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Monday, July 30, 2018


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:// ______________________________________________________

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.) 

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..   _____________________________________________________________________


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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