The Pastel Society is offering a special series of Pastel Workshops for the amateur and professional artist.
The workshops cover a wide range of subjects and will be tutored by members of the Pastel Society. The workshops will run from 10.30am to 4.30pm (Except where indicated).
Participants may bring a packed lunch although drinks and snacks are available from the Mall Galleries café.
Easels and drawing boards will be provided, but students should bring their normal range of materials.
Models will be available, but where the subject is landscape, participants are recommended to bring sketches to work from.
£50 per day or £45 per day if booking four
*Reduced fees for Friends of The Pastel Society are £45 per day or £40 per day if booking four
*Early booking is advisable
Download the Booking Forms; Page one here and Page two here
The Workshops are:
'Preparing a variety of surfaces for three small
paintings'
Workshop with Ann Wilkinson
11 June, 10:30am to 4:30pm
'Travels with Pastels'
Workshop with Felicity House
12 June, 10:30am to 4:30pm
'Landscape with Pastel'
Workshop with John Tookey
13 June, 10:30am to 4:30pm
'Portraits with Pastels for all Abilities'
Workshop with Glenys Ambrus
14 June, 10:30am to 4:30pm
'Life drawing for all Abilities'
Workshop with Sue Relph
15 June, 10:30am to 4:30pm
'Drawing from a model'
Workshop with Victor Ambrus
17 June, 10:30am to 4:30pm
'Figurative Compositions'
Workshop with Jenny Halstead
18 June, 10:30am to 4:30pm
'Figures/portraits in Black and White'
Workshop with Roger Dellar
Sponsored by Caran d'Ache
19 June, 10:30am to 4:30pm
'Pastel Alchemy'
Workshop with Jason Bowyer
20 June, 10:30am to 4:30pm
To book your place download the Booking Forms from the Pastel Society website
Showing posts with label demonstrations. Show all posts
Showing posts with label demonstrations. Show all posts
Finished oil painting from the Mall Galleries demonstration
Oil. Alistair Butt © 2013 - #AB 021371
As per the title, here is the finished oil painting that I was working on while demonstrating at this years Royal Society of Marine Artist exhibition at the Mall Galleries.
Most of the work since that day was adding the details to the landing stage, foreground boat, some areas of the water and the creek bank.
RSMA demonstration - part one
Thank you all those that came along to the Mall Galleries on Tuesday (22nd) for the demonstrations by Lorraine Abraham RSMA - working in scraperboard, sadly William Carney was ill, so Alan Runagall stepped in to do some watercolours and myself - working in oils.
I hope you enjoyed meeting the artists and gained something from the day, be it from asking questions or just by watching.
Personally, thank you to all those that passed comment and asked a wide variety of questions. It was a pleasure to meet you and made the day very enjoyable.
Above are the sketches done on location
Above is how the painting was at the close, the above picture was from someone else (thank you). There's still more work to be done, mainly in the foreground (boat, posts, bank etc).
I'll post the finished painting as soon as possible.
I hope you enjoyed meeting the artists and gained something from the day, be it from asking questions or just by watching.
Personally, thank you to all those that passed comment and asked a wide variety of questions. It was a pleasure to meet you and made the day very enjoyable.
I'll post the finished painting as soon as possible.
Step-by-step oil painting demonstration of boats in a harbour - St Ives, Cornwall
As the tide went out on what was a perfect sunny morning, the dinghies and fishing boats are left on the sandy bed of St Ives harbour. I really liked the ribbons of water in the sand combined with the collection of boats with the backdrop of the harbour wall and buildings.
Part one:
This is really stage three as the top left buildings have had their details applied over the underlying base. The rest of the painting shows the complete base layer, see previous posts on oil painting where this is shown in more detail but is lines drawn (oil paint which is thinned with turps and allowed to dry) before the base colours are applied.
The usual method is dark bits painted first working towards the light, this doesn't always happen as sometimes it's easier to paint the dark over the light - I usually paint using thin layers so the think over thin rule doesn't matter. The windows and dark side of the buildings were painted first before working on the areas of the roof - in this case also covered in lichen which gives the orange effect plus the warm light of the morning. The white walls, mostly in shade at this time, were painted next plus adding all the small details on the windows (frames etc), drain pipes...
Part Two:
Detail has been applied to the harbour wall, being in shadow it provides a nice contrast to the rest of the painting which was in the morning sunlight.
The painting of the building on the harbour wall followed the method above. The wall was getting some reflected light but it's best feature and common to many of the Cornish harbours are the great lumps of local stone used to build them.
Part Three:
A really interesting stage of the painting - painting the sand and small streams of water in the harbour as the tide went out.
This whole area was worked wet into wet over the dry base layer with the only real sharp edges bits being the ropes and chains. Working from the background (below the building) towards the foreground, in this case in horizontal bands as this allowed for the small but vital details (ropes, chains and the pools of water or wet sand) to be added. If there could be a tricky area it's when small pools of water have reflections, as seen to the left of the foreground boat, but then it's paint what you see as that's how it is...
Detail from "Early at St Ives", St Ives, Cornwall.
Oil. Alistair Butt © 2013 - #AB 021340
Part Four:
The last remaining elements to paint were the boats. Being of different colours they were painted one at a time, working from left to right, distant boats to foreground ones. As before working dark to light mainly, although if any part is going to have dark section within light it's going to be now - dark ropes, masts etc.
This is really stage three as the top left buildings have had their details applied over the underlying base. The rest of the painting shows the complete base layer, see previous posts on oil painting where this is shown in more detail but is lines drawn (oil paint which is thinned with turps and allowed to dry) before the base colours are applied.
The usual method is dark bits painted first working towards the light, this doesn't always happen as sometimes it's easier to paint the dark over the light - I usually paint using thin layers so the think over thin rule doesn't matter. The windows and dark side of the buildings were painted first before working on the areas of the roof - in this case also covered in lichen which gives the orange effect plus the warm light of the morning. The white walls, mostly in shade at this time, were painted next plus adding all the small details on the windows (frames etc), drain pipes...
Detail has been applied to the harbour wall, being in shadow it provides a nice contrast to the rest of the painting which was in the morning sunlight.
The painting of the building on the harbour wall followed the method above. The wall was getting some reflected light but it's best feature and common to many of the Cornish harbours are the great lumps of local stone used to build them.
A really interesting stage of the painting - painting the sand and small streams of water in the harbour as the tide went out.
This whole area was worked wet into wet over the dry base layer with the only real sharp edges bits being the ropes and chains. Working from the background (below the building) towards the foreground, in this case in horizontal bands as this allowed for the small but vital details (ropes, chains and the pools of water or wet sand) to be added. If there could be a tricky area it's when small pools of water have reflections, as seen to the left of the foreground boat, but then it's paint what you see as that's how it is...
Oil. Alistair Butt © 2013 - #AB 021340
Part Four:
The last remaining elements to paint were the boats. Being of different colours they were painted one at a time, working from left to right, distant boats to foreground ones. As before working dark to light mainly, although if any part is going to have dark section within light it's going to be now - dark ropes, masts etc.
Finished Oil painting of wooden boats at North Landing, Yorkshire Coast
Following the sky, was the painting of the chalk cliff. I began with the grass covered top, working dark to light before moving onto the chalk areas. There's lots of minor colour changes within the chalk contrasting with the darker patches.
Where these boats are is in a small bay and on this day there wasn't much in the way of waves, so the sea surface was picking some reflected cloud colour and to add interest some nice shadows from the cliffs. Mostly the sea was painted in lines, to show the form of the waves and in a number of colours depending on area being painted.
Now onto the boats...
Oil. Alistair Butt © 2013 - #AB 021330
If you are new to painting boats it's worth breaking them down into smaller sections (once the main shape has been established) and then try working on that bit rather than trying to do it all. For example, work on just the internal parts, then any rigging/masts, maybe just one side etc. The two shown above are more complicated than most, being wooden they have additional pattern due to the wood, plus these have had additonal coloured lines painted along there sides which makes them more interesting but additional more work to paint and detail to get correct.
Next Lake District oil painting - Buttermere, Cumbria - step by step demonstration
Oil. Alistair Butt © 2013 - #AB 021323
Finished oil painting of sunset over Derwent Water
Here is the finished oil painting started in a previous post...
Detail from "Sunset over Derwent Water" Calfclose Bay, Derwent Water, Keswick, Cumbria.
Oil. Alistair Butt © 2013 - #AB 021322
To finish this painting I first completed the area of water, which at this time, was either still (in the bay) or small gentle ripples. This was done using a rigger brush to paint the lines - using the same colours as the sky but toned down slightly. Last to be finished, was the lake foreshore... the small stones were picking up a lot of reflected light but these highlights were painted last over a combination of three or four base colours to create the correct texture of the stony foreshore.
Oil. Alistair Butt © 2013 - #AB 021322
To finish this painting I first completed the area of water, which at this time, was either still (in the bay) or small gentle ripples. This was done using a rigger brush to paint the lines - using the same colours as the sky but toned down slightly. Last to be finished, was the lake foreshore... the small stones were picking up a lot of reflected light but these highlights were painted last over a combination of three or four base colours to create the correct texture of the stony foreshore.
Next stage of the Cumbrian oil paintings...
Carrying on from the previous post this is the third painting shown. As mentioned an interesting sunset over Derwent Water, near to Keswick in Cumbria attracted my attention...
Although only showing one of them here, all four oil paintings shown in the previous post were given their base colours. Done with some care but quickly placing colours relating to the area are painted and in some cases become the underlying but also the finished colour.
It's a choice of spend more time getting the colour/s and position 100% now or do a quick under paint and add the detail in later stages...
This image shows this painting a bit more than half way finished. The sky has been completed using a variety of mixes from pale blues to warm reds and yellows, all done wet against wet or wet into wet using either rigger brushes or Rosemary & Co's Ivory range - different sizes and shapes.
Next was the simple background fells, a case of mixing the correct colours needed, before moving onto the line of trees which were mostly dark greens with some areas catching some reflected light from the sky. The tops of the trees were painted into the wet sky with some sky colour added afterwards.
Some additional work was started on the water before finishing the days work but at this stage just simple shapes and a few lines ready for the next stage - adding the ripples on the water and finishing the foreground...
Early stage of the next group of Lake District oil paintings
Early stage of four oil paintings.
This one is on the foot path around Buttermere, Cumbria almost looking directly into the sun on a wonderful late summer afternoon. The painting of the lines, like all of these, was done with thinned oil paint, a blue and brown mix using mainly a rigger brush. This one was done onto a gesso board that had been pre prepared with a colour wash (raw sienna in this case).
Dunnerdale, this dale takes that little bit more effort to get to compared to others in the Lake District but no less stunning in places. This was a early spring day with lovely sunlight casting shadows across the crystal clear water, moss covered banks in the foreground to the range of fells in the background.
I was on the way back to Keswick with parts of me thinking more of what to eat rather than spend time getting the reference for this but passing Derwent Water, there was a sunset with some interesting clouds and reflections. Fish & Chips in the car later before setting of on the four hour trip home.
Great Langdale, Cumbria... what can one say about this area that hasn't been said before. Staying in one of the local bed and breakfast allows one instant access to lots of subjects. The background line of hills is Crinkle Crags, one of the many walking routes. Needless to say this area gets very busy at times which helped with the two Herdwick Sheep what were alongside the small beck as they just carried on as normal...
Finished the oil snow painting
Finally got time to take a picture of the finished oil painting shown in a previous post, then it was about half finished. Below is the finished work now drying and then framing...
The work in finishing this oil painting was mainly that of the river, all done wet into wet but on a base that this time had dried (see the other post).
I find it much better to paint water (like this) in one go... while doing this I was thinking about which is nicer, full blown reflections on still water (therefore painting the subject almost twice) or as below where theses some reflections but lots of water movement... not that we can change what's in front of use as a subject. Other areas then finished were some of the far bank along with the snow covered vegetation in the lower right corner.
This painting was a real joy to paint... having finished most of the water, I really liked painting the small areas of steam rising from the river which were being caught by the warm sunlight. This is something I've painted a number of times before and in this case added some nice warmth to the painting.
Detail from "Steaming River in the Bright Winter Sun" Rutland.
Oil. Alistair Butt © 2013 - #AB 021321
The work in finishing this oil painting was mainly that of the river, all done wet into wet but on a base that this time had dried (see the other post).
I find it much better to paint water (like this) in one go... while doing this I was thinking about which is nicer, full blown reflections on still water (therefore painting the subject almost twice) or as below where theses some reflections but lots of water movement... not that we can change what's in front of use as a subject. Other areas then finished were some of the far bank along with the snow covered vegetation in the lower right corner.
This painting was a real joy to paint... having finished most of the water, I really liked painting the small areas of steam rising from the river which were being caught by the warm sunlight. This is something I've painted a number of times before and in this case added some nice warmth to the painting.
Oil. Alistair Butt © 2013 - #AB 021321
Yesterdays work - oil painting - snow covered banks of river
This was yesterdays work on what will now be the last of the snow paintings for an exhibition later this month.
As can be seen above there's more work to be done on the river (just the base layer at present last area to be done last night) along with the foreground (right side) but all yesterday was spent painting (upper half of this painting) snow covered trees and river banks. Apart from the warm highlights, from the sunlight, most of the rest was cool shadow colours of the snow or bits of tree.
As can be seen above there's more work to be done on the river (just the base layer at present last area to be done last night) along with the foreground (right side) but all yesterday was spent painting (upper half of this painting) snow covered trees and river banks. Apart from the warm highlights, from the sunlight, most of the rest was cool shadow colours of the snow or bits of tree.
Another snow related oil painting demonstration - Part Two
Continue from this post
Stage Three:
Painting the stream came next. Some of the base colours had already being placed so really it's adding the fine details. I prefer to paint, apart from any under painting, the water wet into wet as this gives a more fluid feel. For brushes it's a either or both of Rosemary & Co's Series 303 'One Stroke' Golden Synthetic (in the smaller sizes) or Series 279. Masters Choice Long Flats. Both have a longer head length which for me helps with the fluid movement. Mostly it was picking up the colours from the background trees/snow back and placing them in the correct position using horizontal and vertical brush stroke.
Moving back to the trees the final element to paint was the snow on each branch, again using a rigger, bits of snow in shadow first then the snow in sunlight.
Detail from "A Winter Afternoon", Northamptonshire.
Oil. Alistair Butt © 2013 - #AB 021309
Stage Four:
To finish the painting the foreground bank vegetation alongside the water was painted followed by the shadows and then the sunlit snow. This was painted thicker and blended in most places with the snow shadow colour to give a soft effect. Although still wet I risked adding the dried twigs and grasses in the foregound.
Painting the stream came next. Some of the base colours had already being placed so really it's adding the fine details. I prefer to paint, apart from any under painting, the water wet into wet as this gives a more fluid feel. For brushes it's a either or both of Rosemary & Co's Series 303 'One Stroke' Golden Synthetic (in the smaller sizes) or Series 279. Masters Choice Long Flats. Both have a longer head length which for me helps with the fluid movement. Mostly it was picking up the colours from the background trees/snow back and placing them in the correct position using horizontal and vertical brush stroke.
Moving back to the trees the final element to paint was the snow on each branch, again using a rigger, bits of snow in shadow first then the snow in sunlight.
Oil. Alistair Butt © 2013 - #AB 021309
Stage Four:
To finish the painting the foreground bank vegetation alongside the water was painted followed by the shadows and then the sunlit snow. This was painted thicker and blended in most places with the snow shadow colour to give a soft effect. Although still wet I risked adding the dried twigs and grasses in the foregound.
Another snow related oil painting demonstration - Part One
What more could any landscape artist want... a superb sunlit river
with snow covered trees and banks provided all that was needed for this
painting.
Stage One:
Having drawn up the image, again using a dark oil mix of Ultramarine Blue and Burnt Umber and turps so it would dry quickly, I applied a underlying wash using colours relating to each area. This is an alternative to the usual all over colour wash usually applied as a base for oil paintings. This underlying wash although thin, helps with next stages and in places can be the final colour.
Stage Two:
Working on the far bank of the river, the background line of trees was painted first, starting with the dark colours before moving onto the mid toned colours on some of the evergreen trees. That area was left alone for a while while I painted the snow covered bank, leaving position lines from the under painting for the main branches of the bushes alongside the river. Dark areas of the bushes, branches etc were established next.
Moving back to the background trees all the snow needed to be painted, rigger brushes came in handy here for all the small snow covered branches - some in sunlight while others in shadow. Next was the medium or slightly lighter tones colours of the branches and trucks of the trees, again using a number of rigger brushes.
To finish of this stage was to add more underlying colour into the water of the stream, using colours from the far bank of trees but slightly darkened.
Snow subjects are superb to paint, adding an additional transformation to the landscape, sometimes simplyfing the subject but not always if there's lot of branches, bit of snow... At least in the UK at the moment there's 20cm (8 inches) outside at the moment... go outside and find your own snow subjects to paint.
Having drawn up the image, again using a dark oil mix of Ultramarine Blue and Burnt Umber and turps so it would dry quickly, I applied a underlying wash using colours relating to each area. This is an alternative to the usual all over colour wash usually applied as a base for oil paintings. This underlying wash although thin, helps with next stages and in places can be the final colour.
Working on the far bank of the river, the background line of trees was painted first, starting with the dark colours before moving onto the mid toned colours on some of the evergreen trees. That area was left alone for a while while I painted the snow covered bank, leaving position lines from the under painting for the main branches of the bushes alongside the river. Dark areas of the bushes, branches etc were established next.
Moving back to the background trees all the snow needed to be painted, rigger brushes came in handy here for all the small snow covered branches - some in sunlight while others in shadow. Next was the medium or slightly lighter tones colours of the branches and trucks of the trees, again using a number of rigger brushes.
To finish of this stage was to add more underlying colour into the water of the stream, using colours from the far bank of trees but slightly darkened.
Snow subjects are superb to paint, adding an additional transformation to the landscape, sometimes simplyfing the subject but not always if there's lot of branches, bit of snow... At least in the UK at the moment there's 20cm (8 inches) outside at the moment... go outside and find your own snow subjects to paint.
Oil Painting Demonstration - snow covered lane in Derbyshire
A wonderful snow covered landscape in North Derbyshire, made even better with the patches of warm sunlight and cool shadows crossing this farm lane.
Detail from "Walking along the farm track", North Derbyshire.
Oil. Alistair Butt © 2013.
Stage 2:
Adding the details... I started with the background trees (left) and moved across to the right hand side. More detail was added to the stone walls, very typical of this area, it was covered in places with thick moss, while in other areas bare stones were showing, while not forgetting the odd patch of snow and finally some dried winter grasses were placed.
The final elements to be painted were the main group of trees... dark and or mid tones colours for the main and smaller branches done first, followed by adding the lighter or highlighted colours - all done wet into wet.
Stage 1:
Having drawn up the subject (thinned dark oil painted), this time allowed to dry overnight the basic areas of colour were placed. Although not really a complicated subject this time the main shapes and position needed to be correct. This painting was started with the sky, this time painted before the tree branches although the branch lines (from the drawing) can just be seen under the sky colour. The dark areas were then placed (trees, walls etc), then I moved onto the mid toned colours of the hill side outcrop of rocks. The snow this time was painted in one go working from the distance towards the foreground...Oil. Alistair Butt © 2013.
Stage 2:
Adding the details... I started with the background trees (left) and moved across to the right hand side. More detail was added to the stone walls, very typical of this area, it was covered in places with thick moss, while in other areas bare stones were showing, while not forgetting the odd patch of snow and finally some dried winter grasses were placed.
The final elements to be painted were the main group of trees... dark and or mid tones colours for the main and smaller branches done first, followed by adding the lighter or highlighted colours - all done wet into wet.
Watercolour Step-by-Step Demonstration - The harbour at Looe, Cornwall
Stage One:
Having first stretched the watercolour paper and drawn the image, the first wash was to establish the sky (light blue section top left) and add a small amount of warmth (cream colour) to what would end being the highlights. Next all the highlights were masked with Winsor & Newton Colourless Masking Fluid. 95% of the highlights are on or near the water and does save a lot of time when that section is to be painted. The whole background hill was then given a light 'shadow' wash with some areas (roof sections) being lifted out.
Stage Two:
Starting with the background hill before moving to the buildings below and then working to the right doing the green areas first followed by the buildings but it can be done the other way.
The background hill was built up with a number of overlapping layers to create the shapes of the trees.
The next part was to paint all the areas of green (trees, bushes grass etc) around the buildings along with the sections of wall (mainly to the right hand side). A number of different layers to create the form (light to dark) using a variety of colours (mixing from within the blue and yellow colours) created each section. Some softening of edges was done with clear water.
All the buildings in this section were painted using the same method. An additional shadow wash painted first (if needed) - done first retains the sharpness of the additional detail. Next light toned colours, cream walls, light windows etc, are painted before moving onto the mid toned colours, darker walls to create the form of the buildings, shadows from the trees, windows, roof sections in the sunlight before finally the darks, deep shadows, guttering etc.
Stage Three:
This stage involved painting the line of buildings and harbour wall.
The buildings were painted in the same manner as those higher up the hill - light toned colours followed by mid and finally the darks. A shadow wash was applied to areas that required it.
The wall was painted almost the other way round. This was to create the soft feel required. The dark shadows of the posts were painted first followed by the mid toned colours of the wall leaving the boats or lighter/highlighted parts unpainted. A final shadow wash, darker than normal using a variety of colours was then washed over the whole wall section.
Finally some of the small craft alongside the wall were painted, reverting to the light to dark method.
Stage Four:
To complete the painting the foreground of wet shiny mud and glistening water along with some boats needed painting.
The area of mud was completed first, using light washes to build up the form. Darker sections of water reflecting the background were then added. A clear wash softened the whole area that had just been painted.
As mentioned in the previous post (see Stage One) the highlights on the water were masked using masking Fluid. This allowed the freedom to paint the small ripples/waves on the water. A number (five or six in places) of overlapping colours/tones created the water texture. Some sections reflecting the sky, others the background hill or boats. After removing the masking fluid, the whole area of water was then give a wash using clear water to soften the edges (this does have it's risks).
The final elements to be painted were the foreground boats. Being closer more detail was added but the method was the same as the other boats and all the buildings.
"Sunlit Looe", Looe, Cornwall.
Watercolour. Alistair Butt © 2008.
Having first stretched the watercolour paper and drawn the image, the first wash was to establish the sky (light blue section top left) and add a small amount of warmth (cream colour) to what would end being the highlights. Next all the highlights were masked with Winsor & Newton Colourless Masking Fluid. 95% of the highlights are on or near the water and does save a lot of time when that section is to be painted. The whole background hill was then given a light 'shadow' wash with some areas (roof sections) being lifted out.
Starting with the background hill before moving to the buildings below and then working to the right doing the green areas first followed by the buildings but it can be done the other way.
The background hill was built up with a number of overlapping layers to create the shapes of the trees.
The next part was to paint all the areas of green (trees, bushes grass etc) around the buildings along with the sections of wall (mainly to the right hand side). A number of different layers to create the form (light to dark) using a variety of colours (mixing from within the blue and yellow colours) created each section. Some softening of edges was done with clear water.
All the buildings in this section were painted using the same method. An additional shadow wash painted first (if needed) - done first retains the sharpness of the additional detail. Next light toned colours, cream walls, light windows etc, are painted before moving onto the mid toned colours, darker walls to create the form of the buildings, shadows from the trees, windows, roof sections in the sunlight before finally the darks, deep shadows, guttering etc.
This stage involved painting the line of buildings and harbour wall.
The buildings were painted in the same manner as those higher up the hill - light toned colours followed by mid and finally the darks. A shadow wash was applied to areas that required it.
The wall was painted almost the other way round. This was to create the soft feel required. The dark shadows of the posts were painted first followed by the mid toned colours of the wall leaving the boats or lighter/highlighted parts unpainted. A final shadow wash, darker than normal using a variety of colours was then washed over the whole wall section.
Finally some of the small craft alongside the wall were painted, reverting to the light to dark method.
To complete the painting the foreground of wet shiny mud and glistening water along with some boats needed painting.
The area of mud was completed first, using light washes to build up the form. Darker sections of water reflecting the background were then added. A clear wash softened the whole area that had just been painted.
As mentioned in the previous post (see Stage One) the highlights on the water were masked using masking Fluid. This allowed the freedom to paint the small ripples/waves on the water. A number (five or six in places) of overlapping colours/tones created the water texture. Some sections reflecting the sky, others the background hill or boats. After removing the masking fluid, the whole area of water was then give a wash using clear water to soften the edges (this does have it's risks).
The final elements to be painted were the foreground boats. Being closer more detail was added but the method was the same as the other boats and all the buildings.
Watercolour. Alistair Butt © 2008.
Watercolour Step-byStep Demonstration... Boats in Mevagissey Harbour, Cornwall
Stage One:
Having lightly drawn the image on a piece of stretched Watercolour paper a wash was applied for the sky... the warm cream colour lower down with just a hint of blue further up.
Stage Two:
This involved painting the background, in this case, what is actually the inner harbour wall. Initial light washes were applied, before the middle tones using a variety of colours for the different elements before the darks of the shadows and dark elements were painted. A shadow wash was then applied leaving the 'light' areas unpainted. The shadow wash was also applied to the middle and foreground boats leaving the highlights unpainted.
Stage Three:
The middle distant boats were painted next. The choice is either to paint all the areas that are all the same colour or paint each boat separately. In this case the later was chosen and started on the left and worked across. Again starting each boat with the light toned colours before moving to the middle and darks. When completed most of the above two stages was given a clear wash just to soften the whole feel - great care is needed when doing this as some of the underlying colours can run quite easily.
Stage Four:
The painting of the water and reflections was completed next as it gave more freedom with the washes when painting the water. The water was built up using a number of washes before starting on the boat reflections. These were built up using a number of layers to gain the deep colours. To finish this stage, the buoys were painted.
Stage Five:
The last parts to be painted were the foreground boats. Like those in the middle distance each was painted individually starting on the left and working towards the right. The usual technique for each boats, although always working from light to dark, is to work from the top down - cabin/mast etc first, before doing any internal elements then finally doing the outside of the hull/fenders/numbers etc.
"Afloat in the Harbour", Mevagissey, Cornwall.
Watercolour. Alistair Butt © 2008.
Having lightly drawn the image on a piece of stretched Watercolour paper a wash was applied for the sky... the warm cream colour lower down with just a hint of blue further up.
This involved painting the background, in this case, what is actually the inner harbour wall. Initial light washes were applied, before the middle tones using a variety of colours for the different elements before the darks of the shadows and dark elements were painted. A shadow wash was then applied leaving the 'light' areas unpainted. The shadow wash was also applied to the middle and foreground boats leaving the highlights unpainted.
The middle distant boats were painted next. The choice is either to paint all the areas that are all the same colour or paint each boat separately. In this case the later was chosen and started on the left and worked across. Again starting each boat with the light toned colours before moving to the middle and darks. When completed most of the above two stages was given a clear wash just to soften the whole feel - great care is needed when doing this as some of the underlying colours can run quite easily.
The painting of the water and reflections was completed next as it gave more freedom with the washes when painting the water. The water was built up using a number of washes before starting on the boat reflections. These were built up using a number of layers to gain the deep colours. To finish this stage, the buoys were painted.
The last parts to be painted were the foreground boats. Like those in the middle distance each was painted individually starting on the left and working towards the right. The usual technique for each boats, although always working from light to dark, is to work from the top down - cabin/mast etc first, before doing any internal elements then finally doing the outside of the hull/fenders/numbers etc.
Watercolour. Alistair Butt © 2008.
Painting demonstration - geese in farmyard
Stage One:
Below is the under painting. Done quickly in the background to just give enough idea of some farm outbuildings and also on the foreground below the geese. More care was taken when painting the three birds.
Stage Two:
Apart from highlighting the posts and a few other marks, no further work was done on the background farm buildings.
This was followed by the mid and then the light toned colours of the straw on the ground below the geese, some patches of green grass was added before the final highlighted straw was added.
Before starting on the geese, their shadows were painted. Then each bird was painted. Starting on the left with mid and light shadow colours, along with reflected colour (from straw and sky) where needed. The final pure white of the bird was then painted, again where required, leaving some of the 'almost' white under painting to blend into the shadow areas. The same technique was used for the right hand bird and the white/shadow areas of the centre one. The central bird had some grey patches which were painted next, working from dark to light to create the shape/form of the head and feathers on the back/side of the bird.
Finally, the painting of the bills, eyes and legs completed the painting.
"The Farmyard Lookouts", Derbyshire.
Oil. Alistair Butt © 2008.
Below is the under painting. Done quickly in the background to just give enough idea of some farm outbuildings and also on the foreground below the geese. More care was taken when painting the three birds.
Apart from highlighting the posts and a few other marks, no further work was done on the background farm buildings.
This was followed by the mid and then the light toned colours of the straw on the ground below the geese, some patches of green grass was added before the final highlighted straw was added.
Before starting on the geese, their shadows were painted. Then each bird was painted. Starting on the left with mid and light shadow colours, along with reflected colour (from straw and sky) where needed. The final pure white of the bird was then painted, again where required, leaving some of the 'almost' white under painting to blend into the shadow areas. The same technique was used for the right hand bird and the white/shadow areas of the centre one. The central bird had some grey patches which were painted next, working from dark to light to create the shape/form of the head and feathers on the back/side of the bird.
Finally, the painting of the bills, eyes and legs completed the painting.
Oil. Alistair Butt © 2008.
Painting Demonstration - Covent Garden, London
For this oil painting, I wanted to try or experiment with a different painting technique to my usual mix.
This subject is looking out from inside Covent Garden (London) past some of the craft stalls in what was the old Apple Market to St Paul's Church (the building with the pillars). Covent Garden has always attracted me and lots of paintings have come from this small area of London. The contrast between building/shops and the movement of the people, sometimes to many people, add to that the light that fills the space or as in this painting some light from both inside (glass roof) and out. It was the sun light, both on the stone pavement and around the outer edges of the people walking around the market stalls, that first caught my attention.
Stage One:
Change number one: Instead of the usual flat wash of Raw sienna or Ultramarine Blue a loose background wash following the basic forms using a variety of colours was applied to a white canvas board. It was very quickly applied with turps mixed into the oil paint.
Stage Two:
No change from normal here. This stage was the drawing up the main shapes/markers points with a thin mix of Burnt Sienna and Ultramarine Blue. Some lifting out (returning to an almost white board), using a rag dipped in turps.
Stage Three:
Change number two: Rather than apply the usual loose under painting, the method here was to do a sort of 'mid' finish, somewhere between the loose under painting and the detailed finish. The picture below shows this stage at about mid way through, with the background buildings and the right hand side figures painted. All the background buildings/trees and figures were painted wet against wet or wet into wet but in a controlled manor working from dark to light. Both these areas will have some finer details (stone detailing, lettering for signs etc) applied later.
Stage three completed:
The picture below shows the completed stage from above. A little more involved due to the different shapes/colours on each of the market stalls. Again painting the darker areas/elements first, followed by the mid tones and finally the light areas/elements. The main shapes of the shadows and highlights on the stone floor were also painted.
Stage four:
The background buildings had just dried enough (touch dry) for some dry brushing to create the slight haze.
Starting with the background, the final details were then added... e.g. the stone work on the church pillars, adding more detail in the trees. Then move down and right to the smaller background buildings, before moving to the buildings etc on the right hand side above the figures, here again adding stone work, other small highlights, plus some shop sign lettering and details like the lamp hanging from the wall.
Next came the figures, with only minor additions made, highlights to edges and small details like labels and hair colour adjustments.
Moving on to the pavement the lines of the stones were placed first, followed by some mid and light tones to help create the form of each stone. The edges of the lines were softened slightly so they didn't stand out to much.
The painting now needs a few days to dry before a 'shadow' wash, using retouching varnish and paint, can be applied to the area of the market stalls (avoiding the highlights), along with some shadows and the buildings on the right. This wash will darken the foreground, adding impact to the painting, but will also visually push the lighter background backwards.
Stage Five:
The 'shadow' washes have been applied to the areas mentioned above but also to some areas of the shadows coming from the figures. The difference can be seen when the pictures from previous stage and this one are compared.
"Looking out of Covent Garden", Covent Garden, London.
Oil. Alistair Butt © 2008.
This subject is looking out from inside Covent Garden (London) past some of the craft stalls in what was the old Apple Market to St Paul's Church (the building with the pillars). Covent Garden has always attracted me and lots of paintings have come from this small area of London. The contrast between building/shops and the movement of the people, sometimes to many people, add to that the light that fills the space or as in this painting some light from both inside (glass roof) and out. It was the sun light, both on the stone pavement and around the outer edges of the people walking around the market stalls, that first caught my attention.
Change number one: Instead of the usual flat wash of Raw sienna or Ultramarine Blue a loose background wash following the basic forms using a variety of colours was applied to a white canvas board. It was very quickly applied with turps mixed into the oil paint.
No change from normal here. This stage was the drawing up the main shapes/markers points with a thin mix of Burnt Sienna and Ultramarine Blue. Some lifting out (returning to an almost white board), using a rag dipped in turps.
Change number two: Rather than apply the usual loose under painting, the method here was to do a sort of 'mid' finish, somewhere between the loose under painting and the detailed finish. The picture below shows this stage at about mid way through, with the background buildings and the right hand side figures painted. All the background buildings/trees and figures were painted wet against wet or wet into wet but in a controlled manor working from dark to light. Both these areas will have some finer details (stone detailing, lettering for signs etc) applied later.
The picture below shows the completed stage from above. A little more involved due to the different shapes/colours on each of the market stalls. Again painting the darker areas/elements first, followed by the mid tones and finally the light areas/elements. The main shapes of the shadows and highlights on the stone floor were also painted.
The background buildings had just dried enough (touch dry) for some dry brushing to create the slight haze.
Starting with the background, the final details were then added... e.g. the stone work on the church pillars, adding more detail in the trees. Then move down and right to the smaller background buildings, before moving to the buildings etc on the right hand side above the figures, here again adding stone work, other small highlights, plus some shop sign lettering and details like the lamp hanging from the wall.
Next came the figures, with only minor additions made, highlights to edges and small details like labels and hair colour adjustments.
Moving on to the pavement the lines of the stones were placed first, followed by some mid and light tones to help create the form of each stone. The edges of the lines were softened slightly so they didn't stand out to much.
The painting now needs a few days to dry before a 'shadow' wash, using retouching varnish and paint, can be applied to the area of the market stalls (avoiding the highlights), along with some shadows and the buildings on the right. This wash will darken the foreground, adding impact to the painting, but will also visually push the lighter background backwards.
Stage Five:
The 'shadow' washes have been applied to the areas mentioned above but also to some areas of the shadows coming from the figures. The difference can be seen when the pictures from previous stage and this one are compared.
Oil. Alistair Butt © 2008.
Painting Demonstration - painting sea, waves and cliffs - Whitby, North Yorkshire Coast
Having watched these big waves crashing onto the North Yorkshire Coast at Whitby for a while I noticed that some of them created a nice zigzag line into the painting combined with a bright but wonderful hazy morning light and some spindrift from the strong wind. The position was a bit on the hazardous side due to the odd wave coming over the breakwater so one eye needed to be kept of what size of wave was coming in next... exciting if nothing else.
Stage One:
While the pictures/stages are broken down into four, this oil painting was completed in one sitting.
The under painting was completed first with oil paint mixed with turps just to establish the main elements...
Stage Two:
The background cliffs were painted next, starting with the lightest and working forward. The very distant lump is Saltwick Nab before the land leads around the corner into Saltwick Bay and the famous Black Nab. The cliffs had lighter colours/colors painted on them to represent the haze/sea spray/smoky feel in the air. Some indication of distant water was painted to establish the correct tonal difference between the sea and land.
Stage Three:
This shows the top half of the sea, almost completed. Working from dark to light i.e. painting in all the darker (in relation to its surroundings - all things being equal, a dark in the foreground is not the same tone as a dark in the background) areas of the waves, followed by a mixture of various mid toned colours/colors to establish the form of the waves and finally the highlights and spindrift were painted.
All this was done wet into wet which gives a nice fluid feel to the water as some blending takes place as the layers (dark, mid, light) are applied.
Stage Four:
This stage basically follows the same as the previous stage, but being closer, slightly more detail is required. The wave form was more disturbed here as the breakwater, being at an angle to them, was reflecting the previous wave back into the path of the next.
Some more spindrift (dry brushing) may be applied after the painting is dry.
"Along the Crest", Whitby, North Yorkshire.
Oil. Alistair Butt © 2008.
Stage One:
While the pictures/stages are broken down into four, this oil painting was completed in one sitting.
The under painting was completed first with oil paint mixed with turps just to establish the main elements...
The background cliffs were painted next, starting with the lightest and working forward. The very distant lump is Saltwick Nab before the land leads around the corner into Saltwick Bay and the famous Black Nab. The cliffs had lighter colours/colors painted on them to represent the haze/sea spray/smoky feel in the air. Some indication of distant water was painted to establish the correct tonal difference between the sea and land.
Stage Three:
This shows the top half of the sea, almost completed. Working from dark to light i.e. painting in all the darker (in relation to its surroundings - all things being equal, a dark in the foreground is not the same tone as a dark in the background) areas of the waves, followed by a mixture of various mid toned colours/colors to establish the form of the waves and finally the highlights and spindrift were painted.
All this was done wet into wet which gives a nice fluid feel to the water as some blending takes place as the layers (dark, mid, light) are applied.
Stage Four:
This stage basically follows the same as the previous stage, but being closer, slightly more detail is required. The wave form was more disturbed here as the breakwater, being at an angle to them, was reflecting the previous wave back into the path of the next.
Some more spindrift (dry brushing) may be applied after the painting is dry.
Oil. Alistair Butt © 2008.
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