – (orange) recommended 2B, 4B, not so much the 6B – very soft!
Tombow eraser – 2.3mm (try Jacksons for suppliers)
Seawhite newsprint pads A4 or A3 depending on your preference
Helix A5 Metal Pencil sharpener
Blending stumps, widely available anywhere
I was happy to see I was on the right lines with my first Life Drawing workshop as I’d brought a stack of newsprint (saved from packing when I moved) as it seemed a good medium with charcoal. But I must get those pencils and the Tombow eraser – and a good sharpener – I’ve already had several useful pastel pencils eaten by an ordinary sharpener!
I really enjoyed this demo – possible the more so because I could watch it from home and scribble as many notes as I liked. Paul also sent links to his model photos. I’m planning to practice on some of them.
The discussion on schools of drawing and the animation approach was very interesting. If you’ve missed it, or want to go over it again, Gill sent the link to the recording of the demo, but it’ll only be available for another week, so act now!
We had a quick discussion on lighting the models for our life drawing workshop, so I hope our organisers can get some good strong but low energy lights to enhance our model’s shadows for next time.
Comments from other members
It is certainly great not to venture out in these dark evenings.
Thank you for all the demo information on materials. There was a lot of information from Paul last night.
Thank you for forwarding the list- yes he was magic I thought. For me, best we’ve ever had.
Thank you so much Gill [for the recording link] that is excellent. We are looking forward to watching this demonstration when we have a moment.
It was a super demo, I shall enjoy it a second time with the recording, and I’m sure learn even more.
‘Townscapes’ is the demonstration for Chandlers Ford Art Group members on 26 October.
Peter French works in line and wash mainly for his drawings of urban areas – as opposed to rural landscapes. He does much of his work in watercolour, also acrylic paintings and the occasional oil painting.
The demonstration takes place at the Methodist Church, Chandler’s Ford, on Wednesday 26 October 2022 7:30pm to 9:30pm.
Refreshments – TBA
Open to Members and Non-members. No charge for members – £5 for Non-members. We look forward to seeing you there.
A respectable turn out for Paul Arnott paid great attention to the methods and artistic expertise involved in creating digital art. Other aspects of the medium remain controversial.
That seemed to be the reaction of a range of members afterwards.
Painting with stylus and tablet…
Paul Arnott kindly explained all about the programme he uses, a top-spec software system called Corel that has been in development since the early 2000s, and consequently has more bells and whistles (sorry, options) than Microsoft sticks into a spreadsheet programme.
In the first part he showed the way you can use such a program, and the differences between types of ‘brushes’ that the stylus on your tablet (such as the Wacom 6 one Paul uses) will generate on your screen. That led on to the computer enhances things like holes, and swirls, and (very useful) the way you can mask out areas by selecting and inverting them, a bit like masking fluid, but more sophisticated, and cleaner.
The second part, Paul created a lovely seascape from scratch, showing the uses of different features, and the way you can use different layers, which you can then move if it’s not quite right.
…and digitising pictures in the style of…
And then, having proved that digital art can be just as creative and demanding on the artist as any other medium, he ruined the illusion by demonstrating a programme that plays with photos to turn them out as, well, any artist you like. All you have to do is say ‘when’.
There are good things about this, if you are doing something for your own enjoyment. Why not have a picture of your favourite pet rendered in the style of Matisse? Get it printed for permanence, and hang it on your wall.
what if you used this to do a lovely landscape and passed it off as an ‘original digital artwork’? Who would know you’d done virtually nothing of artistic merit yourself?
what if you printed this, or indeed any of your carefully drawn/painted work on your tablet on your home printer. You might use ordinary inks on paper that might not be permanent… how could you guarantee the quality if you sold it as a painting?
What if you got the programme to do something with a photo in a style you thought wonderful, and you copied it in paint yourself. Is it original?
what if you used some other artist’s work as the basis for your digitising? Have you got the copyright? Have they?
Paul did mention the issue of printing, and showed one of his works that had faded in the light. He generally sends them for professional printing if he intends to sell them.
Ideas and controversy
Some of the members present got a lot of ideas from this presentation, others found it unevenly presented, and worrisome. On balance, maybe it won’t have helped the cause of digital art acceptance at our summer exhibition. Not yet, at any rate.
Wednesday 28 September sees Paul Arnott start the autumn season of Chandlers Ford Art Group’s monthly demonstrations.
Paul’s topic is Digital Art. For many of us this will be an eye-opener, although we know some of the members embrace the medium to a greater or lesser extent.
There is sure to be some discussion of how far this format should be considered alongside established techniques, possibly including issues of plagiarism, as copying is so easy via computer. Should the group allow digital art at its Summer Exhibition? Come along and express your views.
This event is open to both members and non-members (£5 fee on the door, cash or card). Further details here.
43 members and 12 visitors were thoroughly entertained by Laurence Belbin on June 22nd.
All came together, he is such a fabulous painter.
Would love to do a workshop with Laurence!
Laurence explained how The Lanes project had come about; selecting various views of the lanes in his area, and painting them through the seasons. He gave very useful tips on selecting light and shade in colours that really create the seasonal differences.
Our next live demonstration will take place on Wednesday 22 June, from 7.30-9.30pm at the Methodist Church. Laurence will be giving a two-hour talk and live demonstration entitled ‘The Lane Project’. Refreshments will be available during the break.
Laurence Belbin is a painter of light and atmosphere. He has a fascination with sunlight, especially on water. His paintings of Venice, the beach and the sea are full of light. His landscapes and interiors sparkle and his handling of paint is both sensitive and expressive.
Free to Members, Visitors £5 at the door (cash or card).
Adebanji Alade set up his area for the demonstration. As soon as he seemed finished, members and guests gathered round to pick his brains before the event started. And despite two hours of pearls of wisdom falling from him as he worked, they gathered again at the end of the demonstration, reluctant to miss a thing.
We are excited to welcomeAdebanji Alade, whose demonstration in Acrylics was postponed from last year due to lockdown.
Rain and Reflections in an Urban Landscape
On Wednesday 25th May, Adebanje will be painting for two hours during which you can ask questions, and move around to view from different angles.
Adebanji, the ‘Addictive Sketcher’, is vice-president of The Royal lnstitute of Oil Painters and has appeared on numerous TV programmes. The demonstration takes place at The Methodist Church, Winchester Road, Chandlers Ford, Eastleigh SO53 2GJ (M3, junction 12),from 7.30 to 9.30pm.
There is no charge to Chandlers Ford Art Group members; visitors can pay £5 at the door – either cash or card payment