John Glover - artist

Paint in Any Media with John Glover

2012-02-03T15:32:00.004Z

It has been an incredibly busy start to 2012 with numerous portrait commissions, demonstrations to art societies and lots of new classes. Hence my blog has been somewhat neglected.

A new venture for me are two classes I am teaching at West Norfolk Arts Centre near King's Lynn.
Called "Paint in Any Media" they cover all media, from watercolours to oils, pastels, gouache. They are two very lively groups of students working in a diversity of subject matter and styles.

The classes are on Tuesdays from 10.30 - 12.30 and 1.30 - 3.30

For fuller details contact either Richard or Ros at the Centre on 01553 631 689 or check out their website at www.westnorfolkarts.co.uk

The Royal Institute of Painters in Watercolours

2012-02-03T15:15:00.004Z

I was delighted to learn yesterday that I have had a portrait accepted by the Royal Institute of Painters in Watercolours. Competition was fierce with nearly 900 entries.

"The Institute has come to be recognized as one of the leading national institutions for watercolour painters, spanning figurative, abstract and experimental work."

Founded 181 years ago, it is their 200th London exhibition. It will be held at the Mall Galleries, near Trafalgar Square, between 14th -25th March.

For details of the exhibition and all other societies which exhibit at the Mall Galleries go to www.mallgalleries.org.uk

Success at the Cambridge Drawing Society Exhibition

2011-11-04T15:18:00.004Z

Last week, the Cambridge Drawing Society held its Autumn exhibition at St. Faith's School in Cambridge. It was a large display, with over 200 paintings on show. There was a huge diversity of techniques and subject matter. They ranged from watercolours to pastels , oils, acrylics, etchings and sculpture. There was something for all tastes whether it be landscape, portrait, life, or abstract.

The public were asked to vote for their favourite work and I am delighted to say that two of my paintings were in the top three.

" Paul" came first.

"Michael" was second equal.

Facing Hard Times International Open Exhibition

2011-09-22T16:02:00.004+01:00

I have just had a portrait accepted for the "Facing Hard Times" International Open Exhibition in King's Lynn.
"The broad concept of the exhibition is the impact of recent global economic crises on all our lives".

A portrait from my "Homeless" series seemed appropriate.

The exhibition will be held at Greyfriars Art Space, 43 St. James St. , King's Lynn, Norfolk and will run from 1st -15th October

The Sentinels

2011-09-19T21:30:00.003+01:00

In the Abbey Gardens in Bury St. Edmunds stand the ruins of the original abbey.

As I wandered round these, the remains of a large central arch loomed dark against a stormy sky. Suddenly, these crumbling columns appeared as two almost menacing figures. Hence the title of the drawing.

It was created using the same techniques as described in my previous blog.

Fun with mixed media

2011-09-18T22:13:00.006+01:00

On occasions it is fun to try something completely new.

Recently, I came across the remains of this wonderfully old gnarled tree. It was tortured and twisted, and bleached by the elements. I really felt I had to draw or paint it.

What would be the best approach? In the end, I decided to just play and enjoy the process of seeing how things developed.

I primed a piece of MDF with acrylic gesso and blocked it in with charcoal. But it lacked the power and texture that I wanted. I added acrylic texture paste , modelling it with brush and palette knife to suggest the contours of the tree. When dry, I dragged charcoal across the surface. Black lava , sand, and glass bead texture gels also became part of the process. White conte chalk and black and white acrylic paint were used as well.

Below are a couple of close ups of the effects achieved.

Finally, the finished work, measuring 30" x20"

The Society of Disabled Artists

2011-09-17T18:48:00.001+01:00

Last week, I did a one day portrait workshop for the Society of Disabled Artists at Belsey Bridge Conference Centre, near Bungay in Suffolk.

To the vast majority of students, portraiture was a completely new venture. I began, therefore, by demonstrating the basics of proportion, tone and colour mixing. After that I gave a demonstration in oils.
After we had enjoyed a hearty lunch, I set the students the task of working from the live model. There was the odd protest raised, but in the end all seemed to enjoy the challenge.

All in all, a pleasant and successful day.

One man show in Bury St.Edmunds

2011-08-15T22:22:00.007+01:00

As stated in my previous blog, my one man show is up and running. It is at the Edmund Gallery in Bury St. Edmunds and runs till Thursday.

I have a variety of work on display, both portraits and landscapes in all mediums from oils to acrylics , gouache to charcoal, pencil , watercolour and pastel.

One Man Exhibition in Bury St. Edmunds

2011-08-14T22:33:00.002+01:00

This last few weeks has been frantic as the date of my one man exhibition rapidly approached. The usual panic. Have I got enough paintings? Will they be framed on time? How many have I still to finish? How will I hang it? Which paintings will sit comfortably with/ counterbalance others. Practicalities re. the actual hanging system in the gallery. The logistics of transporting over sixty paintings , some of which are very large. But as usual it all works out in the end and the exhibition is now hanging. More to follow.

A Critique to the Bury Art Society

2011-08-14T22:24:00.003+01:00

Last week I was asked to deliver a critique to the Bury Art Society. This is not something I usually do. I am much more comfortable demonstrating painting techniques rather than pontificating on other people's work.

But it turned out to be a very pleasant evening. Lots of banter and lots of questions. And of course a wide variety of paintings that members had had the courage to put forward for public dissection.
Hopefully, my comments were constructive and helpful.

Gouache Painting at West Norfolk Arts Centre

2011-08-14T22:04:00.005+01:00

I recently made my second visit this year to West Norfolk Arts Centre. This time it was to teach the art of painting in gouache.

The first day was spent explaining the history of the medium and demonstrating techniques and materials. As a bit of fun I "copied" two paintings hanging in the studio. These were by other artists. One was an oil, the other a watercolour. It was simply to show how gouache interpreted the same scene in a very different way. The rest of the day was spent exploring the medium and working from references or photographs.
The following day, I did both a portrait demonstration and a landscape "en plein air". It was then time for the students to work outdoors. Fortunately, the sun was shining!

All in all a very successful weekend. Very few of the students had ever tried this medium and were delighted with its versatility and forgiving nature.

As usual, Ros and Richard Cartwright, Directors of the Centre were the perfect hosts with their close attention to detail and the warm welcome they extended to all.

My next visit to the Centre will be to teach "Portrait Painting made Easy" 28th - 30th October.

Two Awards for Michael.

2011-08-14T21:46:00.005+01:00

At the recent Annual Exhibition of the Bury Art Society, my charcoal and chalk drawing of Michael won the "Drawing Prize". This is a new award presented for the first time this year.

The oil portrait I did of him has also recently won the Senellier Award at Patchings National Art Competition in Nottinghamshire.

The Pastel Society Annual Exhibition

2011-04-05T09:16:00.003+01:00

I am delighted to say that I have had a landscape of Walberswick accepted for the Pastel Society Exhibition.

It is a monochromatic charcoal and conte drawing done on MDF primed with acrylic gesso

The exhibition will be held at the Mall Galleries in London and runs from Wednesday, the 20th April till Sunday, 1st May.

A charcoal and conte drawing of Paul

2011-04-04T12:43:00.007+01:00

I continue to work on a series of drawings and paintings of people who are either homeless or have experienced homelessness.

Below are a series of images showing the development of a drawing of Paul.

This drawing, along with one of "Michael" in the same series, is now on display at the Cambridge Drawing Society's Annual Exhibition in the Guildhall, Cambridge.

Life Drawing at West Norfolk Arts Centre.

2011-04-04T12:08:00.001+01:00

Last weekend , I taught a life drawing course at West Norfolk Arts Centre. It was my first visit there and I am pleased to say it was a great success.
Situated in the heart of Castle Rising, a delightful conservation village bordering the Sandringham estate, the centre is in an ideal spot for painting landscapes. Close by are nature reserves and the North Norfolk coast, as well as a multitude of architectural gems.

During the two day course, however, we understandably stayed indoors. Subjects I covered were anatomy, proportion, tone, and perspective as well as explaining and demonstrating various techniques and the different materials that can be used.

It was a very full day, starting with rapid sketches and moving on to numerous exercises to challenge the students' normal way of working. Finally, on to longer and more detailed studies.

Richard and Ros Cartwright ,our hosts, made everyone welcome and provided a superb lunch and endless refreshments. It was a most enjoyable experience for all and one which will hopefully be repeated in the future.

I will also be teaching the following courses there later in the year. "The Art of painting in Gouache" 23rd/24th July and "Portrait Painting Made Easy" 28th-30th October.

For details of these and all other courses, telephone Richard or Ros on 01553 631 689

Portrait workshop in Grantchester

2011-01-23T22:08:00.013Z

Yesterday, I ran my first Portrait workshop in Grantchester, near Cambridge. I am pleased to say it was both successful and enjoyable. Ten students attended from various art clubs and societies bringing a whole range of skills and techniques . Some worked in oils, others in acrylic, watercolour or pastel producing a huge variety of work.

I began by talking about the basics. How to draw a head and get a likeness. I explained about proportion and tone before moving on to do two 20 minute practical demonstrations. The idea was to show a couple of different approaches to painting a portrait in oils. The first was a fairly traditional method establishing the drawing first ( on this occasion in paint.) before moving on to add the colour.

Here the canvas has been pre-stained with raw umber. The drawing was done with diluted burnt sienna. As I do this, I am measuring proportions , angles and running verticals and horizontals to fix the features. Only when happy that everything is in the right place would I begin to add colour. It is a safe approach.

My second quick demonstration was the high risk method. No preliminary drawing . Straight in with the palette knife going for colour and large tonal masses. My audience was fairly stunned at the initial, apparently, child-like daubs. I then move on to applying thick paint with brushes. Rich, juicy impasto. Some wonderful accidental effects on which I try to capitalize. Now is the time I start to panic. Will anything emerge from this chaos? Will this be my Waterloo? Time to impose a certain control, to begin to position features and establish a likeness. To my relief, a human face gradually begins to emerge. I have now managed to capture my audience. I am encouraged by their responses and by the excitement that is being engendered by the process.

I should hastily add that neither of my 25 minute demos did justice to the model, poor girl!

At the beginning of this blog, I indicated the range of students attending. Below. I show a few samples of the work they produced.

As is clear from these few paintings, none of them were painting "in the style of" John Glover. Nothing is more depressing than to see a group of students slavishly copying /imitating the tutor and my aim is to encourage everyone to develop their own "vision."

I will be running the following workshops in Grantchester.

Saturday 12 February. Life Drawing/Painting

Saturday 12th March. Portrait

For full details e-mail john@gloverart.co.uk or tel. 01284 810 460

Grantchester day workshops

2011-01-21T14:01:00.002Z

I am delighted to say that there has been an excellent response to a series of new workshops I will be running in Grantchester Village hall, near Cambridge. Both the portrait days, on 22nd January and 12th March are fully booked. The life drawing and painting one on 12th February still has a couple of spaces left.

It is a fun day with the opportunity to meet and learn from other artists as well as the tutor.
Workshops run from 10 am - 4pm and the cost is £35 for the day. This includes model fee, tea, coffee etc. Bring your own packed lunch.

The artist as author

2011-01-21T13:52:00.004Z

I have recently had an article published in Flack magazine. In this I explain my reasons for wanting to produce an exhibition of portraits of those who are either homeless or have experienced homelessness.

To read both my article and the whole of Flack magazine go to

http://www.issuu.com/flackmagazine/docs/flack5

Homelessness

2010-12-12T16:25:00.009Z

Following on from the success of my drawing of "TonyHargreaves" which was voted " the most popular painting" at the Cambridge Drawing Society's Annual exhibition in the Spring, I am now working on an exciting and related project. The chalk drawing I did of Tony clearly touched many people who saw it.

My aim now is to produce a body of drawings and paintings of people who, like Tony, are either homeless or have experienced homelessness and to eventually stage an exhibition of this work . So far, I have visited and sketched in two centres in Cambridge-- Willow Walk and 451 ( Newmarket Road) . I have also written a short article for Flack magazine which is based in Cambridge and is aimed at the homeless, assisting and encouraging them to rebuild their lives. Kirsten Lavers, the Creative Director of the magazine, has been instrumental in introducing me to the centres.

Below are a few of the drawings I have done so far.

Sketching at 451. Michael, one of the residents was the model.

The finished drawing of "Michael" was done in charcoal,chalk and conte on a linen ground prepared with pastel primer.

Painting in the snow

2010-12-09T21:10:00.003Z

On the positive side , this recent Arctic weather has provided amazing opportunities for painting en plein air. It is something I have done a lot of, even in near zero temperatures. On with the thermal underwear, the furry hat , the fingerless mittens and six layers of clothes and off one goes.

What could be more enchanting than to stand painting in splendid isolation, listening to the sound of silence. On a crystal clear day, the colours are amazing. The white of the snow is a myriad of colours- pinks blues, purples. How does one capture it?

It most certainly isn't for the faint hearted. I can well remember painting in Scotland once, during the worst winter in living memory. I was working in gouache and suddenly felt the paint was becoming difficult to manipulate, only to realise my medium was turning to ice on the surface of the board. It certainly gave some interesting effects when I took it back to the warmth of my cottage and the painting thawed out!

Here's one I did earlier!

The Abbey Gardens, Bury St. Edmunds. Oils 40" x 30"

Future Day Workshops.

2010-12-09T20:59:00.002Z

Plans are well ahead for 2011.

I will be running the following workshops at the beginning of the year.

Saturday, 15th January, Portrait
Sunday, 20th February. Life.
Saturday 19th March Portrait.

All workshops run from 10 a.m. - 4p.m. and are held in Barrow, near Newmarket, Suffolk. The cost is £35 for an individual session or £30 per session if two or more are booked . This will include model fees, tea, coffee, biscuits. Students have to provide their own packed lunch.

I will also be holding workshops in Grantchester, near Cambridge. Details to follow shortly.

If you have any queries,please telephone me on 01284 810 460 or e mail john@gloverart.co.uk

Another successful portrait workshop

2010-12-09T20:36:00.006Z

Last Sunday, I held another portrait day workshop. I am pleased to say it was a great success with students coming from all around Suffolk, Essex and Cambridgeshire.
After an initial warm up session, people set to work in the medium of their own choice, from charcoal or pencil to watercolour, pastel and oils.

Our model, Flo, the daughter of a friend, was superb. For the whole day, she sat like a rock, barely batting an eyelid. What a relief from those models who constantly twitch, let their eyes or their head wander. Or even fall asleep!

On the day, my function was merely to advise and offer comment, as well as do the odd practical demonstration.

Prior to this, however, I had the pleasure of doing a pastel portrait of Flo.

This portait was done with a combination of hard and soft pastels as well as conte chalk, particularly useful in capturing the delicacy of her hair.

Demonstrations to art societies

2010-12-07T09:40:00.004Z

This last month has been incredibly busy with portrait commissions, teaching , and also giving portrait demonstrations to art clubs and societies.

The latter can be great fun, particularly if it is a society you have visited before. Rather like meeting up with old friends and continuing an ongoing dialogue. The banter can be energizing. I do encourage the audience to ask questions and make comments. There is nothing worse than standing out there to the sound of silence. At a recent demo, one person commented that it was actually a "performance" as well. To produce the artwork is one thing, but you also have to keep the audience engaged , entertained and amused. More and more do I find myself turning into Billy Connelly!

Above, is an oil portrait demo I did for Clare Art Club. This was done in about one and a half hours with lots of palette knife work and large brushes. No time to fiddle around. The subject was David Gilbert, President of the club. He is a larger than life character and a great subject to paint!

Mixed Media 2

2010-10-17T22:31:00.006+01:00

This time I thought I would create a painting using a combination of gouache and pastels. The reasoning behind this is that both mediums give very distinctive effects which are immensely suitable for the subject matter. The gouache I use when I need some precision or when I wish to take advantage of its painterly qualities, the pastel when I wish a softer , more blurred effect.

The support I have chosen is a fairly textured pastel paper in bright orange. It is a very deliberate choice as the subject matter is bold, colourful and full of movement. I block in the main composition in gouache, sometimes in a free, loose , almost watercolour technique. At other times I use a thicker impasto dragging it over the texture of the paper which can give beautiful broken, dappled effects.

I now apply pastel in broad strokes, and dabs and at other times blending and smoothing. The aim is to create the bright, almost garish light of a fairground and a huge sense of movement and energy as the merry go round spins by.

The finished painting.

West Norfolk Arts Centre

2010-09-25T21:39:00.002+01:00

This week I was invited to teach two courses next year at West Norfolk Arts Centre.

The Centre is situated in the delightful conservation village of Castle Rising , close to the Sandringham estate, nature reserves, woodlands and the north Norfolk Coast.

Established in 1993 by Ros and Richard Cartwright, it enjoys an excellent reputation as a quality Painting Course provider both in the U.K. and abroad. Each year, approximately forty painting courses are held in West Norfolk and four structured painting courses abroad. This year, Egypt, Venice, Tuscany and Skiathos were on the itinerary.

The range of courses on offer is huge, from pen and wash to acrylics, oils, pastels, wildlife , abstraction, botanical painting etc.

In 2011, I will be teaching the following. " The art of Gouache Painting" July 23/24 and "Portraiture" October 28, 29, 30th.

For information on the west Norfolk Arts Centre and all the courses it runs go to www.westnorfolkartscentre.co.uk

Mixed media

2010-09-25T13:54:00.005+01:00

It is on occasions, great fun to play around with different mediums and combining them in unusual ways. The monochrome painting below was done using charcoal, conte, soft chalk and gouache. It is of an old jetty at Felixstowe Ferry on the Suffolk coast.

I began with a piece of MDF which I primed with a couple of coats of acrylic gesso . I then sketched in the composition using charcoal. I used conte crayon for finer detail and soft chalks to soften and blend large areas like the sky. At other times I used gouache in certain passages, e.g. a lot of the background , but overlaid it in places with chalk.

A charming new venue for painting classes

2010-09-03T21:58:00.007+01:00

Back in May, when it became clear that the future of the Lothbury Centre remained uncertain, I decided to move my classes to the Old Reading Room, still in Weston Colville.

This week saw the start of these classes, " Painting for Pleasure " and Portrait Painting. I am delighted to say that lots of my students from the Lothbury decided to make the move as well, so it really was like meeting up with old friends.The new setting for the classes is really charming with lots of character, from great arching timber beams and fireplaces to excellent modern facilities.

Our model for the portrait class was Lin, resplendant in Edwardian costume. Shades of Whistler and Singer Sargent!

All in all, it was a very pleasant and relaxed day. An excellent start to a new term in our new home.

These particular classes are fully booked this term. Anyone wishing to enrol for the January term ,however, should either e mail me at john@gloverart.co.uk or tel. 01284 810 460

A playful approach to painting a portrait

2010-08-30T22:12:00.004+01:00

On occasions it is just fun to cast caution to the wind and just go for it. Such a thing occurred when I came to paint "Robert". Born and raised in this country, his parents came from the West Indies. My normal palette of flesh tones went straight out the window. No more muted, insipid, Caucasian flesh tones. He seemed to be all purples and blues and greens depending on how the light struck him. No careful preparatory drawing. Straight in with bold colour. Very exciting. Below shows how the portrait evolved out of the apparent initial chaos.

Strethall Church Art Fair

2010-08-30T21:09:00.007+01:00

This weekend I took part in an exhibition held in Strethall Church, near Saffron Walden in Cambridgeshire. The setting is idyllic with the church nestling in a small wood amidst rolling cornfields.

It is believed that it was originally built in 1010 by the local Lord of the Manor to appease the marauding Danes who had been forcibly converting the locals to Christianity.

The weekend, however, was a far cry from such bloodthirsty times. A marquee was placed midst the tombstones. All around there were people sitting sipping tea and munching on cake, chatting, gossiping, putting the world to rights . Children played , dogs frolicked, the Autumn leaves rustled in the trees. All was well in this part of rural England.
Inside the church the exhibition consisted of paintings, drawings, pottery, sculpture and examples of wood turning. All of this was the subject of much "learned" discussion both from the experts and those for whom a little knowledge is clearly a dangerous thing!

Outside in the graveyard, on the reverse of one stone, I came across the following amusing quotation

Ended up feeling sorry for the poor old jellyfish. Funny what people want to be remembered by.

Forthcoming Portrait and Life workshops

2010-08-25T16:48:00.003+01:00

Over the next few months I will be running the following workshops in Barrow near Bury St. Edmunds.

Saturday, 9th October Portrait Workshop
Sunday, 7th November Life Drawing and Painting Workshop
Sunday, 5th December Portrait Workshop

All workshops will run from 10am-4pm

The charge for each of these workshops will be £35 or £30 per session if two or more are booked. This includes model fees , tea , coffee, biscuits. Bring your own packed lunch.

It is an ideal opportunity to meet and work alongside different artists and to experience the benefits of having a more extended period of time in which to develop your drawing or painting.

Anyone wishing more information on any of these day schools should either e-mail me or call on 01284 810 460

The Death of Tony Hargreaves

2010-07-22T16:45:00.005+01:00

It was with great regret that I learned yesterday of the death of Tony Hargreaves. His body was recovered from the River Cam, in Cambridge on Monday evening.
He was one of Cambridge's less fortunate citizens and had lived for several years in homeless hostels in the city. Lyn Watson, manager of the Willow Walk Hostel described him as a very nice and "extremely private man."
To many in the city, however, both residents and tourists alike, he was merely another "down and out" or even worse, simply invisible. I was certainly shocked by the abusive behaviour and comments I witnessed directed at him on occasions . To such insult - hurling perpetrators he was an easy target, beneath their contempt and merely another piece of garbage littering the street.

But as the Cambridge Evening News pointed out this week, he once had a life just as valuable and worthy as the rest of us, serving in the Parachute Regiment for six years. A far cry from the bedraggled tramp most shunned or gave a wide berth to. Who knows what went wrong, when, and why, but his death is a salutary reminder both of our mortality and of the precariousness of our own lives. There but for the grace of God or Fortune go we.

Earlier this year, I did a series of black and white chalk drawings of Tony. One of these is to be used as the poster for the Cambridge Drawing Society's poster for their Autumn exhibition at the Leys School.

One to one art tuition.

2010-07-20T23:18:00.003+01:00

I am often asked if I do one to one tuition or teach small groups in my studio. This is something I am always happy to do for a variety of reasons. Assuming the student is keen to learn and has no objection to doing "homework", he/she can make huge progress in a very short space of time.
For me that is very rewarding.
During the time in my studio, I demonstrate materials and various techniques, I set a subject for the day and oversee how the student progresses with this. At the end I offer advice and a crit. as to how the work can be taken forward. I then suggest various pieces of work to be completed before the next session. These will be commented on at the beginning of that session. As I repeatedly tell my students, it really is about practice, practice and more practice!

Another successful portrait workshop.

2010-07-20T22:59:00.003+01:00

Last Saturday I ran another portrait workshop in Barrow. Ten students attended and we had Lynn as our model. After an an initial talk and demonstration which I gave on the basics, we had a series of relatively quick poses. This was just to loosen people up, to get them to observe more carefully, and for me to assess where their skills lay. Thereafter, Lynn remained in the one pose for the rest of the day, allowing students to either focus on one painting or move around and do a series of them. Lynn was dressed in a lovely Edwardian costume complete with delicate lace top, pale lilac skirt and straw boater. Set against a white background there were echoes of John Singer Sargent and Whistler. I would have loved to have painted her myself!
Some drew, some did watercolours, pastel, or oils. I even had one psychic artist within the group! Lots of interesting and exciting work was produced.

I shall shortly be setting up another series of workshops both in Barrow and Grantchester. Keep watching my website for details or contact me via john@gloverart.co.uk or on 01284 810 460

A child's portrait in pastel

2010-07-20T22:23:00.008+01:00

Pastel is a particularly lovely medium for creating children's portraits. It has a delicacy and softness missing in many others.
For this particular portrait I worked on Murano paper with a combination of pastel pencils and soft pastels. My initial drawing was done with willow charcoal and then dusted down.

I work on top of this with pastel pencils, which allows a certain precision. I blend with a combination of cotton buds and torchons.

More detail is added in the hair and mouth , still using the pencils. I begin to work soft pastels into the face and use them for blocking in the dress.

I now consider the background. The aim is to keep it soft and somewhat vague, simply in order not to detract from child.

Portrait and background are worked up in more detail and tied together. Below is the finished drawing.

Suffolk Showcase 2010

2010-07-13T21:49:00.006+01:00

I have just had a work accepted for an exhibition entitled Suffolk Showcase. This features a wide range of traditional and new media. , from painting to ceramics, video and digital photography. My own particular work is a chalk drawing in black and white.

This is a study I did of "Tony" one of Cambridge's less fortunate residents.

Below is a much larger drawing I did of him. This was voted "Most popular " work by the public in the Annual Exhibition of the Cambridge Drawing Society in April. It is also to be used as the poster to advertise the Society's Autumn Exhibition at the Leys School in Cambridge.

The exhibition is being held in the Bury St. Edmunds Art Gallery, Suffolk , and will run until the 28th August

Bury St Edmunds Art Society

2010-06-12T23:41:00.007+01:00

On Thursday evening I gave a portrait demonstration to the Bury St. Edmunds Art Society. Over 60 people turned up for the event and it turned out to be a most enjoyable occasion.
I have done quite a few demonstrations for them over the last few years, usually in oils. This time, however, a watercolour portrait was requested. As I have said in previous blogs this is the most demanding medium and it is rather like walking a tightrope without a safety net.
As is usually the case there were few volunteers to sit as the model so in the end I managed to "persuade" George who has attended a few of my classes and whom I know fairly well.
I began by showing a few samples of my work, some quick watercolour studies and a couple of finished pieces. I then demonstrated how to construct the head , looking at proportions, tone and the various individual features. Thereafter, I set to work on the painting, without any preliminary drawing whatsoever and using a combination of wet into wet and dry brush technique. Below is the portrait of George I produced.

I am pleased to say the audience was lively and enthusiastic. They asked numerous questions and a good banter took place. At times, however, I did begin to feel I was turning into my fellow compatriot, Billy Connolly!
The Bury Art Society is holding its Annual Exhibition at the Edmund gallery, Angel Hill, Bury St. Edmunds from 24th June -7th July.

"Mrs. McLeod wins a Prize in National Art Competition

2010-06-12T23:25:00.005+01:00

This week I was delighted to be informed that my portrait of Mrs. McLeod has won a Daler Rowney Award at the Patchings National Art Competition in Nottinghamshire.

The competition is sponsored by both the Artist and Leisure painter Magazines and has attracted entries from throughout the country and abroad.

The exhibition of selected works ( 70 in the professional category and 70 in the leisure painter category ) can be viewed on line. The exhibition which is being held at the Patchings Arts Centre at Calverton in Nottinghamshire runs until the 18th July.

The Rowan Foundation, Cambridge

2010-05-30T09:54:00.005+01:00

On Thursday afternoon I visited the Rowan Foundation in Humberstone Road, Cambridge. This was as part of a link that is being forged between it and the Cambridge Drawing Society, of which I am a member.
The Rowan is a charitable organization that "offers work experience and training for people with learning difficulties". The hope is that we at the Society will be able to offer and share some of our artistic skills with students there.
On my arrival, I had little notion of what to expect , or how the afternoon was to be structured. After a brief introduction , I was shown a large supply of art materials. From these, I selected some pastels and paper and decided to do a quick portrait of Amie, one of the tutors. I am delighted to say that this caught the attention of the students who appeared fascinated by the process and quickly lined up to have their own portraits done. In the course of the afternoon, I produced 10 sketch portraits. It was an absolute delight to witness how excited and engaged my sitters were. Having caught their imagination, I will hopefully be able to build on this in the months to come.

To see the work that the Rowan Foundation does , please visit their website, or call in to 38-40 Humberstone Road, Cambridge.

Patchings National Art Competition 2010

2010-05-24T22:50:00.009+01:00

Today, I delivered a portrait to Patchings Art Centre at Calverton in Nottinghamshire.

It is to host a National Art Competition sponsored by both the Artist magazine and Leisure Painter. 140 works have been accepted for exhibition, 70 in the professional category and 70 in the amateur.

I am pleased to say that my portrait of " Mrs. McLeod" will be on display in the professional section.Another painting I entered, "Makena", has been "Highly Commended" and will appear shortly on the Patchings website.

The exhibition runs from June 10th -July 11th.

The opening runs concurrently with the 17th Patchings Art, Craft and Design Festival (June 10th-13th). Attracting over 15000 visitors, it "comprises over 150 nationally renowned artists and craft designers demonstrating, exhibiting and selling their work. It has become one of the UK's most celebrated art and craft festivals."

For full details of the Exhibition and Festival, check out the Patchings website at www.patchingsartcentre.co.uk

How to create a charcoal portrait of a child

2010-05-22T22:02:00.008+01:00

The materials I will be using are thin sticks of willow charcoal, charcoal pencils, black conte crayon, a putty rubber, cotton buds, torchons and a smooth cloth . I am working on pre-soaked and stretched Sanders watercolour paper (140 gms.) As watercolour papers go this is fairly smooth, but it has enough tooth to hold the charcoal powder.

Using the willow charcoal, I quickly rough in the basic shape of the head and position of the various features. Nothing is as yet fixed in stone. Willow charcoal can easily be dusted off and amendments made.

As I am fairly happy with the beginnings of a likeness, I start to strengthen the details and tones of eyes and mouth. This is done with a charcoal pencil ( medium). I also work on building up the shadows. I scrub the willow charcoal over the area and then soften with fingers, torchons or cloth.

I now pay attention to the background , blocking it in with compressed charcoal and charcoal
pencils (dark) The hair is begun.

From here it is a matter of simply refining the detail. To get the precision I want, in the eyes for instance, I use a sharpened conte crayon. But you have to be certain it is in the right place, for conte is a very difficult material to erase! I build layer upon layer to get the depth of shadow I want. On top of the initial willow charcoal, I use the charcoal pencils , stroking them in very gently and then smoothly blending with torchons or cotton buds. A mahl stick is another useful implement as I have often absentmindedly lent my hand upon a drawing and erased or smudged large areas. I also on occasions mask off the areas of the drawing I am not working on.

The finished drawing.

Charcoal is a particularly lovely medium for drawing children. It allows for both delicacy and detail.

Portrait demonstration

2010-05-14T21:32:00.009+01:00

Throughout the year, I give portrait demonstrations to many art groups and societies. These can be great fun but also challenging in that you never know who the model is going to be. You hope that the person selected or volunteered will look interesting, striking, distinctive etc. But there is no guarantee. You hope also that they will be engaged in the process, be lively and willing to enter into a dialogue with you so that you become a sort of double act , a form of entertainment for the audience. Occasionally, I am allowed to choose from amidst the "shrinking violets" before me and I am glad to say that usually my instinct is right. But mostly, the victim has been pre-selected.
Over the years, numerous memorable things have happened. There was the time when the model, an elderly gentleman, instantly fell asleep and snoring loudly . No matter how much I cajoled or prodded, could I keep him in a state of consciousness. I cracked all my best jokes and anecdotes but the audience sat in stony silence and all that could be heard was the sound of sweety wrappers being unfurled. It was a "beam me up Scotty" night. I did struggle on manfully and produced a fairly decent portrait by the end of the evening. The group applauded loudly and said it had been extremely enjoyable and informative. Would I come back again? I smiled sweetly, grabbed my cheque and fled , vowing never to return within a 60 mile radius of the place! On another occasion, I was demonstrating to a group of over 80 people. Being such a large audience they decided to wire me up for sound. A very odd experience. Even odder when I forgot my "electronic" state and went off to the toilet and shared it with everybody.
This last Monday, I gave a demonstration to Hartest art group in Suffolk. I am delighted to say that none of the above horrors occurred. It was my third visit and so it was rather like meeting up with old friends. The banter was good with artist and audience winding each other up.

The artist at work.

I spent just under two hours on this oil portrait of Sue. I began by explaining about materials I would be using as well as techniques, proportions, tone, and colour mixing. With a large hog's hair brush and turpentine I roughly drew in the outline of the head and fixed the position of the various features. Then it was time to block in the main flesh tones, mid -tones, and shadows before concentrating on the finer details of the eyes etc. Working in this alla prima way there is only a certain amount one can do on the day, all of which was explained to and discussed with the audience. Below, is the painting at the end of the session.

To learn more of the techniques used see my various other blogs. To see me " in action " watch the video of me painting a portrait in 80 minutes in the "Tuition and Demonstration " section.

New Painting classes starting in September

2010-05-07T22:13:00.004+01:00

In September, I will be starting my own private weekly classes. These will be held in the Old Reading Room in Weston Colville, near Newmarket.

Both will be held on a Wednesday and will run for 10 weeks ( September 1st-November 3rd)

PAINTING FOR PLEASURE 10-12 am. Numbers will be limited to 12. Cost £105

PORTRAIT PAINTING 1-3pm. Numbers will be limited to 10. Cost £125

For full details call me on 01284 810 460 or email john@gloverart.co.uk

Stolen fish recovered!

2010-05-07T17:26:00.005+01:00

The mystery of the stolen painting has been solved! According to the Cambridge Evening News, the painting of a" Duba Fish" was taken by a love sick teenager to give to his girlfriend. What strange things love drives us to do! On reading the newspaper's headlines over the theft,however, the aforementioned young romantic was filled with remorse and handed himself and the fish in. The artist chose not to press charges and , as the newspaper reported, the thief was "let off the hook!"
The artist in question rose to the height of stardom. A geophysicist working in Cambridge, she was however billed as a "Hollywood animator" and someone who had worked on "Gladiators" in London, much more eye catching than a trip to the Arctic! Where would we be without the sensational British press?

All in all a bizarre tale, worthy of any "soap".

Painting stolen from exhibition

2010-04-26T23:02:00.003+01:00

At the Guildhall Exhibition in Cambridge ( see earlier blog) there was a painting stolen. It was a small work measuring only 12" x 9" and could easily have been concealed under a coat or in a bag. The usual security measures were in place with invigilators at the desk and even cctv cameras around. But with 280 paintings on show displayed both on walls and on array of screens, it was impossible to see every part of the gallery. The thief has never been tracked down or the painting recovered.
I would welcome any comments from other societies or artists who may have encountered this problem and any suggestions as to how best counteract it.

Painting workshops

2010-04-25T14:19:00.003+01:00

I will be running the following workshops in Barrow Village hall, near Bury St. Edmunds,
Suffolk.

Saturday, 29th May. PORTRAIT WORKSHOP

Saturday, 26th June LIFE CLASS WORKSHOP

Saturday, 17th July PORTRAIT WORKSHOP

The classes will run from 10-4. The charge will be £35 per workshop or £30 if 2 or more are booked. This will include model fees, tea, coffee etc. It will be necessary to provide one's own packed lunch.

If you require any more information , please contact me on 01284 810 460 or e-mail me at john@gloverportraits.co.uk

Should you wish to book a place, please make cheques payable to "John Glover" and send them to me at 3 Ley Road, Barrow, Bury St. Edmunds, Suffolk IP29 5DJ

Watercolour Portrait Workshop

2010-04-25T11:52:00.006+01:00

Last Sunday, I conducted a watercolour portrait workshop for the Society of East Anglian Watercolourists, of which I am also a member.
The day ran from 10-4 and consisted of me giving a general talk on portraits-- how to construct the head, tone and proportion. Thereafter, I did a painting demonstration. As always it was an exciting challenge. I worked wet into wet without any preliminary drawing. A high risk strategy in watercolour. But as the demonstration was only to last an hour, I did not have the luxury of being able to plan and draw carefully.
It certainly leads to an adrenalin rush and certain practical problems. So that the audience can see what you are doing, the board has to be near vertical. Not ideal , as you watch an eye or a nose run down and off the bottom of the page! Below is the result after an hour.

Leila.

The rest of the day was spent with the group working from the model, and me going around offering, hopefully, useful advice. At the end, students were asked to display their work for me and others to make comments and suggestions. All in all it was a most enjoyable day.

This workshop was held in Barrow village hall, near Bury St. Edmunds, Suffolk. I have 3 more planned there over the next few months. Details of these will be posted shortly both on the blog and website.

Cambridge Drawing Society Exhibition

2010-04-25T07:24:00.009+01:00

Last week , the Spring Exhibition of the Cambridge Drawing Society took place at the Guildhall in Cambridge. On show were over 280 works. These covered a huge range of styles and techniques, from oils, watercolours and pastels to drawings prints and sculpture.
To stage such an exhibition requires a huge amount of organization and planning, but it does all eventually come together and hopefully appears effortless. The exhibition has , despite the economic recession , been a great success. Sales have been excellent and the public has been very enthusiastic as judged by the large number of visitors and general feedback.
This year 30 candidates applied for membership. Of these, 11 were accepted.

The Selection Committee at work.

As in previous years, the public was asked to vote for their favourite painting. I am delighted to say that my drawing of a "Down and out in Cambridge " won the prize.

This was a very large chalk drawing, measuring 36" x 24", done in monochrome. I chose to do this in order to convey the starkness of the subject. I have to say that the response and feedback has been amazing. Clearly many people were touched by this drawing. In a city like Cambridge which is fairly wealthy, there are still many who are less fortunate. This is a subject I wish to explore further.

Viewing selected works prior to hanging

Anyone wishing further information on the Cambridge Drawing Society or its members should visit the Society website at www.cambridgedrawingsociety.org

The Art of Tempera Painting 2

2009-10-21T13:55:00.000+01:00

In a previous blog (25th August) I talked a little about tempera painting. It is a technique which stretches back to the Ancient worlds of Babylonia, Assyria, Egypt, Greece and Rome. One has only to think of Herculaneum or Pompeii, or the marvellous churches of the Byzantine era. Moving forward in time to Italy, we see it flourishing in the hands of artists such as Giotto, Massaccio and of course, Michelangelo. With the advent of oil painting in the 16th century tempera painting fairly rapidly was eclipsed. Not until the 20th century was it revived by artists such as Orozco and Rivera in Mexico and Ben Shan and Andrew Wyeth in the U.S.A.
Technically, it is a medium which is much more difficult to hande than oils. Originally, the painting was done directly on to wet plaster (true fresco) though frequently was retouched when dry (fresco secco). The craftsmanship and discipline required in the mixing of the pigments and preparation of the surfaces to be worked on is highly demanding.
A brief recipe will demonstrate that it is not a process which can be rushed.
Soak a yoghurt potful of rabbitskin glue in 2pints of water for 24 hours. Heat this in a double boiler and stir in 64 tablespoons of whiting. Let it absorb and leave overnight.
To prepare the panels ( e.g.M.D.F.) size with a weak gesso. (4-8 layers) Both sides of the panel have to be painted to avoid warping. With each successive coat change the direction of the brushstrokes. After this leave for a fortnight to season.
To smooth the boards, a cabinet scraper should be used. Dust charcoal on to show any raised portions which can then be polished with a linen cloth dipped in ionized water.
Pigments now have to be ground using distilled water and a muller (in a figure of eight motion.) When smooth, the colours should be placed in a small jar and covered with a layer of distilled water. When the time for painting comes, egg yolk is the binding medium. Use a fresh, free range egg. Separate the yolk from the white. This yolk is squeezed into a reservoir on the palette . An equal volume of pigment and egg are mixed together , adding distilled water as necessary.
In my brief foray into tempera painting , I choose a couple of portraits by Andrew Wyeth to copy. These are incomplete , but they will demonstrate some techniques and the effects that can be achieved.

It is a slow and methodical process building up successive layers with tiny strokes. It has to be done in this way as the pigment dries instantly so the smooth blending of an oil cannot be achieved. A close up should demonstrate the technique.

As I said these studies were unfinished and would have taken hours more work to achieve the finish require, despite the fact they are only about 5 inches high.
Tempera is most definitely a lovely medium for those with patience and a love of craftsmanship.

A pastel drawing of Kirkcudbright Harbour. I did this as a short demonstration in the pastel medium for the group who came on one of our Painting Holi

2009-10-07T11:08:00.000+01:00

For the next two weeks I am taking part in an exhibition in Newmarket. It is by the Friends in East Anglia of the R.W.S.
Exhibits are not only in pure watercolour, but also include any water based medium such as gouache , acrylics, or pen ink and wash. The subjects are very diverse - from East Anglian seascapes and landscapes to further afield. Abstracts, animal portraits, flower paintings, and architectural interiors are also included. Below are a few examples of the paintings on show.

“Pretty Prawn” by Tessa Shedley Jordan

“Swimmer” by Gillian Marklew

The “Prospect of Whitby” by Les Williams

“Old Hulks, Pin Mill” by John Glover
The exhibition is in the Palace House Mews Gallery and runs until the 18th October 2009.

An artist’s journal from John Glover

2009-09-11T11:16:00.000+01:00

Now it is time to concentrate on various portrait painting commissions. I have commisions to paint four children. A six year old in oils and three others , ranging in age from four to ten, in charcoal.

I also have a large double portrait in oils of the Sheriff of Huntingdon and her husband to complete.

Teaching continues also. I teach three classes a week at the Lothbury centre near Newmarket. Portrait painting, oils and acrylics, and of course my own paintings for pleasure. I also run day schools on portraits or life drawing and painting, at Grantchester and Barrow. These are held on a Saturday or Sunday and last from 10-4

Something else which is proving popular is one to one tuition whereby I ask any student to bring along samples of their work for review. We then work on a project together and I set ‘homework’ for the following session.

Bookings for me to demonstrate to art groups continue to come in for next year. The latest are for a landscape demo to the Comberton art group and a watercolour portrait demo to the Bury Art Society.

Next September, 3-10 th, I will be teaching during the Art Holiday for Inspiration Holidays in Menorca.

If you are interested in any of the above art holidays, art classes, painting workshops or art demonstrations please contact me on 01284 810 460 or e-mail me at john@gloverart.co.uk

Painting at Pin Mill 4

2009-09-04T14:31:00.000+01:00

In a previous blog (August 10th) I demonstrated my methods for painting a gouache landscape en plein air. The subject was Pin Mill on the Suffolk Coast. Unfortunately, as I explained, “good light” stopped play.
To recap:

The start of the painting.

Stage two. At this point the painting had to be abandoned due to rain and wind!

Fortunately, I have since returned for another few hours to work on the painting and then complete it in the studio.

The finished painting.

Detail of finished painting.

As will be seen, a great deal of work has been done on the barges etc and on the water where I was hoping to capture the play of light and the patterns of reflections. At times I used hogs hair brushes, at others, softer synthetic ones which allowed me to blend much more easily. At the end I was using tiny sable brushes, to do areas such as the rigging.

As I said in my previous blog, working en plein air can be both exhilarating and challenging. If you haven’t already tried it , have a go!

The art of tempera painting

2009-08-25T14:56:00.000+01:00

I briefly mentioned tempera painting in a previous blog. The technique pre-dated oil painting and requires a slow and painstaking approach. I have done very few paintings in it but feel it is very worthy of further consideration and practice. Below is a portrait I did of my mother using this technique. The original painting measures only 5″ x 4″.

In a later blog, I will discuss both the history and techniques of tempera painting.

2009-08-21T15:10:00.001+01:00

Yesterday, I returned to Pin Mill in the hope of completing the painting I had started the previous day.
The block- in stage was complete. Now it was time to focus on more detail. Obviously, work was required on the barges and distant horizon. I also wanted to capture the reflections and play of light on the water.

But as Robert burns said ” The best- laid schemes o’ mice and men gang aft a-gley”. Unfortunately, good light stopped play. Instead of the brooding sky of the previous day, I was confronted by bright blue sky and white fluffy clouds! There was absolutely no way I could continue with the painting above . Everything was different, from the light to the colour, shadows and reflections! Painting en plein air can be very frustrating!
And so I had to move to plan B. Fortunately, I had come prepared to start another painting. Beyond the barges and houseboats, there are some marvellous old rotting hulks which appeal greatly. I love the decaying moss- covered timbers , the flaking paint , the rusting metalwork. Not the picture postcard view of Pin Mill , but equally fascinating.

My medium was still gouache, but this time I chose to work on a rough surfaced watercolour board (N.O.T.) The subject just cried out for it with all that decay and texture. As before, I went straight in with a large brush, geting the basic outlines and main masses. The pigment is still fluid. Olive green, ultramarine, burnt sienna and white were the colours used at this stage.

I move rapidly on to painting the sky, indicating the distant trees on the other side of the river, and ,of course the river itself. ( I am aware the horizon dips steeply to the left, but this will be corrected later) I have already indicated the foreground mud but decide to leave it and see what happens when the tide starts to come in. I concentrate on drawing the boats ( a tricky piece of perspective) looking at scale and shape. I begin to start painting thickly in places to suggest the texture of the timbers or flaking rust. Gouache is an ideal medium for this . It dries instantly and retains its impasto. But it remains water soluble and can thus be painted back into or even sponged off if required. A very forgiving medium indeed.

By now, after about 2 hours painting, the tide is rapidly moving in to engulf both the hulks and the artist! Suddenly, the subject becomes alive with the image of thes old boats, abandoned and stranded atop the sandbank. I very quickly indicate the approaching water and reflections on it.
It is now time to pack up paints and easel and retreat to dry land.
As before , I am now left with another unfinished painting, but the excitement of that initial image is still there.
With both these paintings I will go back and do more work en plein air as well as finishing off in the studio. I will show the completed works in a later blog.
Tips.
Working from photographs can not replace the excitement or energy required when painting on the spot. You are at the mercy of the elements and have to work at breackneck speed. You simply do not have time to fiddle around.
Be prepared for frustrations and always have a plan B, if not C at the ready.

Painting at Pin Mill 3

2009-08-21T15:00:00.000+01:00

In my previous two blogs, I demonstrated en plein air landscape painting in gouache. Both were paintings of Pin Mill, a lovely spot on the Suffolk coast. Unfortunately, I was unable to complete either painting in one session due to weather and tide. I have since returned as well as doing more work in the studio. One of the paintings is now finished.
I have already shown the beginning and intermediate stages of the paintings, so I won’t dwell on lengthy explanations. ( For those see previous blogs)

The beginning of the painting

Intermediate stage of the gouache painting.

The finished painting.
As you will see, all areas have been worked on. The sky has been softened and blended. The distant shore has had more detail added. Small yachts have been introduced. The bulk of the work has been done on the hulks, scumbling to achieve the texture of the timbers or rust then working with a fine sable brush on top when more precision was required. Masts have been altered and rigging added. With large hog’s hair brushes, I painted the foreground fairly freely, and on occasions even employed a palette knife.
As I have said in previous blogs, gouache is a wonderful medium for working out of doors. It dries instantly, but remains water soluble. It is opaque and is therefore very forgiving. Any mistakes can be instantly obliterated. It has a lovely chalky quality about it , ideal for atmospheric effects. Its disadvantages? You can’t glaze with it and blending is difficult. A technique akin to tempera has to be adopted. But overall, its good points far outweigh such difficulties.

Painting a Colourful Portrait in oils 3

2009-07-23T15:21:00.000+01:00

Today was my third portrait sitting with Judy. Prior to it I had spent a lot of time painting her costume as well as considering what to do with the background.

As can be seen if you compare this with my previous blog, I have begun to paint her headdress and necklace in much greater detail. Each particular section (e.g. orange) I painted in a slightly darker tone . With a fine sable, I then outlined the rows of beads . Then it was time to apply a mid tone , before flicking in little pinpoints of light. My original dark tone acts as the shadow area between the beads. All that remains, when this is dry, is to indicate individual shadows on the beads. The triangular metal piece on her head dress (which indicates she is a married woman) still requires some light, shade and reflection to be added. The white strings are simply blocked in at the moment and also need a bit more definition and shadow.

A close up detail of her necklace illustrating the technique described above.
I have also been working on other areas of the costume, and blocking in the large patterns. It is indeed time consuming but there is no way it can be rushed. With her cloak, I am beginning to suggest the folds and creases. These will have to be completed before I superimpose patterns of little black dots.
I have also added at this stage a very colourful bangle and belt.

During our sitting today, I focused on her face, looking at the cool bluish reflection on the left, trying to correct the modelling in her neck, chin and around her mouth. The hair had to be adjusted also.
The background I have also started. Initially, I thought of a bold bright colour like pale blue. But i have now decided to apply gold instead, with all its connotations. The photograph, however, does not convey the richness of it.

This is how the portrait now looks at the end of the third sitting.

Keep watching my blog to see how the painting develops and how it looks when completed.

Painting a Colourful Portrait in Oils – 2

2009-07-13T15:34:00.001+01:00

Today, I had my second portrait sitting with Judy lasting around 2 hours. As previously stated I focused on painting her head and hands.

Portrait of a Kenyan Lady

Initially, I concentrated on the eyes. I looked at the shape of the lids, both upper and lower. For the cool highlights on the upper lids I introduced some Kings light blue into my basic fleshtone. The lower lids in the corners were a mixture of raw sienna and alizarin crimson. I again used the light blue as these turned into the light. I darkened the intensity of the pupil and iris with a combination of burnt umber and ultramarine.
I modified the shape of the mouth, widening it slightly. On both upper and lower lips I used a mixture of light blue and rose dore for the highlights. For the shadow cast by the upper lip burnt umber and magenta were emloyed with below this a touch of cadmium red light.
I then tried to soften the various fleshtones in the face. The basic colour was raw sienna +yellow ochre + white. At other times I added a little touch of cadmium red or light blue depending on whether it was warmer or cooler. For the shadow areas, I used ultramarine or magenta mixed into the sienna.
By now, time was running out. Quickly the hands were blocked in using the same mixtures as above, but a lot more cad. red to capture the reflection from the dress.

Detail of Hands

As I said in my previous blog, it was my intention to do more work on the costume prior to today’s sitting. This has been very slow as there is simply no fast way of achieving the effect I want. As you will see I have started blocking in the various patterns. The collar in particular requires a huge amount more work to show how it comprises of hundreds of beads catching the light and is not simply a flat shape. This will be the task for the coming week.

Portrait of a Kenyan Lady ( stage 2)

My next “live” session is on Thursday 23rd when I will be trying to bring head and hands to near completion. I am also considering my options for the background. But more of this in my next blog!

Watercolour portraits

2009-06-25T15:46:00.002+01:00

To attempt portraits in watercolour is not for the faint hearted! Watercolour is a notoriously difficult medium to work in, and is, in comparison to other media, fairly unforgiving. Whatever technique one is using, whether it be wet into wet or a more considered approach, careful planning is required if your painting is to be a success

The above sketch was done in about one hour using a wet into wet technique. No preliminary drawing was done. Although initially it looked chaotic to the group I was demonstrating to, I was, even at the earliest stage, planning and allowing for my highlights to be preserved. If things go wrong there is still the possibility of lifting out with a sponge or tissue.

The same approach was used in this sketch. Having established the position of the features I started to build up the depth of tone. At various points I dried the painting and went in with a dry brush technique, as in the eyes.

The above was a preliminary sketch I did for a more finished portrait. Again this was completed in less than an hour.

“Mary.” A portrait in watercolours.
This more finished portrait took considerably longer, requiring as it did layer upon layer of transparent glazes to achieve the detail I wanted.
I find watercolour the most amazing medium and one which offers a luminosity and delicacy unrivalled by others.
In a later blog I will demonstrate a watercolour portrait from start to finish and will describe the materials, techniques and colour mixes I use.

Sketching in gouache

2009-05-27T17:06:00.000+01:00

Gouache is a marvellous medium for doing quick sketches. I often use it when working on portrait commissions and wish to present a series of ideas . In a previous blog, I showed a portrait of Tony Langford, Managing Director of John Smedley Ltd. (2003-9)
This was only arrived at after various other alternatives had been considered.

Whilst it was great fun to paint , this was not really a portrait suitable for the Company Boardroom.
Tony is also a passionate sailor, so I was taken on board his motor launch and given a trip along the Orwell. Fortunately, it was a calm day as I am no seafarer! This voyage resulted in the following sketch.

One of the previous Chairmen, however, also had a nautical theme as background, so this alternative was rejected.
Finally, we decided on a Cambridge setting as Tony grew up there,went to University there and now lives there. Hence the idea of having his old College, Clare, as the backdrop. A couple of alternatives were considered

Also

This second version was chosen as the design for the finished portrait. Whilst indicating the Cambridge connection the pose was also intentionally relaxed and casual. As such it was a good foil to previous portraits now hanging in the John Smedley Boardroom.

The finished portrait.

“Tony Langford, Chairman, John Smedley Ltd. ( 2003-9)
oils 38″x 30″
The advantages of gouache as a sketching medium.
It is water based and dries instantly but remains soluble if you wish to work back into it. You can paint with a thick impasto or using a wash technique. It is opaque so you can paint light over dark . As such it is a very forgiving medium. It is much underrated and is well worth experimenting with if you’ve never tried it before.

Sam Motherwell's Exhibition

2009-04-30T17:13:00.000+01:00

In previous blogs I have spoken both of charcoal techniques and working “en plein air”.
In his new exhibition at the Barnabas Gallery in Cambridge, Sam Motherwell manages to combine the two. There are over 30 charcoal drawings done on the spot in Iceland, Scotland, Finland, India, Nambia, Spain , Egypt and Greece

Dr. Sam Motherwell

Done quickly, Sam’s drawings retain a freshness and spontaneity that can so easily be lost when using charcoal as a medium. He has a very individual style which reminds me of the work of Paul Hogarth. Like Sam, Hogarth worked almost exclusively in black and white, illustrating books by Brendan Behan and also those on his own travels around the world. Both artists balance line and mass, shift perspective and create almost abstract patterns out of everyday scenes and people.

Sam and Pat Motherwell chat to Colin Hayes at the Private View.

Other guests.
As well as showing Sam’s drawings, this exhibition offers the rare opportunity to view a working studio and print workshop, and to discuss other processes such as lithography, etching and linocut.

Sam’s studio within the St. Barnabas Press.
Sam Motherwell’s Exhibition runs from 25th April- 16th May at the Barnabas Gallery, Coldhans Road, Cambridge CB1 3EW. Mon-Frid. 10-6, Sat. 10-4
Also worth checking out is Sam’s recent publication – “Mill Road stories without words”. It is a book of 114 evocative linocuts of Mill Road, one of Cambridge’s most colourful streets.
Finally, Sam in flamboyant mode. Behind him, a portrait I painted last year as his term of office as the President of the Cambridge Drawing Society drew to a close.

Cambridge Drawing Society Exhibition

2009-04-25T10:00:00.001+01:00

This last week, I have been wearing one of my other hats, namely that of Treasurer of the Cambridge Drawing Society.
Throughout the country, the Exhibition season is underway with artists rushing to finish and deliver paintings, and organizers trying to cope with all that involves.
Tuesday was the handing in day for the Cambridge Drawing Society. Wearing my “official” badge, and sitting behind the desk, I was able to observe the scene from a very different perspective. Amidst the sea of wrapping paper and bubble wrap, there were those who nervously handed over their works and fled as quickly as possible. There were those who saw it as a social occasion and wanted to chat with friends and officials, blissfully unawares of the queues building up behind. There were those who had followed all the instructions, filled in correctly the forms and labels, and there were those who had done none of it. There was the sound of snipping scissors and shouts for string and pens all adding to the general atmosphere and tension of “Sending in Day.”
Wednesday was the Selection Day, crunch time for all. It is the second year I have in my official capacity been witness to the procedure where all the paintings are brought before the Selection Committee for their decision. It is wholly democratic, with one man one vote, and everyone, whether they be President, Treasurer or Candidate must abide by the judgement, no matter how wrong or unjust we think it might be . Not for the faint hearted the inevitable rejection artists have to endure!

The Selection Committee at work.
Following over 3 hours of judging , the selected works are laid out ready for hanging. It is a time to see everything that has been accepted and to begin to get the feel of how the exhibition will look.

Time also for a brief lunch break!

In the afternoon, screens are erected and the process of hanging begins. This is an art in itself, balancing subject matter , colours and trying to ensure that every painting is seen to its best advantage, an almost impossible task with over 300 works on display. And there are , of course, good spots and bad spots within any exhibition area, so somebody is bound to be upset by where their work is hung!
The Private View looms. Activity becomes even more frantic as labels and catalogues are organized and food and wine “magically” appear.
The Private View took place yesterday evening and was very well attended.

Tania Verdejo, Andy Mc Kenzie and Karen Stamper.

Gavin Clark

Rachel Haynes and her pastel paintings.

Lynne Woodhams, a newly elected member.

Mrs. Gavin Clark.
Founded in 1882, the Cambridge Drawing Society is one of the oldest art societies in the country. Former members have included Cecil Beaton, Ronald Searle and Gwen Raverat. Despite its name, the Society encompasses all forms of artwork, from oils to acrylics, watercolour,gouache, pastel, linocut, etching , wood engraving and sculpture.
In this exhibition, I am showing two works.
The first is an oil portrait of Tony Langford, Managing Director of John Smedley Ltd. ( 2003-2009.)

The second, is a charcoal sketch of “Granny Mc Leod” a 94 year old Scottish lady of great character.

The Cambridge Drawing Society Annual Exhibition at the Guildhall runs from 25th April -2nd May and is open daily 10- 5.30

Pastel portraits

2009-04-17T10:49:00.001+01:00

When I consider pastels, the words that leap to mind are, freshness, delicacy and spontaneity. It is the closest one can get to drawing and painting at the same time. They don’t require drying time , they don’t “sink” and the colours do not fade.( assuming you treat them carefully)
They have a relatively short history, being popularised in the 18th Century by artists like Quentin de la Tour, Perroneau and Chardin. In the nineteenth, Manet, Degas and Mary Cassatt were the leading proponents.
In this blog, I will demonstrate how I develop a pastel portrait and also show you a few other samples of my pastel work.

I work on tinted paper, the colour usually determined by the complexion, and character of the sitter. I initially block in with willow charcoal, trying to establish the likeness.
When fairly happy with that, I begin to apply colour.

I usually start with hard pastels, working boldly. It can be a little daunting, (particularly for the sitter), when this patchwork of bright colours appear. But I am thinking ahead, planning what I will overlay to modify them.

Here, I use a variety of techniques. I cross hatch, allowing the original colour to show through. At other times I apply solid pigment and blend with either my fingers, a torchon or soft cloth. As you will see I am now introducing a background, earring and jumper.

The process continues as I modify and adjust the colours and tighten up on the accuracy of my drawing.

” Mrs. Pat Motherwell”
In this final stage, I added stronger highlights and reflected lights on the nose, a bit more detail in the hair, and more modelling on the chin and neck. All that remains is to finish the jumper and necklace.
The following are pastel demonstrations or sketches I have done, usually in about an hour.

“The Commander"

“Young girl”

Pastels are also lovely to use for life drawing

“Peter”
Or, as I demonstrated in an earlier blog, for landscape also.

” Kirkcudbright Harbour”. A pastel drawing of Kirkcudbright Harbour. I did this as a short demonstration in the pastel medium for the group who came on one of our Painting Holidays in the town.
Tips. I use a combination of both hard and soft pastels. The general principal is that the soft are applied over the hard. Any areas, like the eyes where I need a fair amount of precision, I will use only hard pastels, pastel pencils, or conte chalks.

Video of Painting Holiday

2009-04-16T08:53:00.000+01:00

Some while ago, Philip put up a video of one of our painting holidays on YouTube. It occurred to me that those of you who had not seen it would like to take a look.Certainly it shows the sort of things we enjoy on our painting holidays in Menorca. I’m seen slaving away over a hot easel – oh yes, the weather is usually pleasantly warm in Menorca when we are there. If you are wondering what the TV crew is doing in some of the shots, they were filming a piece for the local news channel. We were famous! Anyway, enjoy the video and we’d love to see you on one of our holidays very soon.

John

Painting a landscape in gouache 2

2009-03-15T09:02:00.000Z

I now focus on the middle ground and distant hills. The hills have to be sufficiently greyed to push them back but at the same time there has to be a suggestion of the pattern of heather on them. I use a hog’s hair brush with solid pigment. Dragging this over the texture of the watercolour board breaks the colour up and softens it

Close attention is now paid to the middle distance. I compare the tonal and colour differences with the landscape beyond and begin adding some suggested detail of trees , gorse, and river. I paint the river in the foreground looking at how the sky is reflected in it. This necessitates painting over the foreground trees which I had initially blocked. Being gouache, this is easily done. These will be reinstated at a later stage.
I am still using fairly large brushes, building up texture, and painting loosely. The beauty of gouache is that it dries instantly, yet is opaque and remains water soluble. Alterations and additions are easy to make as will be seen in the next stage.

2009-03-15T09:00:00.001Z

In a previous blog, I demonstrated pen/ink/wash as a medium. This illustration, which I did for a magazine called Child Education employs the same technique. It is infinitely more complex with over a hundred figures around the giant Gulliver.

All of this required a huge amount of planning. Every figure and group of figures, all drawn from imagination, had to be carefully drawn in, and masked out with masking fluid. I needed to do this so that I was then free to apply large areas of watercolour washes for grass and sky. When these were dry, the masking fluid was removed and the blank figures redrawn and coloured.
In certain areas such as the trees and the giant’s shoes I applied body colour.i.e.opaque gouache. This allows one to get a stronger depth of tone.
This illustration was great fun to do as it involved a huge amount of preparatory research. It is clear that I was deeply influenced by 17th century Dutch painting and the work of Breughel in particular!

A traditional method of painting a portrait 4

2009-03-07T09:48:00.000Z

he portrait is nearly complete. I have continued building up detail through a series of glazes alternating with more solid pigment.

I pay close attention to blending, whilst at the same time increasing the depth of shadows and picking out the highlights in the flesh. With a hogs hair brush I try to capture the flow of the hair before finally using a sable rigger to add the wispy bits. This technique is particularly useful where the hair goes into the background. This way, the contour is softened.
A few minor adjustments to the face, a bit more detail to the blouse, and the portrait will be finished.

A traditional method of painting a portrait 3

2009-03-01T09:51:00.001Z

The monochromatic underpainting being completed, I now start to apply colour. Initially, this is done with a series of glazes, transparent washes of colour laid over and modifying the cool tones already established.

For this I use a mixture of Dammar varnish, stand oil and turpentine.
The colour of the shirt is quickly blocked in also.
The next stage is to build up the texture of the skin with more solid pigment and impasto.

A traditional method of painting a portrait 2

2009-02-28T08:48:00.002Z

The underpainting stage is nearly complete.

Continuing to work in fast drying acrylics, I have built up the detail in the various features. Close attention has been paid to the patterns of light and shade in the face whilst at the same time keeping them slightly lighter than will be required in the finished painting. The likeness has begun to emerge.
So far I have not had the problem of dealing with colour and been able to concentrate on the accuracy of likeness and tone. It is now time to change this somewhat ghostly image into a living person.

Painting a landscape in gouache 1

2009-02-28T08:45:00.000Z

Gouache is one of my favourite mediums, particularly for painting out of doors. It dries rapidly, yet is still water soluble if you wish to go back into it and make alterations. It has a soft chalky quality about it , French chalk having been added to the pigments in their production.
As a result , it is a very forgiving medium allowing one to proceed with the minimum of planning, to easily make amendments and to paint light over dark.
In this particular painting I am working on Bockingford watercolour board and using Winsor and Newton designers gouache.

With a large hog’s hair brush I have very rapidly blocked in the general composition, the sweep of the river, the distant hills and indicated the position of the trees in the foreground. It has taken around 30 minutes for this initial stage of the painting.

A traditional method of painting a portrait

2009-02-27T08:51:00.001Z

In this blog, I will demonstrate a much more traditional method of creating a portrait. In my previous one, it was the “alla prima” method. i.e. painting direct and tackling both tone and colour at the same time. Here the idea is to focus on the drawing and tone, before considering the use of colour.
To speed the process up, I will use acrylics as an underpainting and will be working on board primed with acrylic gesso.

I use titanium white, raw umber, viridian green and Paynes grey. The aim is to produce an almost ghostly image, with the depth of tone lighter than in the finished work. If I make it too dark I will be unable to apply my coloured glazes successfully.
The image shown is after about an hour’s work. I am getting the tilt of the head, the basic proportions and have begun to establish the features. Because acrylics dry so rapidly, it is easy to obliterate mistakes and move things around.

A bold approach to portrait painting in oils 3

2009-01-16T08:17:00.001Z

I now begin the second portrait sitting. As the oil paint is dry, I apply a coat of retouching varnish. This restores any colours which may have sunk and makes the surface receptive to fresh paint. “Oiling out ” is another technique which may be used. This is where you rub the surface of the painting with a soft cloth dipped in medium,as though polishing it. Again, it will liven up any “dead” areas.

As the painting is dry, I check for any areas where I wish to apply transparent glazes of colour – e.g. the nose, chin, and parts of the forehead. I now focus on the eyes, once more checking shapes and modifying the colour and tone of both the pupils and irises, trying to capture the moisture and light within them.
Using stiff pigment, I build up the texture of the flesh under the eyes and in the forehead. I flick in some of the creases, laughter lines, but soften them with a cloth or drag paint over , so they do not appear simply stuck on like theatrical make-up.
I cool down some of the more fiery flesh tones and add a cool greenish reflected light on the left side of the face. The background also is lightened and a little more detail added to the ear.
The second sitting now draws to a close.

TIPS
Try using retouching varnish between sessions.
Also, try the “oiling out” method.
Experiment with glazing and scumbling techniques to see the different effects that can be achieved.

How to create a pen/ink/wash drawing 4

2009-01-09T08:41:00.002Z

I have now added transparent washes of watercolour to the original drawing. These are done in successive layers with the previous one allowed to dry before the next is applied. This allows the luminosity and freshness of the watercolour to be retained. Having done this, I found that certain areas of the drawing had to be strengthened with pen/ink. e.g. the figures, the shadows under the eaves, the chimney stacks against the sky.

Pen/ink/wash is a marvellous medium for sketching en plein air. Few materials are required to be transported and one can sit quite unobtrusively drawing away without the usual crowds the sight of an easel can attract. It is ideal for rapid sketches, but its intricacy and detail can also be used to great effect in more highly finished work.

5 TOP DRAWING AND PAINTING TIPS
Vary the thickness of one’s line.
When cross hatching , change the angle of the pen stroke very gradually.
Never cross hatch at right angles.
Try to keep the watercolour washes fresh.
Use transparent rather than opaque colours.

How to create a pen/ink/wash drawing 3

2009-01-03T08:39:00.001Z

The drawing stage nears completion. I have continued to build up detail and tonal depth using cross hatching with both pen and brush as well as stippling or splatter techniques.

Most importantly, I have also added figures to give a sense of scale and movement and to create interest.
All that is left to do now is to add transparent washes of colour and to assess whether parts of the drawing will have to be strengthened further as a result.

How to create a pen/ink/wash drawing 2

2008-12-23T08:37:00.001Z

I now start working with the pens establishing and building up the details of the buildings.

To increase the depth of tone, I apply the technique of cross hatching. At other times I stipple or print with either a tissue or sponge dipped in ink.
The Edding pens create a line of uniform width which can look somewhat mechanical if overused. To counterbalance this I also use a brush pen or even a very fine sable brush dipped in ink. The dark timbers on the buildings were created with these.

How to create a pen/ink/wash drawing 1

2008-12-22T08:32:00.002Z

Materials used will be drawing pens (Edding) of various sizes, from 0.1 to 0.4, a brush pen, tissues, and a sponge as well as watercolour paper, and watercolours. Initially, I quickly sketch in the composition with a 2B pencil

This will be a drawing of Lavenham in Suffolk, with its beautiful old medieval buildings. At this first stage, I am simply getting the basic proportions and checking perspective. (It has to be said, however, that some of these buildings seem to defy the normal rules!) When I am fairly happy with this , it is time to move on to working in ink.

Painting a head and shoulders portrait in oils.

2008-12-16T19:53:00.004Z

Sometimes, the most successful portraits are the simplest. It is very easy, particularly on a commissioned work, to get carried away with backgrounds, clothing , pose or symbol to explain who or what the person is.
This is a portrait of "Mary", a lady I have painted on many occasions. I felt that focussing in on her head, her expression and her gaze, captured her essential dignity and strength of character. To add anything else would have been a mere distraction.

Painting a landscape in acrylics - part 4

2008-12-15T18:28:00.005Z

The finished painting.

Find out more about our Painting Holidays in Menorca

Painting a landscape in acrylics - part 3

2008-12-15T18:10:00.005Z

I am now working at building up the detail and establishing the perspective of buildings and boats in the painting. I try to capture the play of light and cast shadows, and begin to strengthen the colours. Thin transparent glazes are overlaid in certain areas, and Flow Formula is added to the paint where more precision is required.

Painting a landscape in acrylics - part 2

2008-12-15T17:45:00.010Z

At this stage of the painting, I am blocking in some of the darker tones, and beginning to construct the various buildings. I am using stiffer pigment and building up the texture of the painting. I do this in different ways. I may stipple with a stiff hogs hair brush or sponge, use a palette knife, or print materials down. There are lots of different mediums that can also assist in this process.
e.g. sand texture gel, glass beads texture gel, heavy structure gel.

Painting a landscape in acrylics - part 1

2008-12-15T17:17:00.006Z

This is a painting of the small village of Alcaufar, one of the places we visit in Menorca on Inspiration Holidays.

Initially, I do some quick compositional sketches in either pencil or charcoal. I am looking at the main masses, at the rhythms and lines running through the painting and how this all relates to the picture frame. I check for the Golden section (or Rule of Thirds) and patterns of light and shade. I find it invaluable to do all this preliminary work, to think about what I am painting and why, rather just sitting down and hoping for the best! On the Holiday, I encourage students to get into this way of working.
Moving on to the painting, I quickly establish the main masses of the composition. I do not do any preliminary drawing with pencil or charcoal, but go straight in with the brush. I am working in acrylics, but at this stage the paint is very fluid, almost like a watercolour.

Acrylic/oil portrait painting 5

2008-12-14T21:01:00.004Z

The finished portrait of "Val and Betty". It was published in Artists' & Illustrators' Magazine and was judged the "most popular painting " by the public at the Autumn Exhibition of the Cambridge Drawing Society in 2007.

Acrylic/oil portrait painting 4

2008-12-14T20:53:00.003Z

Now I have started working in oils. In places, the pigment is solid and opaque. In other parts, I use scumbling or glazing techniques, allowing the original acrylic painting to show through and act as a foil.

acrylic/oil portrait painting 3

2008-12-14T20:43:00.003Z

Out of the chaos, order gradually emerges. Details of clothing, the table and objects on it, and the window gradually appear. I am still working in acrylics and the process so far has taken around two hours.

Acrylic/oil portrait painting 2

2008-12-14T20:20:00.003Z

Here, I am still working in acrylics. I now begin to feel my way into the composition. The figures are roughly drawn in, as is the basic perspective of the background setting. I establish a cool green underpainting for future warm flesh tones.

Using acrylics as an underpainting for oils

2008-12-14T20:03:00.004Z

The previous oil portrait was done in a traditional manner. This time I am using acrylics as the underpainting. The reason? It dries extremely rapidly so layer upon layer can be built up quickly prior to adding the oils on top. It is spontaneous and can be great fun, as can be seen from the somewhat colourful and apparently chaotic illustration on the right. But the colours I am using are chosen very deliberately to pick up those in the subject.

The finished portrait painting in oils

2008-12-14T18:46:00.004Z

Over a number of sessions, the details in the head and hands was built up. This involved various techniques- glazing, scumbling and the use of body colour. At times stiff pigment was used, at others the paint was diluted with medium. I favour a stand oil, dammar varnish and turpentine mixture. The background was added during this process as well as details of the chair and clothing.
The background was painted over the edges of the hair . When this was dry, the hair was dragged back over it and a sable rigger used to establish some of the finer wisps.

Charcoal sketch to portrait painting in oils

2008-12-06T20:29:00.005Z

Having decided on the finished preparatory sketch, I now prepared to do the oil painting. I chose to work on a fine linen canvas which I had stretched before applying two coats of size and two coats of oil primer. I then stained the canvas with a transparent wash of raw umber. This gives me a very useful mid tone on which to build my lights and darks.
I drew the figure in with a brush and fluid paint ( lots of turpentine) before moving on to the blocking in stage. All this time, I am checking angles, proportions, rhythms through the figure, and ,of course, position on the canvas. There is nothing worse than painting a fine head only to discover it's in the wrong place!
The accompanying illustrations show the painting in various stages of development. The head is well under way, the hands are just rapidly sketched in , and there are still large areas of the original staining. In my next blog I will show how the portrait was developed further.

How to create a charcoal portrait 3

2008-11-28T14:22:00.003Z

Thanks Simon for your comments. These are usually fairly quick exploratory sketches, not worrying too much about either likeness or expression - they are mainly about pose and composition. If I did however, chance to get the "perfect expression", I would hope to recognise it and be able to replicate it in the final painting. The client and I both agreed that sketch 2 was not the "correct" one; the sitter is a very lively 92 year old who despite her physical frailty is mentally very alert, enjoys talking to people and is very aware of what is going on in the world. We both felt that sketch 3 expressed this better.

How to create a charcoal portrait 2

2008-11-26T17:37:00.004Z

This drawing is another preliminary sketch for the finished painting. The materials and techniques used are the same as in my previous blog. Here, I have gone for a three-quarter length sketch as her arthritic hands were an interesting feature. Altogether I felt this pose produced a more reflective portrait.

How to create a charcoal portrait

2008-11-24T20:49:00.004Z

This is one of a series of charcoal studies done in preparation for a finished oil portrait.

Materials: Smooth cartridge paper, willow charcoal, medium and soft charcoal pencils, compressed charcoal, black conte stick, soft cloth and a putty rubber.

Method: After establishing an initial outline, the area of the head was rubbed over with willow charcoal and smoothed with the cloth. The position of the main features was established before softening and lightening the mid-tones. The details in the eyes and mouth were built up using charcoal pencils. For the darkest tones, I used a combination of either conte crayon or compressed charcoal. The highlights were lifted out with a putty rubber.

Painting in Menorca October 2008

2008-10-11T16:03:00.001+01:00

Well, this is my very first blog post, so I hope you will be forgiving if it takes me a little while to get to grips with all this hi-tech stuff. The truth is, I didn't even know what a blog was until very recently. My aim is to help inspire you to enjoy your painting even more, to pass on a few tips, and then, hopefully, you'll feel the need to join me on one of the wonderful painting holidays in Menorca - and soon in Scotland's famous Artists' Town, Kirkcudbright. I have just got back from Menorca and thought I'd get things rolling by posting this very short video of one of my students enjoying her painting in what can only be described as an idyllic setting. If you'd like to know more about any of my painting holidays, there's lots of information at http://www.inspiration-holidays.com/