Foothills Art Club: Educational Opportunities |
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Education Committee: |
* To make changes/edits to this webpage email
Fred at foothillsartclub@gmail.com |
Chair: Laura Procunier and Karen Stienstra
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Weekend Workshops at Beaupre Hall
The following are some of the outside artists and presenters that have joined us for past workshops:
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Carole Bondaroff
Jeremy Mayne Jan Gauthier Mary Lou Brooks David Kitler Curtis Golomb Linda Wilder Marla Blackwell Michael Downs Tracy Proctor Ele Davies Cheryl Peddie Karin Ritcher Doug Smith Bobbi Dunlop |
Jerry Markham
Leah Markham Shannon Luyendy Ursula Reynolds Doug Swinton Jean Pederson Darcy Presiloski Robert E Wood Michelle Grant Jean Geddes Lorri Pullman- MacDonald Robert E. Wood Nancy Lynn Hughes |
Workshops - Recent:
Nov 6 Anne McGilvary - drawing trees demo
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Anne helped us see the trees in the forest, how to watch for the three bears amont the cones, cubes and balls. Shadow, texture and structure are a mater of perspective from nature's point of view.
The following are some of the art resources she brought in to show us. Many of these are available from the public library system, as well as, from Amazon or your favourite new/used book stores.
November 2019 - The Foothills’s Art Club is grateful to Doug Swinton for sharing his knowledge, expertise, and humour at this weekend’s workshop, “Drawing for Painters“.
We are truly inspired by his kind words and insight. A fabulous weekend! Thank you Doug, and see you next year.
We are truly inspired by his kind words and insight. A fabulous weekend! Thank you Doug, and see you next year.
Read Doug's article : Begin With Dominance .
October 23, 2019 Nancy Lynn Hughes - Colour theory.
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September 25, 2019 Robert E. Wood - pallet knife with oil paints. . .
March 2 & 3, 2019 Bobbi Dunlop: FROM THE STUDY TO THE STUDIO PAINTING.
Bobbi developed a
beautiful scene from Rome’s Piazza Navonna from Bobbi’s personal photo reference, supplied. All demonstrations done in oil.
Imagine yourself standing in Rome’s historic Piazza Navonna. As you observe the bustling scene before you, your senses are filled with the myriad smells, sights and sounds – all the while you’re imagining yourself recording them in paint. From this incredible historic piazza in Rome, to our personal studios – learn how to “simplify” this complex scene with preliminary studies and then take it to your larger studio painting. This 2-day Workshop will touch on all the Simple Ideas; that Bobbi emphasizes throughout her teaching: logical ideas; ... the nuts and bolts necessary to build a strong,
beautiful painting. Ideas that help take the mystery out of painting and add the magic you are seeking; ideas that will take your work to the next level.
On the first day you will learn how to simplify the photo reference by painting a small preparatory black-and- white value study, as well as a smaller study in colour ~ then, on day two, using your studies, painting your truest reactions on a larger studio painting. Using the supplied photo referenced, exploring all the fundamentals of painting:
SHAPE, VALUE, EDGES and that scary thing called “COLOUR”. Bobbi Dunlop www.bobbidunlop.com
Bobbi developed a
beautiful scene from Rome’s Piazza Navonna from Bobbi’s personal photo reference, supplied. All demonstrations done in oil.
Imagine yourself standing in Rome’s historic Piazza Navonna. As you observe the bustling scene before you, your senses are filled with the myriad smells, sights and sounds – all the while you’re imagining yourself recording them in paint. From this incredible historic piazza in Rome, to our personal studios – learn how to “simplify” this complex scene with preliminary studies and then take it to your larger studio painting. This 2-day Workshop will touch on all the Simple Ideas; that Bobbi emphasizes throughout her teaching: logical ideas; ... the nuts and bolts necessary to build a strong,
beautiful painting. Ideas that help take the mystery out of painting and add the magic you are seeking; ideas that will take your work to the next level.
On the first day you will learn how to simplify the photo reference by painting a small preparatory black-and- white value study, as well as a smaller study in colour ~ then, on day two, using your studies, painting your truest reactions on a larger studio painting. Using the supplied photo referenced, exploring all the fundamentals of painting:
SHAPE, VALUE, EDGES and that scary thing called “COLOUR”. Bobbi Dunlop www.bobbidunlop.com
Feb 6 Guest Theme Night - Doug Smith: water colourist. Doug has traveled and painted from Canada to China to Italy. He paints from detailed sketches and notes made on site.
His watercolours are on 300lb Arches paper using only three transparent colours: cobalt blue, rose mater and aureolin yellow. Doug works wet-in-wet. The paint is mixed with water in dishes then he uses the table as his pallet. Paint is applied with 1.5” brushes then he finishes with calligraphy like strokes using a #2 rigger.
Important notes include drawing from the centre of interest and out, but, paint from the outside into the centre of interest last. Doug paints the fore and backgrounds then the mid-ground .
By using transparent colours, he is able to build up layers of subtle details (sometimes up to 22 washes). Doug focuses on painting shapes with connecting lines, five levels of values, repeating colours, and negative painting to bring out details.
His watercolours are on 300lb Arches paper using only three transparent colours: cobalt blue, rose mater and aureolin yellow. Doug works wet-in-wet. The paint is mixed with water in dishes then he uses the table as his pallet. Paint is applied with 1.5” brushes then he finishes with calligraphy like strokes using a #2 rigger.
Important notes include drawing from the centre of interest and out, but, paint from the outside into the centre of interest last. Doug paints the fore and backgrounds then the mid-ground .
By using transparent colours, he is able to build up layers of subtle details (sometimes up to 22 washes). Doug focuses on painting shapes with connecting lines, five levels of values, repeating colours, and negative painting to bring out details.
www.facebook.com/dwsmithart
or dwsmithart instagram
or dwsmithart instagram
Nov 28 Theme Night - Jeff Mackenzie: Making Mountains
Nov 3 & 4 Curtis Golomb of Canmore: water colour Saturday and acrylic Sunday. curtisgolomb.com
Slideshows of Curtis Golomb's workshop:
- 300 lb medium texture water colour paper, wet back before painting
- use a big flat brush in water colour paint and mixed on the painting
- one swipe, not fiddle faddles
- whites use Designer gauche
- oil base pastels and fluorescent acrylic for final punch
- water colour paintings are mounted on foam board with gel medium
- varnished with Krylon spray low-odor, clear finish (not need to use glass)
Suzanne's Notes:
Open wells in the pallette, seperate colors in warm and cool. Tone does all the work and color gets all the glory.
Trick..mixing the darks on the paper, transparents make great darks but mix them on the paper
Wet the back of your paper, put the tape around the outside edges to give you a nice white border. Make one end your focus in the painting and make marks that take the eye to that corner.
Work with basic shapes less is better
Start like a lumberjack and end like a jeweller.
Stainless steel clips are best for anchoring the paper to you work board. Mist bottles are very handy.
Use the biggest brush to get the job done. Remember when doing sky it gets darker as it comes over you.
Timing is everything when working in the wet.
Use your shoulder and arm rather than you wrist to make for more fluid painting.
Varnish is Krylon, low odor, clear finish. 2 coats and once adhered to the board do another coat.
Use gel medium thick to adhere to the board. These then can be framed without glass. Wet the back of your painting, then put the gel on the support board, then adhere together. Use one full sheet of plywood to press otherwise you get ridges.
Quick 50 brush strokes can be done on location. Using large shapes. You can etch in trees with a blade.
- 300 lb medium texture water colour paper, wet back before painting
- use a big flat brush in water colour paint and mixed on the painting
- one swipe, not fiddle faddles
- whites use Designer gauche
- oil base pastels and fluorescent acrylic for final punch
- water colour paintings are mounted on foam board with gel medium
- varnished with Krylon spray low-odor, clear finish (not need to use glass)
Suzanne's Notes:
Open wells in the pallette, seperate colors in warm and cool. Tone does all the work and color gets all the glory.
Trick..mixing the darks on the paper, transparents make great darks but mix them on the paper
Wet the back of your paper, put the tape around the outside edges to give you a nice white border. Make one end your focus in the painting and make marks that take the eye to that corner.
Work with basic shapes less is better
Start like a lumberjack and end like a jeweller.
Stainless steel clips are best for anchoring the paper to you work board. Mist bottles are very handy.
Use the biggest brush to get the job done. Remember when doing sky it gets darker as it comes over you.
Timing is everything when working in the wet.
Use your shoulder and arm rather than you wrist to make for more fluid painting.
Varnish is Krylon, low odor, clear finish. 2 coats and once adhered to the board do another coat.
Use gel medium thick to adhere to the board. These then can be framed without glass. Wet the back of your painting, then put the gel on the support board, then adhere together. Use one full sheet of plywood to press otherwise you get ridges.
Quick 50 brush strokes can be done on location. Using large shapes. You can etch in trees with a blade.
Water Colour in fifty strokes . . .
Water Colour with masking fluid, tape and pastels...
Curtis' book recommendation: "First Impressions" Edward Norton Ward (available used only)
Day Two: Acrylics with Curtis Golomb . . . landscape
Suzanne's Notes:
Acrylic He uses peel palettes.
He uses hard edge dominant edges. He will send out a memory jogger for both notes.
Uses a pastel conde pencil. It wipes off easily or disappears.
He uses a large palette knife that looks like a pastry brush. Square brushes, 1 and 2 inch brushes. Uses as large as possible. He does not use a value sketch very often. He does it right on the canvas using black gesso. or foam black Masking tape for marking straight lines.
With gesso black he puts in his darkest darkest. Make the trees entertaining on the edge.
Use quality canvas so they don't sag. He uses a little water to thin the gesso or a medium.
The black gesso gives a texture that cannot be replicated with just the paint. Having a good value sketch gives confidence for a good painting. Watch out for lines that are too even and boring. after putting in the value sketch with black gesso then add white gesso to correct. in the painting he was able to add holes to the trees.
some of his finishing was done right at the beginning of the painting on the gesso.
He does do an underpainting for all his work. Use transparent glazes for your underpainting. Nickle-azo yellow. Paint on the underpainting loosely with hatching. Then put in a magenta also cross hatched, you can lighten by wiping off with a paper. Thalo blue green shade is his favorite. He then added a purple to the sky and behind the mountains
adding in shadows as he goes in the mountain area. the light is coming from behind him. He dropped it on the floor to set the painting. Using a dryer to dry it. Not having straight lines on horizon lines as that becomes boring.
After laying in his under painting he puts in his mid tones. He paints from the middle out. green, gold, chromoxide green. Starts to work on some of the highlights on the edge of the trees. He uses chalk to reestablish his drawing following where the edges are of his mountains. Mixing a blue and also using white gesso. He cuts around trees and other things to put into the mountain. Cutting in is a great way to do a lot of detail without a lot of work. It makes things pop.
Uses white gesso to highlight the mountains where the sun is hitting. He uses his palette knife as his palette, gets just enough paint and can get a nice edge to is brush when painting.
Over the water, phatho green and white to make a nice water. He put masking tape for a nice hard edge on the painting. Swack in the water :) . don't paint up into the masking tape always paint down. It is really hard to put black into color, it looks too contrived. cutting in around the black forms makes it stand out more and leaves some of the yellow around it.
He takes straight lines down on the water.
white gesso absorbs light and titanium white reflects.
With white gesso he cut around the rocks and added a distance water line. He made a really hard edge on the mountains with masking tape. He changed the sky by using gesso, permanent blue light and mag blue. Dark to the one side and lighter towards the other side. With a dry brush and a little paint you can make a suggestion of cloud.
To give the piece a little drama he used a glaze around the bottom. He did a glaze and then wiped a bit off to soften the edges. He added cad red dots to make the painting pop.
The painting was started at 10 and finished at noon.
Suzanne's Notes:
Acrylic He uses peel palettes.
He uses hard edge dominant edges. He will send out a memory jogger for both notes.
Uses a pastel conde pencil. It wipes off easily or disappears.
He uses a large palette knife that looks like a pastry brush. Square brushes, 1 and 2 inch brushes. Uses as large as possible. He does not use a value sketch very often. He does it right on the canvas using black gesso. or foam black Masking tape for marking straight lines.
With gesso black he puts in his darkest darkest. Make the trees entertaining on the edge.
Use quality canvas so they don't sag. He uses a little water to thin the gesso or a medium.
The black gesso gives a texture that cannot be replicated with just the paint. Having a good value sketch gives confidence for a good painting. Watch out for lines that are too even and boring. after putting in the value sketch with black gesso then add white gesso to correct. in the painting he was able to add holes to the trees.
some of his finishing was done right at the beginning of the painting on the gesso.
He does do an underpainting for all his work. Use transparent glazes for your underpainting. Nickle-azo yellow. Paint on the underpainting loosely with hatching. Then put in a magenta also cross hatched, you can lighten by wiping off with a paper. Thalo blue green shade is his favorite. He then added a purple to the sky and behind the mountains
adding in shadows as he goes in the mountain area. the light is coming from behind him. He dropped it on the floor to set the painting. Using a dryer to dry it. Not having straight lines on horizon lines as that becomes boring.
After laying in his under painting he puts in his mid tones. He paints from the middle out. green, gold, chromoxide green. Starts to work on some of the highlights on the edge of the trees. He uses chalk to reestablish his drawing following where the edges are of his mountains. Mixing a blue and also using white gesso. He cuts around trees and other things to put into the mountain. Cutting in is a great way to do a lot of detail without a lot of work. It makes things pop.
Uses white gesso to highlight the mountains where the sun is hitting. He uses his palette knife as his palette, gets just enough paint and can get a nice edge to is brush when painting.
Over the water, phatho green and white to make a nice water. He put masking tape for a nice hard edge on the painting. Swack in the water :) . don't paint up into the masking tape always paint down. It is really hard to put black into color, it looks too contrived. cutting in around the black forms makes it stand out more and leaves some of the yellow around it.
He takes straight lines down on the water.
white gesso absorbs light and titanium white reflects.
With white gesso he cut around the rocks and added a distance water line. He made a really hard edge on the mountains with masking tape. He changed the sky by using gesso, permanent blue light and mag blue. Dark to the one side and lighter towards the other side. With a dry brush and a little paint you can make a suggestion of cloud.
To give the piece a little drama he used a glaze around the bottom. He did a glaze and then wiped a bit off to soften the edges. He added cad red dots to make the painting pop.
The painting was started at 10 and finished at noon.
Acrylic - architecture: Clock Tower in Portugal
April 12, 2018 Anne McGilvary - How to Framing workshop. Anne recommended purchasing professional Framing Hardware and Point gun ex. Fletcher. She demonstrated the proper method applying Paper backing:
- place face down on towel
- Mirror clips to mount frame into frame
- sign back on canvas and name (date optional)
- tape 2sided (Destination Art)
- on edges of frame
- Paper: roll of brown paper
- Cut over size
- Press on to tape from middle to corners
- Crease paper edges
- Sand paper block at 45°
- Spray paper with water
- Dries tight
- Loops 1/3 down
- Pre-drill or awl for a starter hole
- Check screw length and image right-side up
- Wire: w plastic coating
- Wrap 8x, press tight
- Cut to length so 2” down from top when finished
- Wrap wire
- Bottom bumpers
- Label w address label
- Tie business card to wire with title, cost, your name, notes about painting and artist
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