Bury St Edmunds Art Society

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.

Painting a landscape in acrylics - part 2

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.

How to create a charcoal portrait

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.