Posts Tagged ‘Arts on Adrian’

Spring Saturday and Tuesday Watercolour Class – Week One!

14/04/2018

It was a classic still-life for the Saturday and Tuesday watercolour painters this past week. I thought that our apples and terra-cotta objects would be a refreshing subject after the layoff of a month or so since the end of the winter classes.

My demonstration was a small painting, done quickly. I started with a wet-in-wet preliminary wash of warm colours over the whole sheet. You can see the wash in the background, untouched. As usual, I talked as I painted. My demonstrations are usually a sort of illustrated talk; a way of showing a process and discussing painting problems. I don’t mind quick and messy if I can communicate my ideas.

The Saturday students used their six hour day well. Most take their time with compositional sketches and studies of the various objects before embarking on their sustained piece. Some complete more than one piece over the course of the day. I love the thought they put into their work! Also of note are the pen and ink drawings that hold their own with the watercolours on our critique wall.

Sustained Saturday Critique

We work from the same still-life on Tuesday. Here’s a look at the still-life with a backdrop of a different colour. In the Arts on Adrian studio, the still-life is placed in the centre of the room with an overhead light. There is no backdrop so the students have to come up with a creative solution of their own. However, I photograph the still-life with backdrops of different colours in order to try different relationships and to make the still-life stand out clearly for these blog posts.

There you go! Let’s see what the Tuesday afternoon and evening painters achieved. I’m back at Arts on Adrian on Saturday, April 21 and Tuesday, April 24. There are still a few spots left! Care to join us?

Reminder: Click on any critique image for a larger version.

Tuesday Afternoon Critique

Tuesday Evening Critique

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Winter Saturday and Tuesday Watercolour Classes – Week Three!

28/02/2018

Black objects and reflections! How would the students at Arts on Adrian respond to this painting challenge? Let’s find out.

My demonstrations on Saturday and Tuesday focused on two main things. First, how to paint black without any black paint in the palette? There are a few ways to mix blacks. Ultramarine Blue works well with Burnt Sienna. An unusual way to make black is to mix Viridian or Pthalo Green with a cool red. My cool red is Rose Madder Quinacridone from Da Vinci. I settled on Cobalt Blue and Burnt Sienna.

The second thing was reflections. I discussed a few guidelines about handling reflections. Most of the reflections in our still-life could be painted with crisp edges. Success is based on accurate value relationships between the actual objects being reflected (grapefruit, orange, lemon) and their reflections on the surfaces of the black vases and jars.

Saturday Demonstration

The Sustained Saturday students approached the reflections with gusto!

Sustained Saturday Critique

My Tuesday demonstrations dealt with the same ideas. In the evening, I took a study a little further and added a background.

Tuesday Demonstrations

The Tuesday afternoon and evening students were equally enthusiastic. The black objects and reflections were a tricky painting problem but everyone enjoyed the process and learned a lot. That’s it for our winter term at Arts on Adrian in Toronto. I’ll be posting my spring calendar very soon. Thanks for following!

Tuesday Afternoon Critique

Tuesday Evening Critique

 

Create a ‘Cubist’ Watercolour – Followup!

20/01/2018

Last November, I taught a two-day watercolour workshop at the Dundas Valley School of Art. The title of the workshop was Create a ‘Cubist’ Watercolour. Click here if you’d like to review the post about the workshop. It was essentially a creative exercise inspired by ideas from Cubist artists, particularly Pablo Picasso, Georges Braque and Juan Gris. Other modernist artists such as Henri Matisse were discussed. The watercolour studies and paintings were developed with a very traditional step-by-step approach. Colour and composition were carefully considered. Textures were created with the use of resist materials and watercolour techniques. The results were anything but traditional. However, the paintings were colourful, playful and expressive.

Where does a student go with these new ideas following the intense two days of the workshop? I’m not always able to follow up. This time, however, I was able to do so. Two of the participants, Evelyn Cunningham and Rosemary Tannock, are involved with the Arts on Adrian studio in Toronto. Evelyn is a founding member and Rosemary is a regular participant in classes and open still-life sessions. I see them both fairly frequently and they see each other a lot, as well. Allow me to introduce them by way of their finished watercolours from the DVSA workshop.

WINE AND CHEESE
by Evelyn Cunningham

WINE AND CHEESE
by Rosemary Tannock

Apparently, I’d created a monster! Two monsters. Evelyn and Rosemary were very excited about the workshop and continued to apply their new concepts in the studio. They shared ideas and feedback with each other and sent images of their new work to me. Reports came in from their other drawing and painting friends. The two new ‘Cubists’ were telling everyone about the experience.

I decided to make the most of their enthusiasm and proposed this followup post. Evelyn and Rosemary have agreed to share their work and thoughts with you.

Why did you sign up for the workshop?
Evelyn:
To do something completely different, after a positive experience of using my left (non-dominant) hand. Also I was interested in what attracted Barry to this way of thinking.
***Note: Evelyn suffered a nasty injury to her right hand last year which has since healed. For several months, including two weeks with my watercolour painting holiday in Portugal, she worked exclusively with her left hand.

Rosemary:
Two reasons:
1) I had seen your creative and colourful watercolour cubist compositions on your blog; these captured my interest initially because of the colour combinations and whimsical form​s, but had no idea how you created them​.
2) I had limited knowledge of Cubism and previously have bypassed them in exhibitions because I did not know how to approach them.

How has the workshop influenced your work since?
Evelyn:
To my great surprise, I found breaking the conventional rules about perspective, colour and realism to be both scary and exhilarating. As a result of this workshop, my pendulum has moved back from doing the purely “Cubist” approach that Barry showed us, to trying to combine my natural painting instincts from before with giving myself permission to do the exact opposite of previous habits, in the same painting. It has resulted in some uncertainly, but a lot more fun.

Rosemary:
​In 3 major ways:
1) Your introduction to Cubism was so informative and interesting: it allowed me to better understand its philosophy, approach and its forms.
2) During the workshop exercises and activities, I realized how engaging Cubism is: from initial idea, design of thematic forms, through to colour choices and whimsicalness.
3) It is the first workshop I have ever taken that has stimulated me – drove me eagerly – to pursue and explore a specific approach independently: this approach to Cubism is artistically, technically, and intellectually engaging and challenging, while being great fun!

The new paintings since the workshop!
Now, let’s have a look at six watercolour paintings completed by Evelyn and Rosemary since the workshop. Click on any image to see a larger version.

TULIPS and TULIPA were painted during an Out of Control Tuesday watercolour session at the Arts on Adrian studio in Toronto. These sessions allow the painters to work and interact without instruction.

In TULIPS, Evelyn has utilized a planar approach and distorted the perspective of the vase. The attractive cool/warm colour system softens the angularity of the forms.

TULIPS-
by Evelyn Cunningham

Rosemary has flattened out the shapes in TULIPA and intensified the colours. Her use of the written word enhances the flatness of the painting’s surface.

TULIPA-
by Rosemary Tannock

TOYS is as playful as it’s subject matter suggests. Another planar treatment is combined with a geometric background. The warm colours evoke pleasant associations with play and youth.

TOYS
by Evelyn Cunningham

In MATRYOSHKA DOLLS, the flatness is further emphasized by the black lines. Texture and pattern add interest to the shapes surrounding the dolls.

MATRYOSHKA DOLLS
by Rosemary Tannock

Evelyn uses soft, wet-in-wet washes to create a tranquil quality in GREAT BLUE HERON; a real celebration of unspoiled nature. Almost everything has been simplified into basic shapes and planes. Only the water and, perhaps, the logs are treated in a more traditional and naturalistic manner.

GREAT BLUE HERON
by Evelyn Cunningham

Rosemary re-visits the wine and cheese theme in VINTAGE 75. This was painted as a birthday card for a lucky friend. The curves and diagonals combine with complementary colours and the dynamic result embodies the fun of a great birthday party.

VINTAGE 75
by Rosemary Tannock

Evelyn and Rosemary continue to work with ideas from the workshop! Their creative courage and spirit of adventure has impressed me and their painting pals. At times, most of us have been stuck in the painting doldrums, lacking inspiration and wondering how to deal with it. A creative exercise such as our Cubist watercolour workshop can be refreshing and liberating. We may never thoroughly embrace every new idea but good things can seep into and re-invigorate our work.

Thanks, Evelyn and Rosemary! How about some comments? I know they’d like to hear from you.

 

 

 

 

Winter Saturday and Tuesday Watercolour Classes – Brass!

03/03/2017

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Here are two views of our still-life from the Saturday and Tuesday watercolour classes at Arts on Adrian in Toronto.

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Saturday class is an all day affair and I suggested that the students take the time to do a small warmup painting. I used a flat angled brush for my demonstration and worked very quickly. As I painted, I discussed various aspects of the still-life. Fast and messy, this painting is not an end in itself but part of a process. A warmup painting can help the student identify potential problems and challenges before tackling a sustained piece.

Watercolour demonstration by Barry Coombs

Several of the students followed my lead before settling into a more sustained painting.

Sustained Saturday Critique

Sustained Saturday Critique

Tuesday classes are three hours in duration. I decided to discuss the drapery behind the objects. My demonstrations simplify the folds as much as possible.

That’s it for Winter term at Arts on Adrian. I’ll be posting my Spring calendar soon!

Watercolour demonstrations by Barry Coombs

Tuesday Afternoon Critique

Tuesday Afternoon Critique

Tuesday Evening Critique

Tuesday Evening Critique

 

Winter Saturday and Tuesday Watercolour Classes – Rust and Dust!

08/02/2017

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These old cans and containers have a lot of character and are always a popular subject with the watercolour students. On Saturday, I focused my demonstration primarily on colour and texture.

Watercolour demonstration sheet by Barry Coombs

A Sustained Saturday class is six hours long and it allows the students lots of time to complete thumbnail sketches and small studies before starting a more ambitious piece. This extra effort always pays off!

Sustained Saturday Critique

Sustained Saturday Critique

Tuesday was quite a challenge and I’m not talking about the watercolour painting! Our region experienced an ice storm. I followed the weather report every half hour and decided to run the classes. Amazingly, eleven determined students showed up for the afternoon class. Unfortunately, conditions worsened but four undaunted (maybe crazy) artists turned up for the evening session.

I concentrated on simplification and colour with my demonstration. The small study on the right was done in the evening. I’ve drawn attention to the foregound object by eliminating all paper white in the background with a cool grey wash. When that wash dried, I added shadow shapes of the other objects in a single value. Suggestion versus depiction.

Watercolour demonstration sheet by Barry Coombs

A potentially disastrous day turned into a success!

Tuesday Afternoon Critique

Tuesday Afternoon Critique

Tuesday Evening Critique

Tuesday Evening Critique

Winter Saturday and Tuesday Watercolour Classes!

18/01/2017

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Winter term is underway at the Arts on Adrian studio in the west end of Toronto. I set up a still life of citrus and mostly blue objects and the complementary colours were quite striking. My demonstrations on Saturday and for the two Tuesday classes dealt with the same painting issues; colour and also a discussion of a few principles and techniques for painting reflections.

Watercolour demonstration sheet by Barry Coombs

Watercolour demonstration sheet by Barry Coombs

It was good to see everyone after the holiday season. Several hadn’t painted for a while but I don’t think there was too much evidence of rust. Here are three ‘exhibitions’ of their work for your enjoyment and edification.

Sustained Saturday Critique

Sustained Saturday Critique

Tuesday Afternoon Critique

Tuesday Afternoon Critique

Tuesday Evening Critique

Tuesday Evening Critique

 

Saturday and Tuesday Watercolour Classes – The Colour Challenge!

09/11/2016

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Colour challenge? I’d say! I set up this monochromatic still-life for the watercolour classes this week. Eyebrows were definitely raised as the students entered the Arts on Adrian studio. No colour in the still-life and no demonstration either but I was prepared with a presentation about colour systems.

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Image courtesy of internet

We discussed some basic colour theory; primaries, secondaries, complementaries and cool/warm colours. Following that, we looked at split complementaries, triads and analogous systems. I also talked about greys and their role in painting.

The students were asked to decide upon a colour system to use in their painting. Most created a thumbnail sketch in their sketchbooks and either added colour to it or used colour swatches on the side to sort out their palettes. It was certainly a challenge but they rose to the occasion. We had a lot of fun and the lesson will be applied to all future work.

Sustained Saturday Critique

Sustained Saturday Critique

Tuesday Afternoon Critique

Tuesday Afternoon Critique

Tuesday Evening Critique

Tuesday Evening Critique

Fall Sustained Saturday Watercolour Class – Apples!

19/09/2016

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It was ‘back to school’ on Saturday at the Arts on Adrian studio in Toronto. I was pleased to see the students, new and old. Some had painted a fair bit over the summer months and others….

I decided to start off the fall term with some review. We discussed light and shadow and, always important, simplification of form. I used the sepia study on the left to show both of these principles and also to present my quite traditional approach to drawing. Next up was relative value. A green apple is generally much lighter in value than a dark green pitcher although both receive light and have areas of core shadow.

Watercolour demonstration sheet by Barry Coombs

Saturdays are a full day. Each student approaches the day in their own way but I always encourage time spent on a sound process. This usually includes thumbnail sketches, studies and colour testing. Any summertime rust came off gradually as the day progressed and we enjoyed some lovely work for our critique at the end of the day.

Our next Sustained Saturday takes place on October 15. There are still a few spots available! See the details at https://barrycoombs.wordpress.com/fall-studio-calendar-2016/.

Sustained Saturday Critique

Sustained Saturday Critique

Fall Sustained Saturday Watercolour Class

04/10/2015

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It’s that time of year! Pumpkins and gourds are a popular subject and they’re not hard to find right now. Most grocery stores have a display, some things edible and others decorative, as we anticipate Canadian Thanksgiving next weekend.

I approached the studies on my demonstration sheet in two different ways. First of all, I’ll talk about the one on the upper left. I drew the gourd with pencil. Next, I painted it with clear water and touched in a grey while wet. The grey serves as the core shadow of the object. When the grey dried, the whole thing was painted light yellow. Can you see the shadow coming through the pale yellow? The dark green was added once the yellow had dried. The partially painted pumpkin (say that fast three times) below was done in the same manner.

The other three studies were created with a ‘light to dark’ and ‘big to small’ process. Let’s discuss the one on the upper right. I painted the whole thing yellow and touched in a darker value, while wet, to indicate the core shadow. Allowing it to dry between washes, I added the orange stripes and then the dark green broken stripes.

The use of light and shadow is a traditional way to give an object a three-dimensional quality. We learned yesterday that the stripes, following the contours of the objects, are also a very effective way to achieve the same goal.

Watercolour demonstration sheet by Barry Coombs

Most of the students followed my lead and warmed up with a sheet of studies. Others completed sketches and thumbnail compositional studies before starting a sustained watercolour. The studio at Arts on Adrian had a great energy and we enjoyed viewing our efforts at critique time.

Sustained Saturday Critique

Sustained Saturday Critique

Fall Sustained Saturday Watercolour Class

13/09/2015

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A funny thing happened on the way to teaching this fall. Last June, I gave up my studio in Toronto. Yesterday, I taught in the same studio.

Here’s what happened: Eight of my students collectively took over the lease on my former studio and formed Arts on Adrian. I’m now a tenant. As far as my classes go, it’s business as usual. Anyone is welcome to sign up for a class. We had a small group yesterday but, overall, enrollment is very good and the transition has been smooth. I’ve loaned all of my studio furniture and basic equipment to Arts on Adrian. I’ll tell you more about the group and their activities in a future post. I’m very grateful to them and to all of my students who continue to support me.

Watercolour demonstration by Barry Coombs

What is the goal of a demonstration? Usually, a demonstration shows a process or a specific technique. I often use a demo to illustrate a concept. Yesterday, I discussed several aspects of colour and composition with the students and I painted as I talked. Everyone in the class has a good watercolour skill set so demonstrating a technique or approach didn’t seem necessary. Also, it was the first class of the Fall term and ideas about colour and composition can always be refreshed.

Keep scrolling to see the lovely watercolours they created. Before you get to them I’d like to thank all of you followers as this blog received it’s 150,000th view a few days ago. Stay tuned for a busy term. Not only do I have a Fall Studio Calendar at Arts on Adrian but, in a month, I’ll be off to Sicily to lead a two-week watercolour workshop!

Sustained Saturday Critique

Sustained Saturday Critique