CANVAS. September NORMAN ROSSITER Wildlife in a Landscape using Acrylics 9th August Welcome to Stan Kaminsky

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1 CANVAS September 2016 Coming Up next time:- Tas Severis Seascape with Palette Knife Acrylic 12th July Welcome to Stan Kaminsky Wildlife Portrait in Gouache NORMAN ROSSITER Wildlife in a Landscape using Acrylics 9th August 2016 Norman gave us wonderful demonstration of how to apply acrylic paint fairly loosely at the outset but then to develop that into a very pleasing picture of a woodland glade with the addition of a Roe deer introduced towards the final stages of the painting. All this produced with two flat brushes ¾ and ½ and one round. Before he commenced, Norman gave us an insight into his early training and love of drawing from a very young age with his first competition entry being at the age of 12. Norman, who now lives in Lincolnshire, has lived in Devon, Leicester and Manchester where he trained and perfected his art. He explained that when painting he always tries to achieve photo realism but only uses photos for reference preferring to sketch on site and then work up into a painting in his studio. He allowed us to look at the sketch book from which he took inspiration for the painting he demonstrated; Bourne Wood in Lincolnshire. His first few brush strokes were completed very quickly using a neutral tint to establish the horizon and what would turn out to be a path in the woodland. This was followed by painting negative spaces and shadows with mixes of Paynes Grey, Ultramarine and Raw Umber. With a number of deft strokes the trees started to appear. By using different mixes of Paynes grey with Ultramarine blue and Burnt sienna trees either receded into the background or came forward to give depth. He added Sap green to the mix in different strengths to introduce bushes and growth at the base of the trees. He said that he never uses green straight from the tube but prefers to mix it with other colours to give a more natural effect. After quickly adding colour to different areas he explained that this would have been the point at which he took the painting back to his studio to work up if he had been working outside...continued overleaf

2 The path was added using Raw Umber and Burnt Sienna with touches of white for highlights. Sap Green and Cadmium Orange were added to represent grass and bushes. White gesso was introduced with Ultramarine for the small areas of sky. This addition transformed the painting where foreground and background separated completely. Using a Neutral tint mix with white gesso and with Raw Sienna detail was added to the trees. Branches, he said he left until last to insert in the appropriate places. The Roe deer and final details were added after the break to complete the painting. Norman s tips for painting in acrylics: To start your painting he suggested using a consistency or water, then increase that to single cream and finally double cream. Load the brush on both sides to get a chisel edge. White gesso is useful to mix with different colours like paynes grey and ultramarine. Also greys Sap Green. For summer greens Sap green mixes, sap green and purple gives an olive green. Use Hookers green mixes for Winter greens. Atelier interactive Carbon Black is the best black. Winsor & Newton and Galleria paint use the same pigment but you need twice as much Galleria to Winsor and Newton. Halfords clear lacquer to varnish watercolour on canvas Use a large sandwich box as a wet pallet with sponges and kitchen towel. Use cheap dry pallet just a piece of board with a hole in it. Michael Lambell

3 TREVOR COLEGATE An artist who Reaches for the Skies Many of you will know Trevor Colegate, who has been a member of the Society for many years, having also served on the Committee. Trevor joined the Guild of Aviation Artists about five years ago because of a lifetime interest in art, and aviation art in particular, as an entry level Friend. This gives full access to all facilities and, importantly, the opportunity to submit paintings for the Guild annual exhibition held in The Mall Galleries in London. Trevor says: The submission process is quite stressful. Watching people walk out with their rejected paintings under their arms is not pleasant. Happily, I have been fortunate to have my paintings accepted and have successfully sold a number of them. The next level up is Associate Member. The requirement for this, is that the Artist must have paintings accepted for 3 annual exhibitions over a period of 6 years. A panel of senior artists then meet every year and makes the selection. I have exhibited in three exhibitions now, so am hopeful of selection to Associate Member. This year, I submitted and had accepted 3 paintings and won the Bonham Trophy and 100 award for "The Best Group of Paintings in any medium. Furthermore, 2 of the 3 paintings were sold. So this has been a very successful year for me. Trevor s three award-winning paintings are entitled "Splashdown in Barra", "Harry misses Archie" and "Not for the feint-hearted". Trevor is shown holding the coveted Bonham Trophy. The rider to all of this is the success of Michael Chapman, another B.A.D.A.S. member, who is an Associate Member of the Guild of Aviation Artists, and should also be congratulated; he sold 2 paintings this year. Well done, Michael! All of the above paintings were at least started at our Friday morning sessions, so including Trevor and Michael s achievements in the CANVAS will be a great boost for the Birstall Art Society. For further information on the Guild of Aviation Artists, please visit their website at: Nuala Carr

4 DEMONSTRATION EVENING In watercolour Tuesday, 12 th July 2016 TERRY HARRISON The demonstration had been advertised as a painting in autumnal colours, but Terry had decided to change his plans and delivered us not one, but two, demonstrations, the first being a French street scene and the second a rendering of a rusty old 1950 s Dodge pick-up truck. Two more different subjects could not have been presented but, as usual, Terry showed his tremendous skill and speed of working. Both subjects had been pre-drawn in 2B pencil onto Bockingford 300gm (140lb) rough paper (unstretched and lightly held to the board with masking tape) and masking fluid had been applied to the areas he wanted to retain as highlights. Only a few brushes were used: a mop for applying water and paint to large areas of sky and background, and others which Terry referred to a Golden foliage brush, a Golden leaf brush, a ¾ synthetic brush, together with small, medium and large detail brushes and a half-rigger. scratching out. He also used a credit card for The French street scene showed some flower-bordered stone steps lined with terracotta pots of geraniums, leading to a patio area with garden furniture. The building on the left had a shuttered window and an inset doorway; the light was coming from the right. Terry used a combination of colours: Raw Sienna (RS), Burnt Sienna (BS), Burnt Umber (BU), Shadow (S), Ultramarine (UM), Cobalt Blue (CB), Permanent Rose (PR), Cadmium Red (CR) and Cadmium Yellow (CY) together with his own mixtures of Sunlit Green (SG), Country Olive (CO) and Midnight Green (MG) to create the foliage. Terry used a wash of RS over the walls and steps, bringing it down to the flower areas, mixing BS and RS and stippling into the wet wall area to give a crumbling stone effect, stippling in more BS to the wall area. RS was used on the pavement area in the foreground and the balustrade to the right. BU and BS were used around the window and door embrasures and allowed to dry. A mix of BU and S (giving a purple colour) were applied with the ¾ flat using a downward motion of the brush to indicate the risers of the steps. The small detail brush was used with BS for the pots and, whilst still wet, dropping in some S on the left and underneath the pots to indicate shadow. Using the Golden foliage brush, SG, CO and MG were stippled on light, medium to dark - to describe the bushy plants beside the steps, and CY was added into the SG for further depth. Shadows were added to the front wall and blended into the green foliage. CB was used for the door and shutter. SG was applied to the arch of the door, going in again with MG, using the edge of a piece of paper as a masking device. Returning to the left wall, more BS was added and the credit card used to scratch out. More stippling was added to the right hand wall to create texture. A mix of UM and BU was applied with the medium detail brush to the underside of the arches of the window and door. BS was used for the pots on the windowsill; BS and S was stippled onto the wall to represent foliage with the Golden leaf brush, going in again with MG. For the pots on the windowsill, Terry s own greens SG, CO and MG were used, again, light to dark. The small detail brush, with a mixture of CB and S, was used to indicate details on the shutter and the door. Details of the stonework was added with a rigger. The large detail brush was loaded with a mix of CB and S and drawn across the foreground for shadows on the pavement, as well putting shadows behind some of the plants. BS and S was used for the shadow falling across the back wall. The masking fluid was removed and the medium detail brush used with RS and G for the spider plants. CR was used for the geraniums on both sides of the steps. PR with a mixture of PR and CY were used for the other flowers, with CB towards the top. CB and S darkened the inside of the window embrasure and to create shadows under the patio furniture. CY is opaque, so was used to overlay greenery in the foreground to indicate flowers. Terry added some final darker shadow details and voilà! We were in France!

5 After the break, Terry gave us a Masterclass in painting RUST! Terry told us how he had taken the reference photograph whilst working in Boone, South Carolina, for a company of art suppliers called Cheap Joe s! Using the same method of preparation and colour palette, plus a colour called Bluebell (BB), Terry wetted the sky and background area thoroughly with the mop, using CB for the sky, bringing it down to the top of the cab and hood, with a band of RS below. A mixture of CB and MG were laid down to indicate the background trees, SG on the right side of the trees and slightly darker RS to the left. CO with a mix of RS and BS was stippled to indicate the foremost bushes. BS and S were flicked and stippled and, whilst till wet, a brush with an angular end was used to cut out grasses. A smidgeon of CB was laid over the area to indicate the area s well known blue grass! The medium detail brush with CB was used for the windows of the cab, with a CB and a touch of S for the windscreen. BS was used for the hood (or bonnet, as we would call it), dripping in some CB and allowing it to blend. More BS for detail around the windscreen and BU around the rim of the windows. RS and CB were dropped into the roof and allowed to blend. BS was used for the front and door and, whilst still wet, CB was dropped in and allowed to blend. A light wash BU was placed on the front of the hood, then darkened over the grille, and darker RS over the radiator. More darks, using BB, indicated shadows. The large detail brush was used for the fender, with mixes of BU, BB, UM, RS and BS used for shadows throughout the painting. UM and BU (almost black) was used for the interior, around the window openings, the wheel arches and under the flatbed. CB was used for the rear and side windows. The rigger was used with UM and BU for fine detail around the doors. CO was flicked with a fine brush, with some BU plus BS and S for the grass. The masking fluid was removed and a couple of touches of CB and SG were added to indicate reflections on the chrome. Terry added some final darker shadow details and yee ha! We were in Dixie! A thoroughly enjoyable and instructive demonstration. Thank you, Terry. Nuala Carr

6 LOCAL ART EVENTS COMING UP THE EYE - Art Project The EYE Art Project is a series of art exhibitions in Leicester City Centre and is a new opportunity for artists to show their work. It will take place between December 2016 and May 2017, in the Basement Hall of the Adult Education College. They are looking to recruit artists for the shows. There will be a public meeting on Sunday 4th September at 2.30pm with commitment to the project confirmed by 11th September. Download further information 34TH UPPER BROUGHTON ART SHOW Entrance is FREE on Saturday 8th October (10am-5pm) and Sunday 9th October (10am-4pm). Artists, sculptors and woodcarvers, along with exhibitors of other media, from around the region will be showing their work over the 3 day exhibition at the Annual Open Art Show, now in it's 34th year. All exhibits are for sale and awards presented in a number of categories, which are independently judged. Artists who wish to exhibit please contact Elizabeth Cooper on NOTTINGHAM CASTLE OPEN 2016 For artists living in or based in the Midlands of England. Each exhibitor has the chance to receive a wide variety of prizes, which include the Grand Prize of 1,500, alongside other cash, materials, exhibition and residency opportunities. Deadline for entry Midnight, Sunday 18 September PASTEL SOCIETY ANNUAL EXHIBITION 2017 Call for submissions for this annual exhibition to take place between 21 February and 4 March Deadline for entry 4 November PLANT CULTURE EXHIBITION 23 July - 25 September Attenborough Arts Centre Lancaster Road, Leicester LE1 7HA Bringing together different artistic representations of plant life in modern and contemporary art, Plant Culture will explore how artists have used plants as a subject matter, material or aesthetic. LSA ANNUAL EXHIBITION September to 29 October 2016 New Walk Museum & Art Gallery

7 CLAIRE BOTTERILL WORKSHOP Ink, Wax and Watercolour - 10 th August 2016 Claire has had a very interesting career and told us something about herself. After studying Industrial Ceramics and gaining a B.A. Honours degree, she developed her own ceramics studio and for several years sold to the trade and galleries around the country. She worked freelance, sculpting for a major stone ornament company which exported globally and supplied major high street stores. Claire established and organised the pottery and art departments in an NHS hospital, together with several local authority day centres for people with special needs and was commissioned by AC Black to write Clay for People with Special Needs published in Claire currently runs art courses and teaching in the Midlands, providing popular demonstrations, talks and workshops throughout the UK. Claire began by sketching out her subject, which was a head of dried cow parsley, onto pre-stretched Bockingford 425gms watercolour paper stapled to a back board. She suggested holding a frame against the proposed area in which the subject will be placed, to give a sense of scale and space before commencing the drawing. TOP TIP #1: Hold the pencil at the same angle as the subject (stem, branch, seed head, etc.,) move your arm down and place the pencil onto the paper and draw the line at the same angle. Look at the angles and how far they are across, place a dot where the top of the stalk is and draw dot-to-dot to where it joins the stem. Claire then drew in the seed head, giving some detail but using a scribble effect to indicate less defined areas. Once happy with her drawing, she went over it using a Parker Vector cartridge pen containing Parker black permanent ink cartridges (obtainable from WH Smith, Partners or any good stationers). When the ink was dry, the pencil lines were erased. TOP TIP #2: Use a bird feather to remove traces of rubber after erasing, in order not to damage the surface of the paper. Using Crayola coloured wax crayons, Claire used apricot to indicate seed heads, and a mixture of green, purple and brown on the stem. Next the paper was thoroughly wet with a flat brush, avoiding contact with the inked areas and a light wash of alizarin crimson placed at the top left and bottom right, adding more water and moving toward the ink, touching it in parts so that it ran, washing it across areas of the picture to give a lovely, subtle effect. Finally, a very strong mix of Paynes Grey was dropped in to create drama. Now it was our turn! With a lot of hard work and concentration, the group managed to produce some excellent work, some if which can be seen here. Everyone thoroughly enjoyed the day, eager to get home and practise what they had learned. We all wish to thank Claire for an excellent workshop. Claire has already been booked for a Demonstration Evening and will hold a further workshop for us next year. Visit Claire s website at: Nuala Carr

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