Brian Oxley

    

  
 


Josephine Hudson

      

    

   


David Aspinal

 David had pre-drawn his manipulated view of Tenterden on un-stretched Sanders Waterford cloth based 140lb paper.  He applied his sky in varying tones on dry paper as he feels that it is difficult to judge the colours as the pigment changes again when applied to the wet paper.  He always uses the same brand of coloured paint as he has found that different brands of the same colour can be either opaque or transparent.

                   

 
Nearly all of the paint during the demonstration was applied with a large pointed squirrel brush.  David prefers to leave areas of white paper rather than use white paint as it keeps the painting fresher.   Being a ‘tonal painter’ rather than a colour one, David paints from light, cool and subtle to hard and strong tones.   Blending the colours a he goes David worked from the light areas on the left hand side down the painting and to the right, thus avoiding smudging his work.

      

 

The people in the scene were just an impression with no features and they were blending together to give unity.  The final details of the painting were applied with a finer brush and glazing of colours was used to give form to the buildings.

 

 

 


Nicola Liddell

Website Editor

November 2015

 

 

Keith Collins

Keith's paint along in watercolour was attended by 9 RMAS members.

 


Keith  first of all explained the Shan Shui Chinese style of painting mountain scenery and handed a leaflet which gave a further potted history/explanation of this style.

 

 

Keith started the painting session by first showing stage by stage how to do a simple mountain backdrop with Fir type tree in the foreground.

 


Boyant by our confidence gained, we all then went on with Keith’s guidance to do a water scene and again with distant mountain background.  

Because the afternoon was so successful and everyone achieved such good results, they were encouraged to group show their paintings 

 

 


 

Jeff Phipps

October 2015

 

Paul Apps

Paul Apps opened the new winter programme with an oil painting demonstration using his plein air equipment.  He places his oils in the same positions on his pallet so that he can instinctively go to them, so not to lose concentration or the flow.   The canvas was pre-prepared with a  warm value ground of acrylic Gesso.

    

Paul used his plein air style to sketch in the cockerel using a dry brush, this ensures a longer working time and an opportunity to add more colours over eachother without running.    With oils he works from dark to light to keep control and modify as he moves forward in the painting as he needs to consider values constantly.

He gave the audience 4 rules he considers makes a good painting:

1)    Good drawing

2)    Good values - warm to cool and dark to light

3)    Edges - sharp, soft and lost

4)    Colour - least important of the four as points 1-3 have to work before colour can be added

   

Paul ensured that the values of the fowl against the background was such that they were thrown out to the foreground - monochromatic painting.  Adding dark green in the background gave distance to the painting and using this colour again on the cockerel ensured harmony between them.   The sickle feathers were added by rolling the brush in a long flowing movement.

Paul worked the whole painting all of the time, adding shadows and sharpening edges to refine the shape and show where one shape ends and another begins.  Finally highlights were added using a rigger brush.


 

Nicola Liddell

Website Editor


Geoff Thorpe

Geoff's demonstration today was a pastel seascape on Art Spectrum 140-400lb sky blue Colourfix paper (acrylic primed) and done with his usual flair and enthusiasm using a variety of pastel makes, Unison among others.

The horizon line was placed a third up and a mixture of Burnt Umber, Ultramarine, Flesh Tint, Yellow Ochre were built up in layers for the sky and blended with the ball of the hand.  White flicks were added to give the impression of clouds.  Stronger blues and purples were added and Geoff used just his finger tips to soften some edges he followed the same procedure using light colours for the clouds.  Glazing colours over colours to give depth, atmosphere and movement.

  

The horizon line was reinstated and Geoff used his thumb to drag down some of the colour leaving the paper colour exposed for highlights.  A headland was added halfway across the paper in a strong dark colour, which was applied in the way the cliff side would have been formed.  Cool and paler greens were added by just 'kissing' the paper and blending to diffuse the light.      

      

Geoff then moved on to the sea applying the same colours as the sky and using the same blending techniques.  The beach was wrapped diagonally around the sea with pale orange, making sure the water looked flat in comparison to the shore and with no sharp edges.  Waves were added using a creamy white and the breakers were defined with hard flicking strokes giving a dry brush effect and pulled with the thumb to give direction and movement.

    

Rocks and beach were added to balance the picture.  Geoff applied the dark pastels in different directions to give the impression of jagged rocks and dragged down to diffused the colours.  Highlights were then added to the rocks and surf whipping around them.  Charcoal was added to the groynes and broken timbers leading your eye into the painting.

   

 


 

 

The RMAS would like to thank Geoff for rearranging his diary to give his demonstration on Sunday rather than our usual Saturday afternoon, due to the unforeseen circumstances surrounding our venue.

Nicola Liddell

19th April 2015

 

Sue William and John Shave

Wednesday’s demonstration was very good with both each Sue William and John Shave completing two paintings. Sue worked in watercolour and John in oils.

 


Sue and John both started the demonstration by simultaneously painting the same subject, in their own respective mediums and took turns in making a running commentary on what they were doing and describing their choice of colour palette.  Sue preferred a larger choice of colours and worked on Bockingford 300lb NOT paper, while John favoured a limited palette and worked on 6m primed MDF.

      

By tea time they had both completed their first paintings and were happy to chat with our members during the break. In the second half Sue demonstrated her skill in painting flowers in water colours, emphasising the importance of laying in darks to bring the lighter coloured flowers forward. John on the other hand, amazed everyone by laying on oil raw sienna and burnt umber both very thick and dark, followed by wiping out the paint with kitchen roll paper and white spirit, to create the boatyard detail, when he was happy with the result he then added other lighter colours to bring out a more colourful dramatic sky and foreground water reflections.

Their pleasant and constant banter provided enjoyable entertainment to the degree that everybody watching were spellbound.

Jeff Phipps - Chairman

8th April 2015   

Hardip Bhamra

There was a warm welcome for the prolific artist Hardip Bhamra,  with his unique style of what only can be described as 'speed painting' at its best.  Coming from a background of detailed and time intensive illustrations he has turned his artistic talents to loose, quick sketches and paintings, done in minutes.  Although he mentally prepares the picture beforehand so he doesn't get bogged down with detail.

 

Hardip used cheap Gesso primed paper which gives texture, charcoal, pastels and acrylics, which were placed on the pallet in order so that in his haste to paint he knows exactly where they are each time he goes in with his paintbrush, thus keeping up the speed and momentum of the painting.  The smaller the paper the quicker the finished work.

     

Using only red, blue, yellow, black and white acrylic without water to slacken the consistency or rinse the 3" brush, the blending of colour occurs on both the pallet and paper.  First the acrylics were laid down with the brush and a pallet knife was used to blend and scrape out highlights, reveal colours beneath and leave impasto areas.  Finally the brush was swept across the painting blending and merging the image in places into the background.

     

   
Roses - pastels

At the end of the demonstration Ann Payne challenged Hardip to paint a train, which he rose to with great success.



Nicola Liddell
Website Editor

21st March 2015