tag:blogger.com,1999:blog-6586700314771318022024-03-13T20:38:09.567+00:00Alistair Butt RSMA - Landscape and Marine Painting BlogLandscape & Marine Paintings, Oil & Watercolour paintings, step by step art demonstrations, painting demonstrations, how to paint landscapes and marine subjects, art galleries, exhibitions - copyright Alistair Butt and third partiesAlistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comBlogger226125tag:blogger.com,1999:blog-658670031477131802.post-30645757508864648752017-12-31T19:06:00.000+00:002017-12-31T19:06:04.309+00:00Wishing you all a Happy New Year....<div class="separator" style="clear: both; text-align: center;">
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<br /><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-20204382154725652042017-08-29T12:04:00.000+01:002017-08-29T12:04:12.003+01:00A selection of other materials and equipment needed for watercolour/watercolor painting<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">There are a lot of so called 'useful' or 'must
have' products on the market but all that is needed are the basics below. </span></b><br />
<br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></b><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Pentel P203 and P205 Clutch Pencil and Berol
'Venus' Pencil </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">A sharp
2H or HB pencil is all that is required to draw in the lines of the subject you
are going to paint. In the studio I use two Pentel Clutch Pencils, one
containing 0.3mm and the other 0.5mm leads, usually 2H or HB if drawn lightly. <br />
<br />
The Pentel Automatic Pencil 0.5mm and Clutch Pencil 0.3mm are suitable for
drawing and designing. Each gives precise, clean and accurate lines. Many
artists swear by clutch pencils. Timber-cased pencils change their size, weight
and balance as they are sharpened, which can be a problem for artists who draw
a great deal. Clutch pencils have a constant weight and size and though
initially expensive, the refills are competitive (packs of 12 leads). <br />
<br />
When I'm sketching outdoors I use normal pencils (less expensive if lost, easy
to do in long grass or on the beach and less prone to damage). I sharpen
pencils (Venus from Berol are the pencils I have used for many years) with a
sharp knife (if you can use a knife for sharpening, you will save a lot of
wastage compared to a sharpener). </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">How to sharpen a pencil using a sharp knife:</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Hold the
pencil with the tip towards the ground. <br />
<br />
Hold the knife blade at a 45-degree angle from the tip of the pencil. <br />
<br />
Begin at the lip (where exposed wood meets painted edge). Press firmly but
lightly (going from the pencils painted edge towards the graphite), take one
shaving from just the wood (not the graphite). Rotate pencil 90-degrees and do
another shaving. Repeat rotations and take thin shavings until the required
length of graphite is exposed. <br />
<br />
Finish by sharpening the graphite itself. I like a longer point so when the
pencil is held almost flat to the paper so a larger area is shaded but is more
likely to break. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Winsor & Newton Colourless Art Masking Fluid
for Watercolour </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">When
required to mask areas of my paintings I use Winsor & Newton Colourless
Masking Fluid. This is applied with an 'old' Winsor & Newton Series 7
Kolinsky Sable Brush No 6 dedicated to this purpose. <br />
<br />
To keep the brush clean and workable the following process needs to done (see
below) on every application of the masking fluid. This process has been used on
the same brush for almost two years but please do not use 'new' sable brushes
(many artists recommend using cheaper brushes and would never use a sable) for
masking fluid, the one I'm using had done a number of years work before being
used for masking fluid. <br />
<br />
I cut the brush tuft (from an 'old' No 6 brush) in half, across the diameter
(not the length) which provides a nice length of hair, to carry the masking
fluid, but also comes to a nice point making it ideal for painting (masking)
thin lines. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">How to
keep your watercolour brush usable when using it with masking fluid:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Note:
Between applications of masking fluid the brush 'tuft' is covered with soap.
This needs to be removed before using again. Also make sure that the paper is
100% dry before using the masking fluid. <br />
<br />
First clean off all the soap (from last use) in the water pot used just for
cleaning the masking fluid brush. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The dry
any access water from the brush using a paper towel, so as not to dilute the
first application of masking fluid. <br />
<br />
Open the jar of masking fluid and working as quickly as possible apply the
fluid to the required areas. If a large amount needs to be covered and/or more
than about 10-20 minutes passes or the masking fluid is beginning to dry on the
brush, stop and clean the brush (as detailed below) and start again. <br />
<br />
When finished painting on the masking fluid, close the jar of masking fluid and
quickly dip the brush 'tuft' into the pot of water. Some masking fluid may well
have started to dry on the brush and this is removed by brushing the tuft of
the brush on a bar of soap. A helping hand is usually needed by using your
nails and fingers to remove all traces of the drying masking fluid. Apply more
soap if needed but all traces must to be removed. <br />
<br />
When clean, use the tuft of the brush to lather some soap and cover the brush
tuft with the lather. Place the brush flat to dry and ready for next time. <br />
<br />
Make sure the lid of the masking fluid it tight and then turn the jar upside
down as I've found this helps slow down the air getting into the jar. Masking
fluid does go off and if it goes more solid and unworkable it's time to
replace. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Water and Water Pots </span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I
recommend the use of at least two or more pots/containers/jars. Personally I
use three pots for water. <br />
<br />
Two of the pots are used when painting - one has clean water (clean washes and
mixing paint) and the other one for dirty (washing brushes). </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The third
water pot is used only for cleaning the masking fluid brush, as detailed above.
<br />
<br />
Change the water in the pots often to avoid the water becoming too muddy. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Other useful items include: Ruler, Knife, Cutting
Mat, and Rubber. </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Ruler:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">A metal
1m ruler or straight edge is preferred but a plastic version can be used (being
careful when cutting along the edge so as not to damage it). Always cut on the
waste side. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Knife:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Swan
Morton, available in most art/craft/graphic shops is ideal. They have different
shaped handles (No. 3 and No.7 handles are the ones I use) and a selection of
blade shapes are available. I've found the No. 10A Swan Morton Blade (straight
cutting edge) to be the most useful but also use No. 10 (which has a curved
cutting edge) while No. 11 is a more tapered version of 10A. Other blade shapes
are available. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Rubber:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Not used
very often as drawing another line is the best anyway. If you need to use a
rubber its best to wait until the painting is finished and then remove the
marks so as not to damage the surface of the paper. As a side note some people
like to see the pencil marks or drawings on watercolour paintings. I would
recommend putty rubbers which are better than harder rubbers. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Cutting Mat:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Save the
table etc by using a cutting mat. The self healing versions of Cutting Mats,
though more expensive, do last longer and over time are better for cutting on,
as the non self healing ones with repeated cutting small sections of the
surface break away. Price varies with size. </span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-47322983135923940212017-08-29T11:59:00.002+01:002017-08-29T11:59:29.866+01:00Watercolour painting which brushes do I use... <!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Winsor
& Newton Series 7 Kolinsky Sable Watercolour Brush:</span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In 1886 Queen Victoria gave orders that Winsor and
Newton, holders of the Royal Warrant, to be commanded to produce brushes of the
highest possible quality in her favourite size, No. 7. The brushes were to be
made of the finest Kolinsky Sable hair, the handles were to be made of ivory
and the ferrules to be made of sterling silver. <br />
<br />
'Some' details have change since 1886, no longer the ivory handle or sterling
silver for us. Apart from that, the attention to both quality and detail
prevails in the factory, taking up to seven years to master the skills
required. All the Series 7 brushes are handmade from the finest pure Kolinsky
Sable (a member of the Asiatic mink family) and placed in rust-proof, nickel
plated ferrules, which are seamless and then fitted to a black polished wood
handle and finally finished with gold text printed on the handle. <br />
<br />
These brushes can or will provide years of enjoyment and durability, all of my
Series 7 brushes have lasted much longer, than 'any other' brush (some now over
twenty years - the fine point has gone but still good for mixing and for
general washes, while others are used only for masking fluid application). <br />
<br />
Winsor & Newton Series 7 brushes come in a usual range of brush sizes 000
to 10. </span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Winsor & Newton Fan Brush:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">These
brushes are wonderful for blending areas that are wet. Ideal for removing
'granulation', should you not like the effect. So brushing over the sky area
with these soft hair fans distributes the particles of paint, creating a smooth
sky (but only do this when still wet). <br />
<br />
I also use the Fan Brush for foliage and grass. When the brush is wet the hairs
clump together (in effect becoming a number of brushes in one) then add your
chosen colour and paint. Experiment with rotating and or moving the handle of
the brush to the left/right as you stroke produces grass going in different
directions or grass of different length's respectively. <br />
<br />
There are a large number of fan brushes on the market produced by the brush
manufacturers. Come in a range of materials, from pure Kolinsky Sable,
sable/synthetic mix or full synthetic to hog or squirrel hair. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Winsor & Newton Mop Brushes:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The brush
that is used the least, but does save time when it is. Ideal for wetting the
paper before I apply the sky wash, then applying the sky wash in most cases or
painting large colour areas at the beginning of the painting. <br />
<br />
Like the brushes above most manufacturers make a Mop or Flat Wash (sometimes
called One Stroke) Brush. Again the cost will be reflected in the hair used for
the brush from pure Kolinsky Sable, sable/synthetic mix or full synthetic to
hog/squirrel hair. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">Cleaning and Storing Watercolour Brushes </span></b></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Begin
with rinsing the brush thoroughly in gentle stream of tepid (not hot!) running
water against the tuft that is pointing downward. <br />
<br />
Once most of the pigment residue has been cleared from the brush, rotate the
brush horizontal and direct water up by the ferrule again avoid getting water
above the ferrule. <br />
<br />
With the brush thoroughly rinsed, stroke the tuft in vegetable soap (not
detergent), baby shampoo, or a commercial artists' brush cleaner. Work the
lather into the hairs by kneading the tuft with your fingertips or rubbing
against the wet palm of your hand with particular attention to the area around
the edge of the ferrule in order to remove any paint that has migrated up the
tuft. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Do this
until all discoloration or staining is removed from the visible hairs. Rinse
thoroughly, again with the tuft first pointing down, then horizontally. <br />
<br />
Once cleaned, shake or better still, a quick flick, removes remaining water
from the brush. If necessary, shape the tuft gently against the side of your
finger so that it comes to a balanced point. Don't dry brushes near any source
of heat. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Storing Brushes:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Commercial
brush boxes are a convenient and safe way to store brushes for a long period.
An alternative is the brush case. Today they come in rolls or folding flat
variants. If possible store the washed and dried brushes vertically - better in
a case. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Care of Watercolour Brushes </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The brush
it is a delicate instrument (particularly the point) that can be easily
damaged. Below are some tips to care for and extend the useful life of your
brush. Remember a cheaper brush needs the same care and attention as the most
expensive ones and buying cheap one's to throw away usually works out more
expensive in the long term. <br />
<br />
Never leave your brushes standing on their heads (tuft) in a jar or glass, wet
or dry, even for a few minutes. <br />
<br />
While in use lay your brushes flat. <br />
<br />
Avoid submerging the tuft in paint or getting a lot of paint near the ferrule
end. This encourages the capillary action that causes paint to migrate up the
hairs into the ferrule, where it is difficult to get out and leads to the
spreading of the hairs. Once you've got paint on the brush, begin painting with
it as this pulls the paint away from the ferrule. Avoid holding a brush full of
paint with the tip pointing upwards as the paint will seep into the ferrule and
never let it dry in this state. <br />
<br />
Use the brush for one medium only. No acrylic, oil or masking fluid with your
watercolour brushes. <br />
<br />
Dedicate an old brush for the application of Winsor & Newton Colourless
Masking Fluid. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Keep
expensive brushes out of reach of all pets and children. It only takes seconds
to destroy a very expensive brush. <br />
<br />
Dip your brush in water before you start painting (picking up pigment with a
dry brush or dry paint is very abrasive). Have two pots of water (clean and
dirty). <br />
<br />
Rinse brushes thoroughly as you work in a large container of clear water
(change the water frequently). Holding the brush upright, no deeper than the
ferrule (the handle should not enter the water) and agitate the tip briskly.
Remove surplus water from the tuft against the edge of the water container and
if you spot any remaining colour in the runoff, repeat agitation again until
the water runs clear. Once you have rinsed a brush, flick the brush to remove
excess water, avoid rubbing or squeezing with a cloth or paper towel as this
will break off or pull out the hairs. <br />
<br />
When using pan watercolours, wet the cake first and then pick up fresh pigment
with the same movement you use to brush the paint onto paper don't bend the tip
of the brush, or splay the hairs by pushing directly into the cake. <br />
<br />
Treat natural hair and synthetic brushes with the same care. </span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-30132596392825900452017-08-28T23:49:00.001+01:002017-08-28T23:49:41.621+01:00Step-by-step guide to stretching Watercolour Paper - my method anyway.<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">Materials required:</span></b></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Boards: </span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">A
number of strong wooden boards (the pull of the a full sheet of drying paper is
immense) for each size of paper (quarter, half and full Imperial - for the most
economical use of the paper). I have boards dedicated to each size. <br />
<br />
<b style="mso-bidi-font-weight: normal;">Watercolour Paper:</b> <br />
Cut to the size (if needed). <br />
<br />
<b style="mso-bidi-font-weight: normal;">Brown Gum Paper Tape: </b><br />
50mm/2" wide. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Note:
masking tape is not really strong enough for larger/thicker sheets. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">An
alternative is to use a staple gun and staple around the edges. <br />
<br />
</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><b style="mso-bidi-font-weight: normal;">Tray</b></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><b style="mso-bidi-font-weight: normal;"> or </b></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><b style="mso-bidi-font-weight: normal;">Bath:</b><br />
Needs to be bigger than the sheet of paper <br />
<br />
<b style="mso-bidi-font-weight: normal;">Water:</b> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Enough to
cover paper </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Method:</span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Place a
sheet of watercolour paper (fully submerged) in a bath (or tray) of cold water
for a few minutes (10 to 25 at the most, give heavy paper near the upper end of
this time). The paper needs time to expand. <br />
<br />
While the paper is soaking cut the gum tape to a length longer than the paper. <br />
<br />
Check the board is free from any protrusions/dirt that 'will' show when the
paper is dry. <br />
<br />
Remove the paper from the water and hold vertical while the majority of the
water drains off. <br />
<br />
Then place the paper centrally on the board. <br />
<br />
To wet the gum tape, dip one of the four pieces into the water and then lift
out of the water and holding one end, using your other hand run the full length
of the tape between two fingers stopping at the other end (this removes most of
the water). Note: most tapes will try to curl at this point but you'll have
hold of both ends. <br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Next
place the tape to cover the paper by </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">15 mm (</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">1/2"). This is best done by
positioning one end down on the board while holding the other end clear and then
as you lower the second end, line it up with the first end. <br />
<br />
Run your hand over the tape to push it down onto board and paper. Repeat for
the other three sides. <br />
<br />
Leave the board flat in a location that is away from being walked on/over,
anything jumping on it (pets etc) or near a heat source (it needs to dry slowly
for a number of hours - best overnight). This time factor is the main reason
for having a number of boards with paper stretched and ready for painting. And
yes, the odd error will happen, tape splitting etc, even after years of practice.
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">Paper and Gum Tape Removal:</span></b></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">With a
sharp knife, run it around the very edge/lip of the paper (cutting through the
gum tape only). Do one of the long edges first, then a short edge to release
some of the tension. While cutting, the gum tape may, split or crack due to the
release of the tension (it is normal). <br />
<br />
When the watercolour paper has been removed a small lip is left on the gum tape
that's remained stuck to the board allowing you to pull most of the tape off
(pull from lip edge side across the width of the tape - inside to outside). <br />
<br />
I leave the rest on until six or more painting have been done, but only if the
previous layers of tape are solid. Not only does it provide a guide for the
placing of the tape for the next painting (using one size of painting on each
board) but is easier to remove when there's more layers. <br />
<br />
For a total removal of all the gum tape from the board, soak in water, which
can be done in between each painting. <br />
<br />
The gum tape remaining around the painting border can be removed by cutting it
off. </span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-22908886838665532212017-08-28T23:38:00.001+01:002017-08-28T23:38:47.517+01:00Watercolour papers which I use... Arches Aquarelle, Saunders Waterford and Bockingford<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Although
I do experiment with other papers (from the large range of Watercolour papers that's
available today) when the opportunity arises, I return to the three detailed
below, plus as I have little or no working knowledge of others I feel it's not
right to pass comment on them. <br />
<br />
As each brand of paper has its own character (response to the application of
paint, spreading, texture, etc) this has a dramatic effect on the end result,
so it’s worth doing some experiments to see how your style/technique of
painting is affected by the paper being used. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">Arches Aquarelle Paper </span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="http://www.arches-papers.com/our-papers/arches-aquarelle-watercolour-paper/" target="_blank">Arches Aquarelle </a>is considered one of the finest watercolour papers made today. It is
100% cotton fibre (sometimes known as Rag Paper), acid free, and made for more
than a hundred years on a cylinder mould machine by Arjomari of France. <br />
<br />
The process, in which the pulp gradually settles and drains onto a slowly
rotating screen-covered cylinder, results in a paper that has a uniquely
hand-made look and feel. This thick, stable sheet is beautiful, durable and
moderately resistant to scrubbing, lifting etc. The Rough and Cold Pressed
sheet are gelatine sized, while the Hot Pressed sheets are internally and
surface sized.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The
sheets are then air dried. Have four deckled edges and before leaving the mill
each is hand inspected for strict quality control. The Arches paper is
watermarked and also stamped in the corner of each sheet. The paper costs
(depending on source) about three times that of the Bockingford. Arches
Aquarelle is available in three surface finishes.<br />
<br />
Like the other papers suitability for technique etc is the same. HP (Hot
Pressed) is better for highly detailed paintings. CP (NOT) is a good all round
surface. The Rough is a fantastic surface for looser landscapes and seascapes
where the surface really works with the painting.</span></div>
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<br /></div>
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<span style="font-size: large;"><b><span style="font-family: "Times New Roman","serif";">Saunders Waterford Series Watercolour Paper </span></b></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="http://www.stcuthbertsmill.com/st-cuthberts-mill-paper/saunders-waterford-watercolour/" target="_blank">Saunders Waterford</a> is the highest quality watercolour paper offered by St Cuthberts
Mill. Mould made using 100% cotton and the only paper to be endorsed by the
Royal Watercolour Society of England; this is a paper of pure luxury. <br />
<br />
Although I have only used this paper for watercolour painting and drawing,
other artists use it for Intaglio, Silkscreen and Hand Lithography. The paper
(depending on source) is about twice the price of the Bockingford. The paper is
a warm white and both internally and surface sized with gelatine and is
buffered against atmospheric contamination giving very good archival permanence
(neutral pH).</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">This size
strengthens the paper allowing lifting, scrubbing and corrections to be made
without damage to the surface. Full size sheets have four natural deckled edges
and come with a watermark, plus an embossed mark in the left corner to prove
authenticity.<br />
<br />
Saunders Waterford is available in three surface finishes. HP (Hot Pressed)
which is great for high detail paintings. CP (NOT) is a good intermediate
surface, which is great for most types of paintings. The Rough is a fantastic
surface for landscapes and seascapes where the surface really works with the
painting.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Bockingford Watercolour Paper </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="http://www.stcuthbertsmill.com/st-cuthberts-mill-paper/bockingford-watercolour/" target="_blank">Bockingford</a>
is one of the world’s most loved watercolour papers, which is only made at St
Cuthberts Mill, near Wells, Somerset. It is cylinder mould made using the
purest wood pulp to give an archival paper (internally sized with a neutral
pH). Used by both professionals and amateur artists, for the papers excellent
paint removal properties and for having quite a hard surface which resists
scrubbing, scrapping and also takes masking fluid well. <br />
<br />
The imperial sheets have straight edges. Within the Bockingford range the
535gm² (250lb) White or 425gm² (200lb) White are the papers that I use on a
regular basis. I do prefer the extra weight of the 535gm² (250lb) paper even
when compared to the 425gm² (200lb) but both are wonderful to paint on, both
having the same slightly textured surface. <br />
<br />
I stretch both these papers having cut it to the size required from full
sheets. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Depending
on your output of paintings art shops (or via the internet) now offer paper in
large packs (10 to 100 sheets) at good discount. Don't forget to store the
sheets flat and away from damp or temperature change. <br />
<br />
The Bockingford Extra Rough surface has been developed in response to artists'
demand for an alternative to the CP/Not surface in the Bockingford range. Like
all the Bockingford range the Extra Rough is mould made from the purest
cellulose fibre. It has an extremely forgiving paint surface allowing frequent
changes to work e.g. lifting, scrubbing and masking fluid. It is acid-free and
buffered to protect from atmospheric contamination, internally sized, highly
light fast and colour stable. Bockingford Watercolour paper is available in 5
weights ranging from 150gm² (72lb) to 535gm² (250lb). In the most popular
weight 300gm² (140lb), Bockingford is available in 5 tints (cream, grey,
eggshell, blue and oatmeal).</span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-40461529636333089362017-08-24T23:45:00.001+01:002017-08-29T00:08:37.241+01:00Gesso panels for oil painting - plus how to make your own<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Gesso covered hardboard - sometimes know as
Masonite - smooth surface on one side rough on the other </span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">By varying the
application of the Gesso different surface textures can be used but use with a
degree of caution as the texture can fight with the painting. The opposite is
to sand it smooth therefore making it ideal for detailed work. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Hardboard/Masonite is a manufactured product made from wood. Wood chips
are blasted with steam into long fibres and formed into boards, which are then
pressed and heated to form a finished product. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">For oil painting
hardboard/masonite can be primed with acrylic gesso or canvas can be glued on
top of it. One thing to keep in mind however is that large boards have tendency
to bend and therefore for larger paintings extra backing support would be well
advised as well as painting the back of the board.<br />
<br />
The Untempered variety is used widely by artists and thought safer, than
Tempered, for archival painting although it is less durable at the edges as it
has loose fibre content. By preparing your own surfaces (canvas or hardboard)
you can choose any dimensions or shapes you like and many artists do prepare of
their own. <br />
<br />
Primers really control the texture, absorbency of the support, while colour can
also be considered. Priming hardboard for oil painting is inexpensive when
compared to other supports, the boards can be purchased quite cheaply, although
these will need a number of coats of acrylic gesso (3 to 5 coats) before
painting (on the smooth side which has been lightly sanded), so takes more time but a number can be produced at one time.<br />
<br />
As an alternative to making your own, a number of companies now make readymade
versions but to set sizes usually the same sizes as for canvas boards. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "times new roman" , "serif";">Making Gesso covered boards:</span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I
purchase full sheets of hardboard or masonite (depending on location and
supplier) and then cut to the required sizes. Depending on the size needed - a
division of the width and/or length results in little or no waste. <br />
<br />
After cutting, sand the smooth surface and edges. <br />
<br />
I use Winsor & Newton Artists Acrylic White Gesso. <br />
<br />
Each board will have five coats applied to them with a large household paint
brush - used only for gesso. It's better to use one with long hair as the gesso
does dry quickly. Therefore it's best to keep the gesso away from the ferrule
and wash the brush as soon as you have finished. Allow each coat to dry before
adding the next. Larger boards can warp, if this happens' paint the back with a
coat and if very big a support frame will be needed. <br />
<br />
If you want a smooth surface, sand the surface between each coat. <br />
<br />
For slight uneven texture, use straight from the pot and retain some of the
brush marks. Vary brush pattern for each layer. <br />
<br />
For a fine canvas like texture, brush horizontal for one coat, then vertical
for the next, repeat horizontal then vertical until all layers have been
applied. <br />
<br />
For more texture, add some texture paste to second or third layer but beware
that the texture itself doesn't compete with the brush work of the finished
painting. </span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-84378209366111162902017-08-24T23:37:00.000+01:002017-08-29T00:06:56.607+01:00Oil painting - canvas, panels, pads etc<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">An oil
painting support is any surface that you can apply oil paint to or at least
prepared it for. Choosing the right support is one of the most important
decisions you can make for your oil paintings, in the end it's what you are
going to be working on and the base for your painting.<br />
<br />
As with most things, there are a number of different types of oil painting
support on the market and each has different qualities, which may or may not
suit your style or planned painting technique. I would therefore encourage
anyone to at least look at them all and see which support you like the best
and/or which may suit your painting style and budget.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "times new roman" , "serif";">Canvas:</span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Cotton
duck canvas</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Cotton
Duck canvas is a type of textile derived from cotton plant and cotton duck
canvas is the most popular and also the least expensive on the market. It comes
in a variety of surface textures and weights from 9 oz up to 18 oz with 12 oz
being the classic weight. You can buy it pre-stretched, made to order, in
rolls, primed and un-primed. For both oil and acrylic painting, an acrylic
gesso primer is generally used.<br />
<br />
Many beginners buy ready to use pre-stretched canvas, which comes in a variety
of sizes although usually to set ones like 8" x 10" or 12" x
16". These are very convenient being just unwrap and begin painting. <br />
<br />
Pre-stretched canvas usually comes in two styles - regular style and gallery
wrap. This refers to the depth of the bars (frame) supporting the canvas.<br />
<br />
Regular style canvas is wrapped around thinner stretcher bars and due to the
method of attaching the canvas, nails or staples these usually require a frame
to hide this before hanging. <br />
<br />
Gallery wrap: this type of canvas offers crisp, deep and clean edges and can be
hung framed or unframed as the usual method is to attach the canvas at the back
and not on the side. Due to the thicker wooden bars these are more expensive
than the regular.<br />
<br />
Lots of companies make readymade canvas from 4" x 4" to 48" x
60", just check what canvas weight and texture is being used before
ordering or have them made to order. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Linen
canvas</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Linen is
a textile derived from a flax plant and labour intensive to manufacture. Linen
(Belgium, French or Italian) is better quality due to its strength and
resistance to decay over time. This results in a more expensive product
but it's more durable, more natural weave and doesn't slack like cotton etc.<br />
<br />
Just like cotton canvas, linen canvas comes pre-stretched, in rolls, primed or
un-primed. It also comes in variety of textures, weights and smooth or rough
finish.<br />
<br />
For the DIY fan, there is however a downside to using a pre-primed canvas is
that it is much more difficult to get good tension in the fabric in comparison
to stretching untreated canvas, and then sizing and priming it. Needless to say
the correct tools are required whichever route is taken. <br />
<br />
If doing your own priming, Acrylic primer is the less expensive option and can
be used for both oil and acrylic painting.<br />
<br />
Oil primer is the standard classic method (use only for oil painting) but needs
more methods to prepare and therefore costs more plus time. Linen is both
difficult to prime and stretch and if an oil primer is to be used the linen
canvas must first be sized with PVA or rabbit skin glue, which serves to seal
the fabric and act as a barrier.<br />
<br />
Like cotton canvas, Linen canvas is available from a number of companies and
comes in different weights, surface texture etc.<br />
<br />
For larger canvas requirements I have them custom made or made to order. The
beauty of this is that you can select the size required (not conform, if so
required, to the standard readymade sizes), plus you can select from a range of
canvas (cotton or linen) and finally the stretchers with different profiles and
depth. <br />
<br />
See the <a href="https://www.russellandchapple.co.uk/index.php/canvas-builder.html/" target="_blank">Russell & Chapple</a> </span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">website</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> for more details and prices.
Other companies like </span><a href="http://www.jacksonsart.com/" target="_blank"><span style="color: blue; font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jackson's Art</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> produce handmade canvas to your
requirements. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "times new roman" , "serif";">Canvas Covered Panels or Boards, Oil Pads and
Blocks: </span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Canvas Covered Panels or Boards:</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Canvas
boards/panels have traditionally been used for sketching outdoors. Basically
they are made from primed canvas stretched and adhered to a rigid cardboard
backing . Boards take up less room and are less easily damaged than stretched
canvases. These usually have a medium grain, which isn't always the best
surface texture if you are after one for fine detail but ideal for beginner or
those wanting to experiment with different techniques.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
Like other things, there are other ranges and quality of Canvas Mounted Boards
from different companies should you wish to experiment.<br />
<br />
<a href="http://pieraccini.com/" target="_blank"><b style="mso-bidi-font-weight: normal;">Belle Arti</b></a> <br />
Cotton Art Boards or Gesso Panels<br />
<br />
<b style="mso-bidi-font-weight: normal;"><a href="http://www.daler-rowney.com/content/simply-canvases" target="_blank">Daler Rowney</a> <br />
</b>Oil Primed Board - being oil primed only use with oil paint <br />
<br />
<b style="mso-bidi-font-weight: normal;"><a href="http://en.pebeo.com/Fine-Art/Canvas-stretchers-and-canvas-boards" target="_blank">Pebeo</a> <br />
</b>Natural Linen Canvas Board<br />
<br />
<a href="https://www.jacksonsart.com/surface/boards-panels" target="_blank"><b style="mso-bidi-font-weight: normal;">Jackson's Art</b></a> produce a range of
Canvas or Handmade Linen Boards with a variety of linens to choice from
depending on the surface texture required. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="font-family: "times new roman" , "serif";">Pads and Blocks:</span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Following
the same lines as a watercolour block or pad there's also a range of products
aimed at the oil painter. <br />
<br />
<b style="mso-bidi-font-weight: normal;"><a href="http://www.arches-papers.com/our-papers/arches-huile-oil-paper/" target="_blank">Arches Oil</a>:<br />
</b>A French made 300 gsm (140 lb) paper specially formulated for oil painting
but has the look and feel of traditional Arches papers. In sheets or as a roll.<br />
<br />
<a href="http://en.canson.com/oil-acrylic/canson-figueras" target="_blank"><b style="mso-bidi-font-weight: normal;">Canson Figueras Canvas Paper</b></a><br />
<br />
<b style="mso-bidi-font-weight: normal;"><a href="https://fredrixartistcanvas.com/" target="_blank">Fredrix Canvas Pad</a>:</b> <br />
sheets of acrylic primed cotton duck in range of sizes<br />
<br />
<a href="https://www.hahnemuehle.com/en/traditional-fineart/hahnemuehle-artist-papers/oil-acrylic-paint-boards.html" target="_blank"><b style="mso-bidi-font-weight: normal;">Hahnemühle Oil and Acrylic Blocks</b></a></span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-34759657281155765072017-08-24T23:28:00.000+01:002017-08-28T23:52:56.419+01:00A bit about Oil Paints and which one's I use<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Oil Paint
- what is it? </span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Basically
it is pigment dispersed in oil, usually linseed, and added to this could be a
number of other ingredients such as fillers, binders and thinners. <br />
<br />
More expensive colours will contain only high quality pigments and oil, while
cheaper paints will have inferior pigments, lower quality oil and cheap fillers
(of varying amounts). As with many things, you get what you pay for. <br />
<br />
The great things about oil paint are its versatility, durability, light
fastness and rich colour. Its slow drying time (unless something is added)
allows you to re-work until correct.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">If there
is a downside to painting in oils, it's the need to be thinned or when cleaning
brushes with detergents or thinners the smell which results puts many people
off. There are now many solvents that don't have much smell or are pleasant
smelling. Look at ranges from <a href="http://www.zest-it.com/" target="_blank">Zest It</a>, which I use daily, <a href="http://www.daler-rowney.com/" target="_blank">Daler Rowney</a> and </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.winsornewton.com/" target="_blank">Winsor & Newton</a></span>
plus others provide low odour thinners. <br />
<br />
Titanium white is the most popular white because it is reasonably opaque and
inexpensive. Zinc white is a useful tinting white, being semi transparent while
Flake white is very opaque but contains lead. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Oil Paint
Brands</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I have
only used two ranges of Oil Paint. The first and the one I've used for many
years and use mostly is </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Winsor & Newton</span> Artists' Oil Colour and the second
is Rowney Artists' Oil Colour range. Both are very good products and I have yet
to find fault with either and would recommend. <br />
<br />
There are ranges of oil colour available from other manufacturers (listed
below), many of which as I haven't used it, or used only when given samples so
therefore it would be unfair to pass comment. <br />
<br />
These are Old Holland Artists Oil Colour, Vasari, Blockx Oil Colour, Schmincke
Mussini Artists Oil Colour, Sennelier Artists Oil Colour, Rembrandt Oils, Lukas
Studio Oil Colour, Michael Harding's Artists Oil Colour, Williamsburg Handmade
Oil Colour, Shin Han Artists Oil Colour, Royal Talens Van Gogh Oil Colour,
Maimeri Classico Fine Oil Colour. A search on the internet will provide more information on each brand.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Depending
on what your local art shop stocks, some of these brands may be available or
alternatively they can be purchased via the internet.<br />
<br />
Winsor & Newton also do Griffin Alkyd Fast Drying oil paint plus some
companies do ranges of less quality aimed at students.<br />
<br />
As the above companies have been around for years, many are of equal
standard/quality and the difference between them will be the consistency of the
paint or the range of colours on offer. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The colours
used:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
colours I've listed below and use daily are all from the Winsor & Newton
Artists Oil Colour range but Daler Rowney have the same and unless ordering
from the internet it will depend on which brand your local art shop supplies.<br />
<br />
Depending on colour and the available tube sizes I buy either 37ml or 200ml
size tubes. Of the 120 colours in the Winsor & Newton range, 119 are now
classed as 'permanent for artists' use' [rated AA or A by Winsor & Newton]
which aids in the longevity of paintings. <br />
<br />
Some of these colours are expensive and alternatives can be found (if cost is
an issue) for example, replacing the Cadmium and Lemon Yellows for Winsor
Yellows which are close but not the same. Having said that, there are colours,
like Cobalt Violet, that I wouldn't be without. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The main colours I use are: <br />
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Titanium
White, <br />
Cadmium Red, <br />
Cobalt Blue, <br />
Indian Yellow, <br />
Raw Sienna, <br />
Burnt Sienna, <br />
Cadmium Yellow, <br />
Cobalt Violet, <br />
Lemon Yellow, <br />
Yellow Ochre, <br />
Cerulean Blue, <br />
French Ultramarine, <br />
Alizarin Crimson, <br />
Naples Yellow. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">There are
other colours that I have available but are used much less, being used for the
odd colour that cannot be mixed from the standard range.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Drying
times for the colours I use:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">All
colours will become touch dry in 2 to 14 days. <br />
<br />
Each colour has its drying rate and this is why some sections remain wet to the
touch while others are dry.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Fast - up to two days:<br />
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Cobalt
Blues, Raw Sienna, Umbers. <br />
<br />
<b style="mso-bidi-font-weight: normal;">Medium - up to five days:</b><br />
Burnt Sienna, Cobalt Violet, Ultramarine Blue, Sap Green, Permanent Alizarin
Crimson, Ochres, Cadmiums, Titanium White.<br />
<br />
<b style="mso-bidi-font-weight: normal;">Slow - over five days:<br />
</b>Winsor Yellows, Quinacridones, Alizarin Crimson. </span></div>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.comtag:blogger.com,1999:blog-658670031477131802.post-44547418959871735012014-10-07T23:47:00.000+01:002014-10-07T23:47:52.007+01:00Oil paintings for this years Affordable Art Fair, Battersea - 23-26th October 2014These are some of my oil paintings that will be on the Jack Fine Art Stand at this years show...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSpeRBTzErmv_D0ToBvUKaj5Jm_oigdLWU2ttqjaNnVT54GwrBEJn5wPM3q-NqVNeizc7Dv7TiTL_kzCjWyUEecQA4KT47vmUvacJtZ35URtM8aSL1Qy6K2IvRFgcz9tjDDd2Nj3OztbW/s1600/alistair_butt_021440_duddington.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSpeRBTzErmv_D0ToBvUKaj5Jm_oigdLWU2ttqjaNnVT54GwrBEJn5wPM3q-NqVNeizc7Dv7TiTL_kzCjWyUEecQA4KT47vmUvacJtZ35URtM8aSL1Qy6K2IvRFgcz9tjDDd2Nj3OztbW/s1600/alistair_butt_021440_duddington.jpg" /></a></div>
<i>Detail from </i>"Bright and hazy morning"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021440</i><br />
<br />
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<i>Detail from </i>"RHeavy frost and River Welland"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021441</i><br />
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<i>Detail from </i>"Their home"<i>, Kislinbury, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021442</i><br />
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<i>Detail from </i>"The morning ride"<i>, Lincolnshire.
Oil.<br />Alistair Butt © 2014 - #AB 021443</i><br />
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<i>Detail from </i>"Evening light on snow covered landscape"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021444</i><br />
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<i>Detail from </i>"Bright light and crisp deep snow"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021445</i><br />
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<i>Detail from </i>"Overnight transformation"<i>, Padley Gorge, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021446</i><br />
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<i>Detail from </i>"Grazing in the evening"<i>, Beeley, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021447</i><br />
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<i>Detail from </i>"Colourful Dawn with frost"<i>, Ringstead, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021448</i><br />
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<i>Detail from </i>"Above Farndale"<i>, North Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021449</i><br />
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<i>Detail from </i>"Bright Period"<i>, Bilsdale, North Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021450</i><br />
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<i>Detail from </i>"Lathkill Dale - Late evening light"<i>, Alport, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021451</i><br />
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<i>Detail from </i>"Frosty start on the Yorkshire Moors"<i>, Bilsdale, North Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021452</i><br />
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<i>Detail from </i>"Bright afternoon beside the River Welland"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021453</i><br />
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<i>Detail from </i>"Under the edge"<i>, Curbar, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021454</i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-59751414180729067302014-10-07T23:27:00.000+01:002014-10-07T23:27:05.862+01:00My four oil paintings for the 2014 Royal Society of Marine Artist Exhibition at the Mall Galleries<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePrxZ-_b8TOnCs2Y1ZN3MfVeAfu-Y1cNA98_h0wA2AiJHz6yb5RigyKbDLRJqpd0MB-4-ROTOad42GAIn2HRWteFPxj7E4SS8xWCHkRBp1_0wAZu0VaOuBw7HQ3NimGYTmgfdSLbURK8p/s1600/alistair_butt_021436_farne_islands.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePrxZ-_b8TOnCs2Y1ZN3MfVeAfu-Y1cNA98_h0wA2AiJHz6yb5RigyKbDLRJqpd0MB-4-ROTOad42GAIn2HRWteFPxj7E4SS8xWCHkRBp1_0wAZu0VaOuBw7HQ3NimGYTmgfdSLbURK8p/s1600/alistair_butt_021436_farne_islands.jpg" /></a></div>
<i>Detail from </i>"Puffins on the Farne Islands"<i>, Farne Islands, Northumberland.
Oil.<br />Alistair Butt © 2014 - #AB 021436</i><br />
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<i>Detail from </i>"Scudding Clouds - Lands End"<i>, Lands End, Cornwall.
Oil.<br />Alistair Butt © 2014 - #AB 021437</i><br />
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<i>Detail from </i>"As the tide comes in - Morston"<i>, Morston, Norfolk.
Oil.<br />Alistair Butt © 2014 - #AB 021438</i><br />
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<i>Detail from </i>"Morning - St Ives"<i>, St Ives, Cornwall.
Oil.<br />Alistair Butt © 2014 - #AB 021439</i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-43704794686397009262014-10-07T23:26:00.002+01:002014-10-07T23:26:44.030+01:00Royal Society of Marine Artists ExhibitionThe RSMA 2014 exhibition is only a week away. For those wishing to see a preview of some of the 300 paintings that have been selected for this years show please visit the following site:<br />
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There was a record number of submissions this year, congratulations to those that made it through and to those that didn't, please try again next year. All submissions to the 2015 RSMA open exhibition will be via digital next year.<br />
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The first is the RSMA's own website <a href="http://rsma-web.co.uk/exhibition_paintings_2014.html" target="_blank">exhibition_paintings_2014.html</a> and the second is the <a href="http://mallgalleries-shows.com/" target="_blank">Mall Galleries shows page</a> which has a larger selection to view.<br />
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As mentioned on the pages these paintings are for sale and should you wish to purchase one (or more) than please contact the Mall Galleries.<br />
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On the RSMA website can also be seen the demo's, RSMA workshops, tours etc being held throughout the exhibition.<br />
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Full details can be found on the site <a href="http://rsma-web.co.uk/">http://rsma-web.co.uk/</a><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-83177738054946627332014-08-06T09:24:00.002+01:002014-08-06T09:27:58.203+01:00The latest visit to the Lake District<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3nRW4ZY5NbtP9mKdzLvmjLqWuxJcXVX2DUl1hl7xcbWCEd40lHJd7hX6MHCECumeGmzQYRSLiDAzQAjkV2HfXHc7WBYlD-po717J0ELWYB4plUlNbEw3e1jFA_xICPVjU9DGcYAj4OLN4/s1600/alistair_butt_crummock_714.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3nRW4ZY5NbtP9mKdzLvmjLqWuxJcXVX2DUl1hl7xcbWCEd40lHJd7hX6MHCECumeGmzQYRSLiDAzQAjkV2HfXHc7WBYlD-po717J0ELWYB4plUlNbEw3e1jFA_xICPVjU9DGcYAj4OLN4/s1600/alistair_butt_crummock_714.jpg" /></a></div>
I first came here in the late 1980's on a overcast cold day in mid November on a day out from college. Thankfully for my latest visit the weather was somewhat better. I'm on a walk around Crummock Water. The above looking towards Buttermere with Rannerdale Knotts to the left coming down to Hause Point (in shadow), almost above that (also in shadow) is Haystacks with Great Gable showing above Haystacks. High Crag, High Style and Red Pike complete the distant fells that surround Buttermere. On the right hand side are the lower slopes of Mellbreak.<br />
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Above is almost the reverse view to the first image looking from the top part of Hause Point (the part in shadow). <br />
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Another trip into Deepdale, this morning with some additional interest with some cloud spilling over the top. It came and went for a good few hours. The downside of the cloud spilling from that side was that the sun was also on that side therefore there were periods waiting for some sunlight. Thanks to a strong breeze it usually wasn't to long and work could continue. The last time I was here I was driven out by a snow storm...<br />
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The view back as I leave... showing, well most of what wasn't visible in the first image although Hart Crag (top left) and The Step can now be seen the top of Fairfield is still under the cloud.<br />
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It'll be one of those times when mixing a number of sketches of the different cloud formations and sunlight patches together to create as interesting a painting as possible to show how that morning was.... paintings hopefully coming sometime soon.<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-74142181907120653762014-08-06T08:48:00.000+01:002014-08-06T08:48:19.393+01:00Painting selected for the Mall Galleries 2014 "What's On Guide"<div class="separator" style="clear: both; text-align: center;">
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A somewhat delayed posting of this due to many other this going on but it was with great pleasure I was told that one of my oil paintings was selected to appear on the front over of the What's On at the Mall Galleries guide for July to December 2014.<br />
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The painting is "Sunlit River Blyth at Southwold" and the above just shows a section of it.<br />
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-55263714139033365722014-08-02T21:50:00.002+01:002014-08-02T21:50:46.887+01:00Last Call for Marine Artists - RSMA Exhibition 2014 at the Mall Galleries, LondonIf you missed the online submission deadline, you are not yet lost at sea.<br /><br />You can still bring your work in on the Receiving Days at the Mall Galleries:<br />Friday 15 & Saturday 16 August, 10am to 5pm.<br /><br />The Royal Society of Marine Artists seeks submissions of painting, printmaking and sculpture inspired by sea and the marine environment, including harbours and shorelines, traditional craft and contemporary shipping, creeks, beaches, wildlife - in short anything that involves tidal water.<br /><br />Acceptable media: Oil, acrylic, watercolour, original prints of any media, drawings, pastels, or sculpture.<br /><br /><a href="http://www.rsma-web.co.uk/exhibition.html" target="_blank">Awards and Prizes</a> to be won!<br /><br />For more information and inspiration visit:<br /><a href="http://www.rsma-web.co.uk/">www.rsma-web.co.uk</a><br /><br /><i>Please note that this is the last year you will be able to submit work in person, from 2015 all submissions will be done online.</i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-120865425140239982014-07-27T11:31:00.000+01:002014-07-27T11:31:09.766+01:00Some of my latest Lake District paintings now available at Beckstones Art Gallery<div class="separator" style="clear: both; text-align: center;">
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<i>Detail from </i>"Looking into Grisedale"<i>, Grisedale, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021426</i><br />
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<i>Detail from </i>"Frosty morning above Ullswater - Gowbarrow Park"<i>, Ullswater, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021427</i> <br />
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<i>Detail from </i>"Autumn near Stonethwaite"<i>, </i><i>Stonethwaite, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021428</i> <br />
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<i>Detail from </i>"Last of the sunlight beside Crummock Water"<i>, </i><i>Crummock Water, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021429</i><br />
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<i>Detail from </i>"Bright Autumn Morning - Watendlath Beck"<i>, </i><i>Watendlath, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021430</i> <br />
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<i>Detail from </i>"Langstrath Rapids"<i>, </i><i>Langstrath, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021431</i><br />
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<i>Detail from </i>"Buttermere and Crummock Water from Hause Point"<i>, </i><i>Crummock Water, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021432</i> <br />
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<i>Detail from </i>"Towards Glenridding and Ullswater"<i>, Ullswater, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021433</i><br />
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<i>Detail from </i>"Perfect day in Langstrath"<i>, </i><i>Langstrath, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021434</i><br />
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<i>Detail from </i>"Warnscale Beck to Haystacks, High Crag and High Style"<i>, Fleetwith Pike, Cumbria.
Oil.<br />Alistair Butt © 2014 - #AB 021435</i><br />
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These and my other Lake District paintings can be seen here on the <a href="http://www.beckstonesartgallery.co.uk/index.php/artists/alistair-butt.html" target="_blank">Beckstones Art Gallery website</a>. <div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-49722555600228566322014-07-13T20:28:00.003+01:002014-07-13T20:31:28.099+01:00"The Summer Exhibition" at Lincoln Joyce Fine Art, Great Bookham, SurreyBelow are some my watercolour and oils painting that have gone into this exhibition. These will be exhibited alongside some of the galleries other well known artists.<br />
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<b>Lincoln Joyce Fine Art</b><br />
The Summer Exhibition: 9th July to 26th July <br />
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<i>Detail from </i>"Before the thaw"<i>, Oxfordshire. Watercolour.<br />Alistair Butt © 2014 - #AB 02230</i><br />
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<i>Detail from </i>"<i>Falmouth</i>"<i>, Cornwall. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 02416</i><br />
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<i>Detail from </i>"A perfect spring day"<i>, Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 02606</i><br />
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<i>Detail from </i>"Into the bright sunlight"<i>, Yorkshire. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 02736</i><br />
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<i>Detail from </i>"Between the fields"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 02809</i><br />
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<i>Detail from </i>"Afternoon walk on the beach"<i>, Kent.
Oil.<br />Alistair Butt © 2014 - #AB 02884</i><br />
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<i>Detail from </i>"Fish and Chips for Lunch"<i>, Cornwall. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 02952</i><br />
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<i>Detail from </i>"Early Winter"<i>, Staffordshire.
Oil.<br />Alistair Butt © 2014 - #AB 02955</i><br />
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<i>Detail from </i>"Ebbing tide - Mousehole"<i>, Cornwall. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 021011</i><br />
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<i>Detail from </i>"Spring day ride"<i>, Gloucestershire. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 021013</i><br />
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<i>Detail from </i>"Soaring above the Cotswolds"<i>, Gloucestershire.
Oil.<br />Alistair Butt © 2014 - #AB 021046</i><br />
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<i>Detail from </i>"Quite village"<i>, Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021048</i><br />
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<i>Detail from </i>"Sunlight on heavy dew covered crops"<i>, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021074</i><br />
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<i>Detail from </i>"Late afternoon - Halton Gill"<i>, Yorkshire. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 021082</i><br />
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<i>Detail from </i>"Young Paddlers"<i>, </i><i><i>Gloucestershire</i>. </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 021087</i><br />
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<i>Detail from </i>"Misty Morning near Chorleywood"<i>, </i><i><i>Watercolour</i>.<br />Alistair Butt © 2014 - #AB 021167</i><br />
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<i>Detail from </i>"The big tree"<i>, Nottinghamshireshire.
Oil.<br />Alistair Butt © 2014 - #AB 021216</i><br />
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<i>Detail from </i>"Wet beach with Serpentine cliffs"<i>, Cornwall.
Oil.<br />Alistair Butt © 2014 - #AB 021217</i><br />
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<i>Detail from </i>"Patchy snow around Grindleford"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021307</i><br />
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<i>Detail from </i>"Walking along the farm track"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021313</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgemXCoKFINpDJlKQ2XG6KR76BXryrKjihyphenhyphenAyiU6T8WqYs33Kz9YCRMKPZV2UhanX8_JT1iN6eAvV05vRlaTBXhRcq6Yo0pfnvVH3XTSq8jHp36jU0P7J9y838vKjZTKXQU2zhBEKcZHN1/s1600/alistair_butt_021350_southwold.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgemXCoKFINpDJlKQ2XG6KR76BXryrKjihyphenhyphenAyiU6T8WqYs33Kz9YCRMKPZV2UhanX8_JT1iN6eAvV05vRlaTBXhRcq6Yo0pfnvVH3XTSq8jHp36jU0P7J9y838vKjZTKXQU2zhBEKcZHN1/s1600/alistair_butt_021350_southwold.jpg" /></a></div>
<i>Detail from </i>"Nottinghamshire stream in winter"<i>, Nottinghamshire.
Oil.<br />Alistair Butt © 2014 - #AB 021351</i><br />
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<i>Detail from </i>"Great year for Bluebells"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021365</i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-68676923425757162672014-07-13T20:28:00.002+01:002014-07-13T20:28:38.403+01:00Calling all Oil Painters - ROI submission Founded in 1882, the ROI seeks work in oils and is the only national art society devoted exclusively to oil painting.<br /><br />The ROI uphold the age-old tradition of painting in oils, whilst giving encouragement to outstanding young oil painters of the future.<br /><br />Acceptable media: Oils. Acrylic is acceptable if it is framed as an oil, so as not to spoil the general appearance of the exhibition. Glazing or wide mounts between painting and frame, as in watercolours, are not acceptable.<br /><br />We cannot receive works taller than 2.4m (8ft).<br /><br /><b>Conditions: </b>Minimum price £300, unframed prints £120.<br /><br /><b>Submission Fee:</b> £12 per artwork, £6 per artwork for artists aged 35 or under.<br /><br />Submit <a href="http://www.mallgalleries.org.uk/index.php?pid=165" target="_blank">online now</a> <br /><br />For more information and inspiration, visit: <a href="http://www.theroi.co.uk/">www.theroi.co.uk</a><br />
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<b>Also don't forget there's only a few days left before the RSMA submission time closes...</b><br />
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details can be found here: <a href="http://www.rsma-web.co.uk/">www.rsma-web.co.uk</a> or <a href="http://www.mallgalleries.org.uk/index.php?pid=163" target="_blank">Royal Society of Marine Artists (mall galleries)</a> <br />Deadline is 24 July at 12 noon.<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-13976859349868335272014-06-04T11:53:00.001+01:002014-06-04T11:53:40.028+01:00Pastel Society UK Annual Exhibition - Pastels in bloom at the Mall Galleries, LondonThis year the Pastel Society UK Annual Exhibition includes a section celebrating plants and flowers. Immerse yourself in the vibrant colours and heady perfumes as summer blooms around you.<br /><br />The exhibition, which includes all dry media, is a positive challenge to those with pre-conceived ideas about pastels. It is vibrant, adventurous and creative whilst still upholding the traditional skills of draughtsmanship.<br /><br />This exhibition will open hearts and minds to this special medium.<br /><br />All in all over 250 works on a range of subjects will be on display. Prices start from just £300. Works are available to <a href="http://www.thepastelsociety.org.uk/index.php?option=com_content&view=article&id=114&Itemid=60" target="_blank">Browse & Buy</a> online now.<br /><br /><b>Pastel Society Annual Exhibition 2014</b><br />Private View: Monday 9 June, 2pm to 8pm<br />Open: 10 to 21 June, 10am to 5pm (closes 4pm on final day)<br />Admission: £3, £2.50 Concession, <a href="http://www.mallgalleries.org.uk/index.php?pid=146" target="_blank">Free to Mall Galleries Friends</a>, PS Friends, National Art Pass holders and under 18s<br />Mall Galleries, The Mall, London SW1<br /><a href="http://www.mallgalleries.org.uk/">www.mallgalleries.org.uk</a><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-53414947671719601822014-05-30T09:48:00.000+01:002014-05-30T09:49:24.780+01:00"Water Water Everywhere" exhibition at Lincoln Joyce Fine Art Gallery - starts 4th June - Private View 3rdBelow are some of the other oil paintings that I've put into the exhibition while others can be seen in previous posts. <br />
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<i>Detail from </i>"River Wye - Winter"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021418</i><br />
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<i>Detail from </i>"River Idle - Mid Winter"<i>, nr Bawtry, Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021423</i><br />
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<i>Detail from </i>"December morning with frost and snow"<i>, nr Caster, Cambridgeshire.
Oil.<br />Alistair Butt © 2014 - #AB 021410</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXeXVr2zRGDIeURuzl9Sxd7StZEICBhyphenhyphenAuUxegVHzXbUye1i07jGpCRq2wGJPDtdwvD4xiV9MIdPkKsubNk05ELUx16Z6wl-B-McHpKMdGUzlF83dk0tlF7yklKuS5YlZJneTlulnZIRn0/s1600/alistair_butt_farne_islands.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXeXVr2zRGDIeURuzl9Sxd7StZEICBhyphenhyphenAuUxegVHzXbUye1i07jGpCRq2wGJPDtdwvD4xiV9MIdPkKsubNk05ELUx16Z6wl-B-McHpKMdGUzlF83dk0tlF7yklKuS5YlZJneTlulnZIRn0/s1600/alistair_butt_farne_islands.jpg" /></a></div>
<i>Detail from </i>"Sea fret clearing from Farne Island Needles"<i>, Northumberland.
Oil.<br />Alistair Butt © 2014 - #AB 021422</i><br />
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<i>Detail from </i>"The climb up Kinder Scout"<i>, Kinder Scout, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021425</i><br />
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<i>Detail from </i>"Crossing the ford - Lower Slaughter"<i>, Lower Slaughter.
Oil.<br />Alistair Butt © 2014 - #AB 021416</i><br />
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<i>Detail from </i>"A lovely warm day"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021424</i><br />
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<i>Detail from </i>"Grazing beside the River Dove"<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021419</i><br />
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<i>Detail from </i>"Derbyshire Stream in April"<i>, nr Unthank, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021420</i><br />
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<i>Detail from </i>"Upper Wharfedale in Autumn"<i>, North Yorkshire.
Oil.<br />Alistair Butt © 2014 - #AB 021421</i><br />
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<i>Detail from </i>"River Welland at Duddington"<i>, Duddington, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021417</i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-23384972134540105722014-04-30T10:01:00.001+01:002014-04-30T10:01:26.397+01:00Championing contemporary figurative art - Royal Society of Portrait Painters Annual Exhibition8 to 23 May, 10am to 5pm<br />Open until 7pm Thursdays<br />
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Mark your diary for this prestigious exhibition that celebrates the diversity of contemporary portraiture.<br /><br />The work is in styles from the photo-real to the painterly, the traditional to the challenging, and the sitters just as diverse with a broad range of fascinating characters spangled by a glitter of celebrities.<br /><br />Come and simply enjoy the art and characters on the wall or choose to engage further. Portrait commissions are the lifeblood of the art of portraiture so, to encourage people to commission portraits, an art consultant is available in the galleries throughout the exhibition to advise and ease the process.<br /><br />The exhibition is formed of work by our distinguished members and enriched by over 100 portraits from emerging non-member artists who compete to be exhibited.<br /><br />Admission: £3, £2.50 Concession, Free to <a href="http://www.mallgalleries.org.uk/index.php?pid=146" target="_blank">Mall Galleries Friends</a>, National Art Pass holders and under 18s<br /><br />For more info see the following links:<br />
<a href="http://www.facebook.com/RoyalSocietyofPortraitPainters" target="_blank">Facebook</a><br />
<a href="https://twitter.com/RP_portraits" target="_blank">twitter</a><br /><a href="http://www.therp.co.uk/" target="_blank">Website</a> <div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-90961010550082127412014-04-24T18:31:00.001+01:002014-05-30T09:51:52.527+01:00More oil paintings for the "Water, Water everywhere" exhibition...It's been over a year (may well be even longer) since I last visited this location but in the past it has provided some good subject matter to paint. It's the River Welland and this section is the border between the counties of Rutland and Northamptonshire (the middle painting is on the Northamptonshire bank) not far from the village of Duddington.<br />
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<i>Detail from </i>"Snow covered teasels"<i>, Rutland.
Oil.<br />Alistair Butt © 2014 - #AB 021412</i><br />
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A heavy (for this part of the world anyway) fall of snow (over night) and then clear sky provided the ideal conditions and it took on more than a few seconds to work out what I would be doing for the day... looking for snow related subjects. The snow stuck to every thing which was very nice, hence the teasels in the foreground of the painting.<br />
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<i>Detail from </i>"Bright day with Hoar frost and snow"<i>, Northamptonshire.
Oil.<br />Alistair Butt © 2014 - #AB 021413</i><br />
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This view is from the opposite bank but a few mts/ft back. The downside of getting onto the opposite side at this time (winter) of year (increase in water level) is the walk back into the village and then out onto the other bank. In summer, with 'usual' lower water levels and a pair of wellingtons helps with wade across the stream and therefore half the walk.<br />
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A quick look, one may think these two paintings were done from the same day but they are in fact a year apart. The above had the added interest of hoar frost covering the trees and vegetation with snow from a few days before. <br />
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<i>Detail from </i>"Morning sun on frosty ground"<i>, Rutland.
Oil.<br />Alistair Butt © 2014 - #AB 021409</i><br />
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The top two paintings location is just behind the left hand tree. This morning it was very cold, more cold than the snow paintings with a good covering of frost but thankfully as the sun rise into the sky a lovely warm glow enveloped the landscape in front of me. What more could a landscape artist ask for...<i><br /></i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-38366248856654540242014-04-24T17:39:00.000+01:002014-04-24T17:39:00.966+01:00Calling all Marine Artists - RSMA submission opensThe RSMA (Royal Society of Marine Artists) seeks submissions of painting, printmaking and sculpture that
depict the sea and the marine environment, including harbours and
shorelines, traditional craft and contemporary shipping, creeks,
beaches, wildlife - in short anything that involves tidal water.<br />
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Acceptable media: Oil, acrylic, watercolour, original prints of any media, drawings, pastels, or sculpture.<br />
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<a href="http://www.mallgalleries.org.uk/index.php?pid=163" target="_blank">Submit your works online now</a><br />
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A selection of <a href="http://rsma-web.co.uk/exhibition.html" target="_blank">Awards and Prizes</a> to be won!<br />
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For more information and inspiration visit: <a href="http://rsma-web.co.uk/" target="_blank">www.rsma-web.co.uk</a>
<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-17521504800377365202014-04-09T22:24:00.003+01:002014-04-30T09:33:27.064+01:00The search for the right angle... oil paintings of a Derbyshire stream.These two paintings are from the same day, although about two hours apart and the reference gathered on the return trip from an exhibition at the NEC (Birmingham) - i.e. making the most of the trip.<br />
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I'd planned this visit so that I was at this river as the sun moved across the rivers path and thus allowing me the chance of getting some nice highlights on the water plus the added bonus of dramatic back lighting that I wanted. It was then a case of being on the correct section of the river at the right moment...<br />
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<i>Detail from </i>"The perfect afternoon spot..."<i>, Derbyshire.
Oil.<br />Alistair Butt © 2014 - #AB 021413</i><br />
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While I haven't placed him in the painting there was a man fishing (about where the 'A' is). He had know idea is was there until I stood up having gathered all the reference material I needed. There was much more dried vegetation alongside the river this year, maybe due to not having been very cold, very wet yes... <i><br /></i><br />
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<i>Detail from</i> "Sparklers"<i>, Derbyshire.
Oil. <br />Alistair Butt © 2014 - #AB 021415</i><br />
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As the afternoon went on the clouds got more dramatic, I half though I may get wet and it's a good half hour walk back to the car<i>.</i> Thankfully that didn't happen and the sun stayed clear of cloud resulting in the above view. The river does a sharp 180 bend in front of the tree... sadly, although I was there for some time the sheep (just below distant tree line) never came any closer even though in the past I've seen them beside the far bank.<i> </i>Can't have everything...<i><br /></i><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-38802006880056460112014-04-05T00:03:00.002+01:002014-04-05T00:03:56.857+01:00Subject finding trip #2 - North Yorkshire MoorsIn contrast to the Lake District trip, this also combined the delivery of my three paintings for the RSMA exhibition at the <a href="http://www.staithesgallery.co.uk/pages/news.htm" target="_blank">Staithes Gallery</a>, Staithes, North Yorkshire which has the private view today and continues until the 27th April. 20+ of the members are taking part in the exhibition so it should be a great show.<br />
If you are in the North Yorkshire coast area please do visit the gallery.<br />
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Another contrast was the weather, mostly overcast with brief spells of sun or hazy sunlight.<br />
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Just after dawn, 6:30 and while the night was clear, hence the heavy frost, frozen water and slippery roads the increasing wind brought in cloud from the North Sea. What doesn't come across is how cold it was, within a few minutes sketching came to a stop as addition layers were put on... then having done that, it was something warm to drink.<br />
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Some parts of this area can be bleak, by there's lots of bird life (even more so at this early hour) and the local sheep...<br />
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An hour later, 'slightly' better light with a blue patch of sky 'near' the sun gave some hope of getting something really nice.<br />
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Some interesting layers with the clouds but as time passed less hope of seeing 'full' sunlight again.<br />
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By 9:00AM the frost had melted and while there was the odd patch of clear sky it never happened to be where the sun was...<br />
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Not sure what this was in the past, old farm house/buildings but a wonderful location with views down the valley and across to the mountains to the right, although on this day the tops were covered by low cloud. One of the local farmers came over in this Landrover to see what I was doing.<br />
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After that it was, head for the Yorkshire coast and Staithes, dropped off the paintings and met David Allen RSMA at the gallery. I did have a walk around Staithes, but the lack of sunlight resulted in a shorter than expected visit. It was then down the coast to Whitby for lunch (fish and chips) and then back into the North Yorkshire Moors as I headed towards home. Still more weather related things as I weaved my way across the Moors. Some heavy rain, hail and then snow on the higher ground - a real mixed bag of a day...<div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0tag:blogger.com,1999:blog-658670031477131802.post-58971446535966233182014-04-03T22:37:00.000+01:002014-04-03T22:37:42.212+01:00The Threadneedle Prize: Figurative Art Today - online submission is now open<b>One of the most valuable art prizes in the United Kingdom, The Threadneedle Prize champions the most interesting figurative artists working in the UK and Europe today and offers the winning artist a cash award of £20,000, along with his or her own exhibition at Mall Galleries in 2015.</b><br />
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This year's selection panel comprises:<br />
Highly regarded Arts Commissioning Editor and Art Critic at The Times, <a href="http://threadneedleprize.com/page/3227/Nancy+Durrant" target="_blank">Nancy Durrant</a>;<br />
Internationally exhibited and collected sculptor, <a href="http://threadneedleprize.com/page/3230/Kevin+Francis+Gray" target="_blank">Kevin Francis Gray</a>;<br />
Independent Advisor and Curator at the Hiscox Collection, <a href="http://threadneedleprize.com/page/3231/Whitney+Hintz" target="_blank">Whitney Hintz</a>; and<br />
Gallerist and Founder of Art Dubai, <a href="http://threadneedleprize.com/page/3228/John+Martin" target="_blank">John Martin</a>, who has two gallery spaces in London.<br />
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Artists of any nationality, aged 18 or over on 1 January 2014, presently living or working in the UK or Europe can submit.<br />
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You can submit paintings, drawings, original prints, sculpture, mixed media constructions, small scale installations and reliefs. Artists are encouraged to submit fresh and intriguing works that are strong and topical observations or interpretations on the world around us.<br />
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Find out more: <a href="http://www.threadneedleprize.com/page/3009/About">www.threadneedleprize.com</a><span id="goog_722895508"></span><span id="goog_722895509"></span><div class="blogger-post-footer"><p> © copyright Alistair Butt - 2005 to current – All rights reserved </p>
<a href=”http://www.alistairbutt.blogspot.com“>alistairbutt.blogspot.com</a></div>Alistairhttp://www.blogger.com/profile/08039382602111906188noreply@blogger.com0