The blog contains society news and activities. You are welcome to comment on the pages. Find the main website of the society at: www.tottonartsociety.org.uk To contact the society directly please email: editor@tottonartsociety.org.uk

Monday, July 30, 2018

PICTURES FOM POWER UP





PICTURES FROM CY BAKER DEMO AND POWER UP

CY BAKER PICTURES AND CARDS

August

T.A.S. POWER-UP   JULY ARTWORK
Penny Fry brought in some artwork including several experiments with silicon. Silicon oil is used with acrylic paint and poured onto a canvas to create so-called ‘cell’ patterns. Stephen Rawlins, who has recently joined the society, displayed a variety of work including small studies of fruit and trees, and some drawings

T.A.S.  VIDEO FOR AUGUST - PAINT TEXTURES USING PLASTIC WRAP This is a simple technique on creating lovely patterns for backgrounds or for sections of your acrylic or watercolour paintings. DOUBLE-CLICK ON THIS LINK ttps://www.youtube.com/watch?v=7gyi_Iq83Zg ______________________________________________________
 

A JOURNEY THROUGH THE CREATIVE PROCESS WITH CY BAKER
Cy gave us a unique insight into his methods for creating a new work of art.

He identified three main stages: inspiration, preparation and execution. Much of his inspiration comes from the natural world and he particularly notices the effects of light.
 
His preparation usually involves drawing on a whiteboard with a marker pen which is easily rubbed out. This enables him to experiment with the composition until he is happy with it. Many of the prints feature an animal or bird which is not centrally placed. The head or body may be cropped as well, as is the case with the large portrait in biro of a tiger. Its ears are not in the picture. The character of the animal may be suggested by the size and position on the canvas. His painting of a shy deer, for example, has only the head peering out among an expanse of vegetation.
The execution of the work might remain as a drawing in pen, graphite or ink. Cy uses grey tones and leaves spaces for the lighter areas. This means that shading negative spaces around fine whiskers can be extremely delicate work. Otherwise the drawing becomes a base for an oil painting, in which case it has to be completely accurate. His professional judgement compels him to destroy works that do not meet his own high standards.

Cy recommends that we experiment with materials and use what feels comfortable. He prefers to use two kinds of support for paintings: un-primed linen canvas for use with dilute oil washes or canvas primed with additives to give more texture, such as Polyfilla or sand.
 
e used a canvas with a toned wash of oil and Faber Castell Pitt Artists pens (warm grey 3, warm grey 5 and black) for the demonstration.  His reference was a colourful photograph of an indoor souk. Composing and correcting his drawing (often stepping back from the easel to assess the overall effect) he created an interior scene with repeated arch shapes and backlit figures. Although only in shades of grey, it was more atmospheric than the original photograph. It would be a suitable base for an oil painting. Creating an atmospheric work of art is always Cy’s aim.
Cy reassured us that at some point, while working on 90% of his drawings and paintings, he thinks that they are rubbish. So ‘you should not worry if it does not go the way that you want it to go’. The creative process is a conversation between you and the artwork. He has been writing his blog “The Life of an Artist” since he became a full-time professional artist in 2015. He is refreshingly frank about the highs and lows and we can all learn from it. (Use the numbers at the bottom of the page to navigate through it.)    http://cybaker.co.uk/blog/ 


We should spend as much time choosing a subject and freely experimenting with composition as we do painting or drawing. Cy showed us that making important  decisions early in the process will make a big difference to our artwork..   _____________________________________________________________________



ADVENTUROUS ARTISTS SKETCHING AT GOATEE BEACH, ELING 

FRIDAY 10th AUGUST 10.15 a.m. GOATEE BEACH
The entrance to the beach is beside Eling Toll Bridge on the same side as the church. Park in the Cemetry Car Park and cross the road. Walk down an unsurfaced lane and follow the path until you reach the shore.
If it is wet, meet at the Eling Experience Cafe (postcode SO40 9HF) at 11.00 a.m. 

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Friday, July 20, 2018

EXHIBITION and NEXT DEMONSTRATION

On Wednesday 25th July Cy Baker will demonstrate how to paint memories by painting an interior scene .
Entry forms for the Exhibition can be handed in at this meeting otherwise make sure they are returned to Mary by Wednesdsay 1st August.

Sunday, July 8, 2018

ART JOURNEY CONTINUED

POWER-UP YOUR ART - the second year of the ART JOURNEY

If you feel like trying something new, the video for July is by SURAJ PATEL an artist from India:

PAINT AN ABSTRACT WITH KNIFE & SPRAY – YOUR EASIEST PAINTING EVER!

Double-click on this link: https://www.youtube.com/watch?v=xUvdW1iPgAI 

 Do bring any items of your work and put them on the Art Journey table. You are also welcome to apply to join our members’ Facebook page and post a photo of your artwork on it: https://www.facebook.com/groups/161632347660794/

LATEST NEWS

See some of our members’ work in the Art Pavilion at the New Forest & Hampshire County Show The Showground, New Park Brockenhurst, SO42 7QH 24th - 26th July

ADVENTUROUS ARTISTS SKETCHING GROUP

ASHLETT CREEK FRIDAY 13TH JULY 10.15 a,m,

Sketching is at ASHLETT CREEK near Fawley meeting at The Jolly Sailor pub, Ashlett Road, Fawley, SO45 1DT. There’s a car park and picnic benches. Helen Bartlett will be hosting it.  
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ART EXTRA  - OUR INFORMAL MONTHLY PAINTING AFTERNOON
 TOTTON & ELING COMMUNITY CENTRE, LILAC ROOM
17TH JULY 1.30 - 3.30    £1
Come with your current work and materials and paint with the company of fellow members. Please note that you must book with CLAIRE PALMER Tel. (023)80866913  in order to attend. We can take a maximum of 18 people. See photos of the last one on our TAS Blog http://tottonartsociety.blogspot.com/ Your own news and photos may be sent to our website and blog team: Tony & Betty Rackham at: editor@tottonartsociety.org.uk

Friday, July 6, 2018

KNIFE DEMONSTRATION



MIKE PARKER ON PAINTING WITH KNIVES 

Mike showed us his selection of VERY LARGE knives but said that most of his work is carried out with a small "trowel" ending up with a small knife for the final details in a picture. The very large knives are excellent for dragging down paint to create ripples etc. He works on a canvas board primed with a large paint brush and doesn't worry if the paint is uneven. The palette he uses includes ultramarine and manganese blue, cadmium orange and Indian yellow and burnt umber.

 Most of Mike's work involves subjects that are with moving. For this painting of people walking in a wet street he started by placing a mix of  burnt sienna and burnt umber over the blue base then dragging off areas to create doors and windows. People were painted as shapes using a mix of titanium white and Indian yellow to create a halo around the burnt umber hair. Cadmium orange and burnt sienna were placed on the dark side of the face and an umbrella blocked in with cadmium orange adding lemon yellow or titanium white to produce modelling. The body shapes were defined using  the technique of cutting out with the knife and scraping off the paint.

  To produce a puddle shadows were formed by adding as blobs the colours already in the subject. These were then spread horizontally with a large palette knife. Spattering added a splash. 

  For rain Mike added highlights to the umbrella in titanium white and allowed the colour to "fall off the edge".

He painted a little girl by roughly blocking out the shape of the body  then cutting back and replacing with the background colour. The face had little detail in the features and Mike pointed out it was better to paint subjects with a back view and put details such as the hair in only.

  Mike suggested that keen observation was essential and it was best to aim to keep everything very loose. The interpretation of the painting is left to the viewer.

 Mike is an inspiring speaker and everyone left at the end of the evening eager to get their painting knives out and start painting.