Plums, Hellebores and Muscari 8" x 8" oil
Wednesday, 19 April 2017
Tuesday, 18 April 2017
Friday 9 June, 10am - 4pm
10am: Start in the hall, with coffee and oil demonstration,
11am - 3pm: Paint on the Quay,
3pm: back to the hall for a critique of the day's work.
This workshop is suitable for Watercolour, Acrylics and Oil
Individual tuition given throughout the day
Venue: Morston Village Hall & Quay
The hall is available throughout the day for tea, coffee and conveniences. Also in case of bad weather.
Contact: Email email@example.com
Thursday, 6 April 2017
Helebores and Lime 8" x 8" oil on canvas card
I missed the white ones again this year, must make more of an effort in future.
I also love painting (and eating) figs so snuck one in for fun.
Wednesday, 5 April 2017
Blue Bowl & Fruit 8" x 8" oil on canvas card
Unfinished - Fruit and bowl
Tuesday, 4 April 2017
Fruit in Blue bowl - 8" x 8" oil on canvas board
I asked if she minded me joining in on the workshop which was on still life painting - no problem , so I packed my gear and we set off in convoy the next morning.
The Norfolk Creative Art centre is very well appointed. Hans had provided easels, lights, paints and brushes . the building is an old school so the room is spacious and very light. We were welcomed with a delicious fresh coffee while Penny set up the still lifes.
Once the group had arrived Penny demonstrated the technique of grisaille - a method of painting in grey monochrome. very useful for sorting out your tones in a still life. I enjoyed working this way and couldn't wait to start putting the colour on.
Lunch was a delicious home prepared meal provided by Hans followed by pudding and all dished up in the spacious dining room/gallery.
The whole group really enjoyed the day and everyone including a complete beginner produced some great work under the guidance of Penny.
Norfolk Creative Arts
Thursday, 16 February 2017
River at Dedham Painted using the Zorn pallet
Zorn Pallet Demo painting
The Zorn palette is named after internationally successful artist Anders Zorn (1860 – 1920). He is well known for using a palette of only four colours
There has been a lot of debate as to which Black Zorn used but it is believed to be Ivory Black, which is the colour I used for the painting ‘Zorn Palette demo’. Ivory Black works well as a blue but possibly even better is Winsor & Newton’s Blue Black. Blue Black is a colour I recently discovered and use a lot in my sky paintings now.
It is possible that the red may have been Vermillion; you could try this as an alternative. The white I used was Titanium white but back in Anders Zorn’s time it is more than likely to have been Lead White.
It might at first strike you as an odd selection but the main three colours are just the earthy equivalents of the three primary colours Black being the blue.
I was working from a photograph that I took in Dedham last year. Having drawn the sketch I decided that it would be a better composition if it were cropped to a square.First sketch in the main lines with black and red diluted with turps.
Make sure your brush is clean when you mix the light colour near the horizon with white, yellow and a touch of red. The colour here needs to be fresh.
The distant trees are a mix of white, black and yellow; they need to be dark enough to register against the sky but not too dark that they jump forward. In front of these the distant fields are white with a small amount of yellow.
It is very important to make sure there is no trace of white in your brush when you mix the colour for the dark trees. Even a trace left in the brush will make your colour ‘milky’. Painting in the reflections at the same time. The water should reflect the sky colours; paint this around your reflections. The meadow area is yellow with varying amounts of black and, in some places, red added.
Friday, 10 February 2017
Sunset Over Moulton 14" x 18" oil painting on board
I decided to replicate a painting I did during my 30 days of painting in January. The original of this was 10" x 10" so 14 x 18 was a bit of a challenge, for a start the proportions had changed completely.
Even for an experienced painter it can be a bit nerve racking painting such a big picture in front of a crowd - you just never know if it will work. Of course there are probably demonstrators that paint the same thing all the time but to be honest - I couldn't do that. In my mind all freshness would be lost and it would be boring.
As luck would happen - this one worked, I was quite pleased with the reaction when I popped the painting in the frame at the end.