TREES TREES & MORE TREES AT HILLIER'S

Sketching among the trees was so peaceful and relaxing. 

Afterwards we were able to see the print exhibition with work by the artists of the Cowprint group and enjoy refreshments on the balcony of the courtyard cafe.

NEW FACES AT ART EXTRA IN AUGUST

Sue and Tina came in August and it was a productive afternoon for everyone.

Anne popped in to see us. She has been taking time out from meetings for health reasons. So good to see her in high spirits again.  

The artwork was imaginative and varied. 

 

COLOUR TIPS & TRICKS WITH DI ALEXANDER IN JULY

July's meeting looked at how colour works. 

 Di gave everyone a factsheet, a paper plate and a reference picture.The factsheet had a hole for isolating colour in a reference picture and comparing it with colour on the brush!

 A colour wheel can help us to understand how colours work with each other and the best way to mix them. There are three primary colours: red, blue and yellow.

Complimentary colours are opposite e.g. orange and blue. They appear vibrant when placed next to each other, but make a desaturated 'neutral' dark when mixed.

 June asked was how to know whether a colour is 'warm' or 'cool'. This can be useful in mixing two or more colours and in placing two or more colours in a painting. 

Di's tip in comparing two colours was to imagine both colours in their positions on a colour wheel.  The one nearest to primary red would be warmer than the other one. If two reds were compared, then the one nearest to primary blue would be the cool one.

  Many artists like to use a versatile 'limited palette' with a warm and cool red, warm and cool blue and warm and cool yellow. This is because warm colours mix well together and cool colours mix well together. A warm colour mixed with a cool colour results in a desaturated, 'muddier' colour. 

Everyone painted leaf shapes and flower shapes in yellow and then painted shadows on them using one of the other primary colours i.e. blue over yellow and red over yellow. Shadow are usually desaturated colours. 

Transparency of the paint is variable and Di suggested testing the transparency of our paints by painting over newsprint. 

Sometimes a glazing medium can be useful in layering two colours for a more vibrant colour.

 Di also recommended suggesting distance by using the rainbow: warm colours in the foreground and cooler, less saturated colours in the background. 

Di's favourite trick is to use a dark neutral colour next to the most vibrant colours in a painting. 

Finally members could continue painting from their reference pictures.

A workshop with Di on Expressive Colour is planned for September.

ADVENTUROUS ARTISTS AT WHINWHISTLE FISHERY IN JULY

Whinwhistle Fishery proved to be a beautiful location for sketching in July. Helen had triumphed once again with her choice of venue!

Sue and Tina had enjoyed their lunch in the Lakeside Cafe. Helen, Di, Lorna and Harry joined them for the afternoon.

The weather stayed fine and there were plenty of lakeside views.

There were quite a few fishermen on the banks but they were spread out, so the atmosphere was quiet and tranquil.

        

Harry also took photos of a friendly family of ducks.

When we arrived at the cafe for refreshments, one of the owners, Ant Hawthorne critiqued our sketches!

It was good to meet Harry's wife Olive in the cafe and the setting was perfect. Another truly memorable sketching session. We were invited to return again in another season!

Venue details:

Whinwhistle Course Fshery  Whinwhistle Rd, East Wellow, West Wellow, Romsey SO51 6BE  Open 8 am - 5 pm

Fishing details: large Pike, specimen Carp and fine Tench and Bream. The fishery also holds good-sized Roach and Rudd and boasts specimen Perch, of 4lbs plus! There is also a fantastic 1 mile stretch of the renowned River Blackwater

.https://whinwhistlecoarsefishery.co.uk/cafe/

JULY ART EXTRA AFTERNOON

 

A productive afternoon painting with friends in July. 

Pat continued to play cat and mouse.

Henry painted an exuberant bouquet.

Di worked on a spaniel showing the use of layers for the Colour Tips & Tricks evening. 

Tina worked on a special commission.

Claire's Australian painting is another commission.

Ali returned to one of her favourite subjects.

Every month is different!

AYLSA WILLIAMS ON LINO PRINTING IN JUNE

Aylsa Willliams, professional artist / printmaker, introduced us to lino-cutting in June. 

She uses a sketchbook and takes photographs of likely subjects before developing the idea as a tonal acrylic painting or sketch. Many of her works explore the effects of light and shadow.

Langsone Harbour

Aylsa uses Schminke Aqua Linoldruck oil-based, washable printing inks which are opaque. However a medium can be added to increase the transparency. Driers added to inks enable the prints to dry within a week. 

Acrylic artists' paints, on the other hand, are best used with Gelli plates which can be used to print small single prints. 

In the Deep Dark Wood

Aylsa's tips:

A graduated wash is achieved by painting stripes of paint on a piece of perspex and dragging a large roller downwards over the paint.  

Movement in a print is suggested by changing the direction of marks and lines. 

Flicking white spirit into oil-based paint will produce a dappled effect 

 Aylsa runs printing workshops and exhibits her work both locally - for example at Sir Harold Hillier Gardens at Ampfield   https://www.hants.gov.uk/thingstodo/hilliergardens/whatson - and on her website  https://aylsawilliams.co.uk/