SUMMER IN THE CITY at Gallery on the Bay!

18/06/2019

You are invited to attend an exhibition of gallery artists at
GALLERY ON THE BAY

All are welcome at the
Opening Reception this Friday, June 21 from 7-10pm
with live jazz by Nick Deutsch and Henry Strong
The exhibition runs from June 21 – July 14, 2019

“Six of my recent acrylics are featured. I hope you’ll drop by and enjoy the work. I’ll be present on Friday evening at the Opening Reception.” – Barry Coombs

SUMMER HOURS
(June 22 to July 14)
Thursdays, 12-4pm
Fridays, 12-4pm
Saturdays, 12-4pm
Sundays, 12-4pm

CONTACT INFORMATION
231 Bay Street North
Hamilton, Ontario
L8R 2R1
905-540-8532
marlaise@bell.net

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Pen and Watercolour – More Texture and Composition at DVSA!

03/06/2019

Last Thursday, I was at the Dundas Valley School of Art to lead my fourth and final one-day workshop of the spring term. Two weeks prior, I’d presented a workshop of the same basic theme but our still-life was a collection of rusty and dusty gas cans. On Thursday, we worked from an equally interesting group of worn and distressed objects. Do you know what they are? If you live in a coastal area, you probably recognize them as fishing floats.

My demonstrations were similar to those of the first workshop. Our basic process was to draw with pencil, paint with watercolour and then add ink. Along the way, we used different materials and techniques to create texture. Soft-edge techniques, wax, dry-brush and other ideas were presented. We began with a practice sheet of swatches and experiments.

You may have noticed that our still-life has a lot of white in it. The four whites enclosed by the blue area on the sheet below are all different from each other; some warmer and some cooler.

Our next step was a sheet of studies of individual objects.

We’ll take a closer look at the old cork net float from the sheet above. Note the pen work on the edge of the object. Texture isn’t present only in the ‘interior’ of the object. What is done on the edges is very important.

Eventually, we had a look at the study sheets created by the students.

Study Sheets

We cover a lot of territory in these workshops. Following lunch, I discussed some basic thoughts about composition, including the rule of thirds. Our goal was to create a composition and work on it for the afternoon. Each student selected and composed an area of the still-life.

Also, I talked about some common problems in compositions such as run-on lines, edge issues, kisses and spatial relationships.

The rest of the day was spent working diligently and thoughtfully on the work. As usual, not everyone finished their piece but these workshops are about learning and taking ideas away for future use; process over product. Here are the works in progress:

Thursday Critique a

Thursday Critique b

Pen and Watercolour: Texture and Composition at DVSA!

20/05/2019

Last Thursday, I was at the Dundas Valley School of Art to present a one-day workshop. Our primary goal was to combine pen and watercolour to create interesting textures and apply them to this unique still-life. There are many ways to create texture with watercolours. Some of the more contemporary processes can involve the use of salt, saran wrap and scraping with credit cards. We did experiment with wax as a resist material, but I focused more on what the paint itself could do and on brush-handling. Wet touching wet and it’s polar opposite, drybrush, were discussed. We started out by trying the different ideas on a work or study sheet. This allowed for experimentation and play.

Next, we all painted a sheet of studies of some of the objects in the still-life. The first step was pencil drawing followed by watercolour.

The final step was the pen. Many artists prefer to do the pen work first and then ‘tint’ the drawing with watercolour. I favour doing the watercolour first followed by the pen. Neither approach is right or wrong. One way may suit a certain goal more than the other.

Here are the studies created by the students.

Thursday Critique a

After lunch, we talked about selecting a composition from the still-life and began work on a sustained piece. My demonstration shows how I zoomed in and cropped an area of the still-life. Also, I created a ‘background’ from my imagination and memory.

Pen and watercolour is a great combination whether you use it in your sketchbook or for more sustained work. The students all would have liked a bit more time to work on their efforts. I take the blame for that. On Thursday, May 30, I’ll be back at DVSA for another day entitled Pen and Watercolour: More Texture and Composition. There will be a different, but equally interesting, still-life and I guarantee more time to spend on the sustained compositions. In the meantime, have a look a the work and don’t forget to click on any critique image to view a larger version.

Thursday Critique b

Spring Watercolour Classes at Arts on Adrian – Week Three!

15/05/2019

We continue to suffer through a cold, wet spring in southern Ontario. I tried to brighten things up with a colourful still-life. On Saturday, I reviewed some ideas about colour mixing. White is always challenging, especially when you don’t have any white paint in your palette. I used a mixture of Raw Sienna and Cobalt Blue for the white jar. The very diluted first wash is almost invisible but gives a warmish tint to the paper.

We had a smaller group than usual with a few Saturday stalwarts off traveling here and there. They were missed but it was still a great day at the Arts on Adrian studio.

Sustained Saturday Critique

I discussed the same colour ideas with the Tuesday students. In addition to that, I elaborated on the white jar. I used the same mixture again but took it a few steps further. This jar would look much whiter, of course, if the other darker objects were painted around it. Paint relationships and not just things!

That’s it for our spring term at Arts on Adrian! I thank all of the students and also our viewers for following and commenting. I’ll be back at Arts on Adrian in the fall. Before you go, have a look at the watercolour paintings from the Tuesday class.

Tuesday Critique

 

 

 

Watercolour Boot Camp at DVSA!

07/05/2019

The watercolour world is a very diverse one. Many watercolour teachers impart their personal ‘style’ and not necessarily the basics of the medium. Even those who teach beginners go about it in vastly different manners. Some use exercises out of how-to books. Some base their lessons on play and craft; using salt, saran wrap and credit cards. Is there a right or wrong way? Individual adult students may well respond to one approach with more enthusiasm and understanding than another. Is there a satisfying balance to strike? How much can a beginner learn in 20-30 hours?

I’ve always tried, as best I can, to teach the fundamentals of painting in watercolour. Over the years, I’ve taught a lot of dedicated beginner classes but almost all of my classes now are designed for the intermediate or more advanced student. Recently, I had an urge to return to the basics from my teaching point of view. I proposed a one-day workshop at the Dundas Valley School of Art and I was pleased that if filled up quickly. Last Thursday was the big day!

The workshop was designed for those with prior watercolour experience who hadn’t painted for a while and also students who felt they needed more training in the fundamentals. I promised a series of exercises based on the key traditional watercolour techniques which include brush-handling, mixing and applying even and graded washes, creating soft edges and more. Have you ever watched an entertaining watercolour demonstration video, tried to do it yourself and realized that a lot of very basic elements weren’t discussed. Why did you keep getting blossoms? Why did you have so much trouble mixing darks? Why did everything run together (but not in a good way)? What is perfectly obvious to the experienced artist/teacher is often neglected when delivering a lesson or demonstration.

I attempted to address those little things that can make a big difference. It won’t be possible to describe everything in this post but I’ll give you an overview of our day.

We started with a discussion about materials and mechanics. I had requested absorbent, cold press watercolour in the material list such as Arches or an equivalent. Not Canson or Strathmore. The paper had to be suitable for the techniques I’d be presenting. Mechanics is the term we use to describe how we organize our tools and materials and work space. I’m right-handed and my palette and water container and paper towel are on my right side. I can’t imagine having my water to my left, reaching and possibly dripping all over my painting as I go back and forth from the container to my palette. I see students do it, though. I see students who’ve formed a lot of bad habits and it holds them back.

Finally, we applied paint to paper. Our first goal was to create an even wash without streaks or blossoms and it takes practice and thought. Watercolour is a thinking medium that does not reward dabbling. It’s also much more physical than folks realize. How do those tiny grains of pigment and binder behave when mixed with water and touched to paper?

We practiced and kept it simple. On the first sheet, I also discussed  mixing greys and blacks with only primary colours. I don’t have grey or black in my palette. I mix them. As a matter of fact, we stuck to our primaries for most of the day and it’s the best way to learn about colour and the potential of your palette. I use Da Vinci paints and my primaries are Aureolin (Mixture), Rose Madder Quinacridone and Cobalt Blue. I also discussed brush-handling and lifting excess paint with a ‘thirsty’ brush. I pointed out a few ‘what not to dos’, as well.

Our next exercise involved creating a small painting based on my diagram and on even washes. The colour theme was cools and warms. We tried to paint even, unvaried washes in each shape and one shape wasn’t supposed to run into another. Kind of like a colouring book or stained glass window.

A real building block technique of watercolour painting is the soft edge that is created when wet touches wet. Wet in wet painting is often taught on a grand scale. The entire sheet is soaked first and colour is added into the water. I don’t start beginners off with that. We worked on a small scale and ‘injected’ darker colours and values into lighter areas, while wet. Again, it takes planning, practice and, very important, timing! The students made swatches on one side of their sheet and worked on a small image, based on rectangles, on the other side. They attempted a wet in wet, soft edge transition in each rectangle without letting the rectangles run into each other. Patience!

Later in the afternoon, I talked about mixing whites. I don’t have white, an opaque colour, in my palette. I use the white of the paper and very light tints on it to create cool and warm whites and off-whites.

Many aspiring watercolour painters hope to work ‘en plein air’ one day. With that in mind, I also discussed greens and how to mix a variety of greens starting with primary blue and yellow. It’s easy to start with a green right out of the tube like Pthalo but it’s important to know how to vary your greens. I have Pthalo Green in my palette and generally use it to add intensity to greens I’ve created from yellow and blue.

It was a long day and everyone applied themselves with energy and thoughtfulness. There was a nice buzz in the studio as we wrapped up, which was gratifying, and the feedback was good. Still, there were several things I didn’t touch on. We ran out of time and didn’t deal with graded washes over a larger area. Maybe, this fall I’ll have to offer a part two?

Spring Watercolour Classes at Arts on Adrian – Week Two!

01/05/2019

Wait a minute! Where’s the still-life? I was well prepared for the Saturday and Tuesday classes at Arts on Adrian in Toronto. I thought, for a change, I’d show you how the still-life was assembled.

Our theme made the studio interior feel more spring-like than what we could see out the window. It was a cold and wet April in our neck of the woods. Setting this up was a fair bit of work but worth it as the students enjoyed it very much. This is what they see (above) and the next image is what you see.

All set! Bring on the students. I believe that the Arts on Adrian studio matches any other in the region for lighting, facilities and general comfort. Coffee is always on, cookies lead to temptation and there’s an ensuite washroom.

On Saturday, the full day class, I demonstrated with a 3/4″ flat angled brush. I drew a bit in pencil first and worked quickly with the brush. I talked as I painted, discussing various elements of the still-life.

I didn’t insist that everyone else use a flat angled brush. Some did. Others stuck with their rounds. Either way, a lot of solid work was accomplished.

Sustained Saturday Critique

One of our students, Karen W, had to leave early to attend a wedding. Here’s her work in progress.

Work in progress by Karen W

We looked at my Saturday demonstration on Tuesday morning. In addition to that, I zoomed in on a few of the key elements of the still-life.

The Tuesday students made the most of their afternoon of painting. Here’s their work! Don’t forget to click on any critique image to view a larger version.

Tuesday Critique

 

Pen and Ink Basics at DVSA!

21/04/2019

Spring term is underway at the Dundas Valley School of Art. I’m scheduled to teach four one-day workshops and the first took place last Thursday. Pen and Ink Basics is exactly as it sounds. My goal was to introduce the students to the core techniques of pen and ink drawing. We used sketching pens for this workshop as it cut down on overturned bottles of India ink and allowed everyone to focus on the techniques.

It’s not all about technique, however. I simply cannot teach drawing without discussing fundamentals and principles. The most important for us on Thursday was ‘light and shadow’.

Before we started our first pen and ink exercise, I worked at an easel and presented a few ideas about ‘light and shadow’ and it’s effect on basic volumes. Next, we started on our first drawing; a pear. The students worked from my diagrams/models. Remember that our goal was to gain some fluency with the techniques. The day was not about creating original works of art. I demonstrated the steps one at a time.

Where does one begin with a pen and ink drawing? First of all, we decided to use cross-hatching as our technique. That was all very well but what direction should the lines follow? I presented an approach that I call ‘parquet’ and you can probably tell where I got the name. The initial work with the parquet approach looks very mechanical and the emphasis is on overall shape and value rather than stroke direction.

As you can see, the first step was only the beginning. We continued to develop the drawing until it gained a three-dimensional quality. We talked about edge versus outline as well as other considerations.

In total, we did three drawings over the course of the day. Our second exercise was the ball cap and we used stippling as our technique. Our final drawing was the teapot. We combined cross-hatching (although not with parquet) with line variety.

The students were keen and brought a lot of energy to the projects. We wrapped up with a look at the drawings. Click on the image to view a larger version.

Thursday Critique

Spring Watercolour Classes at Arts on Adrian – Week One!

17/04/2019

I’m back from sunny Mexico to some less than welcoming spring weather. All the more reason to set up a bright and cheerful still-life for the Saturday and Tuesday watercolour students. I had the still-lifes of Paul Cézanne in mind.

Cézanne developed his gorgeous, luminous watercolours with brushstrokes of pure colour over a pencil drawing. I didn’t mimic his process exactly with my demonstration but we discussed it as I painted. I never insist that the students emulate my demo but I did ask them to give it a try, even as a study for an hour or so. Saturday is a six hour class so there’s time to experiment and explore.

Most gave it a shot and a few spent the day pursuing the approach. Not everyone liked it but they’re always willing to consider new ideas.

Sustained Saturday Critique

The Tuesday students worked from the same still-life. It’s a three hour class and, at the beginning, I sensed some interest in the fabrics and folds. My demonstration, as a result, was a simplified study of a section of fabric and they found it helpful.

They don’t have a full day but they really work hard and they’re quite good at selecting and composing. Basically, they selected and zoomed in on an area of the still-life that attracted their eye. Not taking on too much gave them a better chance to resolve their work in the time available.

Don’t forget to click on a critique image to view a larger version!

Tuesday Critique

Our last few days in Mexico City!

09/04/2019

We headed up to Mexico City on Friday morning and checked in to a lovely hotel on the main square. A few hours of free time were spent exploring the Zocalo and surrounding area. Our goal in Mexico City was to visit Casa Azul, the home of Frida Kahlo. In addition to that, we planned to visit the Museo Rivera, a purpose-built building housing the pre-hispanic artifact collection of Diego Rivera. After an excellent breakfast on the terrace overlooking the national cathedral, our transport picked us up on Saturday morning. First stop, Casa Azul.

Casa Azul from the street

In the courtyard

Kitchen

Frida’s studio

Our next stop was the rather imposing Museo Rivera. The collection is extensive and fascinating.

Cartoon for mural

It was a full day with a lot of shuttling around but worth it. It was also the last day of group activities before heading home on Sunday morning. I’d like to thank all of our participants for making the workshop a success. Here they are, the class of 2019!

Courtesy: Stewart Stein

More from San Miguel de Allende, Mexico!

01/04/2019

Everyone was refreshed from our day of free time as we met in our studio for my morning demonstration on Wednesday. Our plan was to paint inside the lovely Bellas Artes with it’s cool arcades and tranquil atmosphere. And it’s arches. I used my demonstration to dramatize the feeling of looking into a sunlit space through an arch. I kept my palette simple; cools and warms.

For once, we had no shortage of shade. Most of the students were ready to tackle arches.

Let’s see what happened with those arches! Remember to click on a critique image to view a larger version.

Wednesday Critique a

Wednesday Critique b

Thursday was our last full day of painting. Our plan was to leave on Friday morning for Mexico City (more about that later). We had a lot on our agenda on Thursday so I decided not to offer a demonstration in order to give the group an extra hour of painting time. We walked up to Parque Guadiana, a quiet and pretty park in a residential neighbourhood.

At the end of the day, we gathered at our studio for our Final Critique. I started out by looking at the Thursday paintings and followed that with a selection of work from earlier in the week. It was a nice way to look back on our painting time together.

Thursday Critique a

Thursday Critique b

Wait a minute! What the heck is that bird doing there? One of our painters took a metalworking class while she was here and this was her chance to show us the result.

Thursday Critique c

That was it for our supervised painting days and for our stay in beautiful San Miguel de Allende. My next post will be from Mexico City where we will visit the famous home of Frida Kahlo; Casa Azul.