tag:blogger.com,1999:blog-23505629092228008702024-03-13T03:39:08.933-07:00Art by Judith FarnworthA blog about my life and paintings... please visit my website
http://www.artbyjudithfarnworth.com/Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.comBlogger282125tag:blogger.com,1999:blog-2350562909222800870.post-84793904646275535462019-08-05T13:15:00.001-07:002019-08-05T13:15:03.952-07:00WIP MagnoliaWandering around our garden today, I spotted we still had one or two magnolia flowers on our tree which actually has its main blooms in March!<br />
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Anyone who has followed my blog will know that it has been very quiet recently...no excuses, but suffice to say that seeing these lone flowers on the tree and a conversation about blogging I had with my son’s business partner over the weekend prompted me to put some effort in and “get back to it!”<br />
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Magnolias are one of my favourite flowers and the tree I have in my garden was one I bought for my Mum many years ago. It flourished in her garden and when they moved house in 2003, she wanted to take the bush so we replanted it in my garden...and there it stayed...ooops!!<br />
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It is now a rather large tree and has had a glorious display this year so I was a very good conscientious artist, duly took my own photos and painted them. Bit chilly here in the North to paint en plein air in March! And I’m very soft....<br />
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The painting was progressing well and I decided to post it on FB as a WIP, while I was planning my next move!! Not something I normally do and wasn’t really expecting the huge amount of feedback I got telling me it was in fact finished! I hadn’t really posted it for feedback as to whether it was finished as I had intended to work on it further...anyway I left it.<br />
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It’s interesting how people see things and now when I visit groups, out of interest, I ask people if they think it is complete and most people feel that it is. The people who think it needs more work tend to be more detailed painters but just goes to show, no rights or wrongs in art, all a matter of opinion and in the eye of the beholder.<br />
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As I painted this the beginning of April I can’t remember the palette, but it was only 3 or 4 colours....those of you who do follow my blog will know I always use a limited palette and always, always choose my colours before I start to paint and this was no different.<br />
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To recap, limited palettes help colour choices throughout the process of the painting but more importantly help create colour harmony, one of the elements which we need to create strong design in our work.<br />
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Would be interested to hear if anyone has any thoughts about this or anything else for that matter.....<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com3tag:blogger.com,1999:blog-2350562909222800870.post-47729325925039777342018-11-24T09:44:00.001-08:002018-11-24T09:45:55.895-08:00Brusho and BleachI have done 2 Brusho demonstrations in the last couple of weeks and the second one was certainly a challenge. They wanted a Winter scene which was fine as I had a few images I could choose from and settled on a photo my sister took in Central Park on one of her trips to New York. I have painted it in watercolour and once before in Brusho but a few years ago so decided to revisit it.<br />
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I used only 3 colours Crimson, ub and lemon and used my Confuscious Fude for the pen work adding wax here and there to reserve some of the snow with the plan that I would add some bleach towards the end of the painting to create a snowy effect.<br />
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That all worked quite well and here is the first effort<br />
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Quite pleased with it and obviously more time at home to step back and view from a distance etc etc.<br />
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I was then working on another piece I was preparing for an All Day Workshop I am running next week and realised my Bleach spray was broken (I use a 50:50 ratio bleach or Miltons to water) so I searched out another bottle and transferred it over.<br />
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And off I went to my demo....<br />
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I had drawn the image in pencil but wanted to show them the pen and how I use it and also the wax and then I started on the painting. All was going fairly well and although the colours were a bit intense I told them I had something up my sleeve to address it and all would be well lol!!<br />
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So I got my trusty bleach and gave it a good spray....the problem was it came out more like a stream and ended up bleaching a lot more than I bargained for which then meant a frantic rush at the end where I was having to paint into it a lot more than I would have liked. I did explain that the bleach had covered too much but when I held it up everyone seemed to actually like it and in fact some preferred it to the original.....<br />
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Anyway as I was doing some preparation for my workshop next week I decide to have a look at it with fresh eyes and I have worked on it some more today. I am quite pleased with it now as I think it has captured a very chilly feel to it, more than the first as the Ub bleaches to a more turquoise colour which is cooler and has worked to produce an icy feel. <br />
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So onto the pieces I have been working on today.<br />
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I am running an Autumn/Winter workshop and I have an image of some thistles I took a couple of weeks ago<br />
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I wanted to experiment more with the black as I don't use it a lot but really liked it when I used it with yellow for the nude I did<a href="http://judithfarnworthart.blogspot.com/2018/05/best-brusho.html"> here.</a><br />
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I have used it with turqouise, green, red but decide to try another colour I don't use that much...dark brown for this. I wasn't bothered about capturing the scene, I wanted more texture and part of the workshop is about using masking fluid with Brusho so more about adding a bg around the subjects.<br />
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I have also been working on another Winter scene for the same workshop which I haven't completed yet...more on that later.<br />
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So, again all was going well and I got to the stage where I decided to add some bleach, I realised that the spray gun was not switched to the right setting so hoping that would fix the problem...sprayed with gay abandon, and yes you guessed, took most of the painting away...again.... and the same with the winter scene I was working on. The problem is you don't know as you spray how much is enough as the bleach continues working for quite a few minutes after the initial contact...note to self, less is definitely more and I need to act with restraint!<br />
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Here is the painting after bleaching and a little work done to it<br />
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As you can see it still needs work to define the subjects a little more but I could now see where I was going and also added a touch of yellow to the mix.<br />
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This is the finished piece and it actually looks better in real life than on here which I have to say isn't always the case but this is a framer!!<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com1tag:blogger.com,1999:blog-2350562909222800870.post-17560306745084106192018-08-06T12:42:00.001-07:002018-08-06T12:43:58.662-07:00A Beautiful New AdditionWe have some wonderful news!! Our son and daughter in law have just had the most beautiful baby boy, named Fletcher Hampson Farnworth. He was just over 3 weeks early and after a couple of little hiccups is now home and doing really well.<br />
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My son and his business partner have recently opened a business blending and selling speciality lattes and they are known as <a href="https://blendsmiths.co.uk/">Blendsmiths</a> and this is how they introduced the new addition to the Blendsmith's family<br />
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I had decided to do a little bit of artwork for the nursery and as my daughter in law comes originally from South Africa and her parents from Zimbabwe, I thought an African animal theme would be appropriate. I found 3 images on Paint my Photo which I felt would be suitable and in the end as I loved them all and couldn't decide which to paint, I did all 3 and framed them vertically as a triptych.<br />
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As I wanted them to be a series and framed together I decided to use the same palette for all 3...this is a very useful tool to create unity within a body of work (we might normally think of unity being within a single painting but for different paintings to be perceived as being related it also works) and in this case the choice of subject matter also holds the series together. <br />
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Photo by Janina Suuronen<br />
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Photo by Edmund Williams<br />
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Photo by Gary Jones<br />
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Although I had completed the paintings in plenty of time...the early arrival caught me out and there was a mad frantic rush to get them framed ready for the baby coming home!!<br />
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This was most truly a labour of love not only for my grandson but also for my son and daughter in law and I hope they like them as much as I loved doing them!!<br />
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Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com4tag:blogger.com,1999:blog-2350562909222800870.post-66474547461619853762018-05-24T12:35:00.000-07:002018-05-24T12:36:11.805-07:00Best Brusho!!This is the final preparation piece I did for my workshop which I ran yesterday and I have to say I loved it!!<br />
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I decided to scrap the pen and go with a light pencil drawing (one of the problems with using pencil is that us you go in too heavy with the Brusho the pencil lines will not be very clear) and in this instance only use 2 colours.<br />
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I usually use 3 or 4 colours and though I love the black and how it separates into a myriad of other colours I have rarely used it in my paintings. As an aside I will be using it a lot more now!!<br />
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So I used black and yellow....sprinkled both colours very sparingly as I wanted to leave more white space on this so as I sprayed I quickly dabbed the wet areas so that the water didn't spread the colour too widely.<br />
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In the workshop we did one pen painting and one pencil so that I could explain the benefits of both styles but how the pencil allows for more emotion and atmosphere as lost edges can be used more easily. With the pen, there is a barrier and though you can still use contrast of light and dark, you don't have that loose feel you can get with lost edges.<br />
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Here is the painting, I would be really interested to hear which you prefer between this and the paintings I featured in my previous blog <a href="http://judithfarnworthart.blogspot.co.uk/2018/05/brusho-preparation.html">here.</a><br />
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Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com1tag:blogger.com,1999:blog-2350562909222800870.post-13520484199525552702018-05-18T09:46:00.001-07:002018-05-24T12:37:22.368-07:00Brusho PreparationI am in the throes of preparing for an All Day Brusho Workshop to be held next week on the 23rd May. I know some people may think preparing for these workshops is a doddle but if you want to produce new work and teach it satisfactorily there is a lot of preparation behind the scenes not to mention the time spent with the admin work involved in the organisation in the first place!!<br />
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On the flip side it is a privilege to be able to do this for a living and while it may be time consuming preparing for days like this, the time I spend is fun and enjoyable so not like work at all...<br />
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The workshop is Brusho figures and I remember attending a session about 6 year ago run by Joanne Boon Thomas...check her out here <a href="http://www.artbyboon.co.uk/">Joanne Boon Thomas</a> and she taught me a lot of what I know about Brusho and has done a lot to promote Brusho around the world.<br />
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What I have learned about Brusho since that day is how important choice of colour is when deciding on a palette for any particular painting. I find the complementary colours don't mix well producing quite dirty colours and muddying much more so than watercolour so limited palettes are even more important with Brusho. I also prefer to retain the texture and stop the mixing process early doors by carefully dabbing the mixes while still wet and preserving the attractive separation of pigments.<br />
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These are the paintings I have done so far, just 3 colours in each<br />
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I haven't finished my practice pieces yet maybe another couple to do then maybe an odd one without the line effect, but would be very interested to see which of these you prefer so far....<br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-11378863729838529892018-04-10T03:43:00.001-07:002018-04-10T03:43:29.664-07:00Commercial Commission!!I can now share something I worked on for a good few weeks last year as the project is fully finished and everything is in situ!! Intriguing!!<br />
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After our visit to Malaysia and Singapore in February 2016, I received a commission to paint the artwork for a hotel which was being renovated in Singapore!! <br />
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I was to paint the backdrops for the headboards (about 2.5 x2.4 metres) and there were 3 themes....Botanical, Waterscape and Dawn and I was sent a brief of what sort of thing they wanted with a colour scheme for each theme based on Windsor and Newton colours which really helped!!<br />
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The idea was, I painted the originals and they blew them up onto canvas and also used the artwork for other accessories so for example, they are using it for the key cards and in the Waterscape they have produced prints to dress a small alcove. They also used the Botanical painting to create some sheer curtains in a sepia colour, though they weren't used on this particular project.<br />
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I have to admit this was the most challenging thing I have ever done...trying to create someone else's vision ( I was sent photographs of the sort of thing they were looking for and of course I knew the colours) and get the effects they were looking for from a made up composition and in watercolour was tricky to say the least and I started with the botanical theme first thinking that would be the most difficult! How wrong was I!! They wanted a misty rain forest and happily, the second painting I did after a few smaller practices was the one I sent and ...result.....they loved it!! <br />
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I then started on the Waterscape and that caused me a few problems... I didn't get the colours right with the first one... too grey and dismal and once I had the colour right, I had to alter the composition as I had detail which was covered by the bed... hadn't measured it out properly and on scaling up it was in the wrong position. Then the boat I added needed altering so backwards and forwards a few times!!<br />
<br />
The final Dawn scene was more abstract and in fact the most difficult... I was working about 25"x 22" and did 3 versions. I found it quite hard getting the concept of this one so one wasn't quite right with the colour, one had too much texture and the final was a mix of all 3 but again before the final painting was agreed there was lots of back and forth while I was tweaking and doing my best to create the vision!! The creative designer knew exactly what she wanted and as we all know watercolour isn't always the easiest of mediums to alter!<br />
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Here are the paintings and these were bought to help furnish a large villa in Vietnam as the supplier of the soft furnishings and canvases for the hotel project liked them and wanted them for a personal project.<br />
<br />
The hotel has 105 rooms and they are all furnished in one or other of these themes so my paintings are the backdrop in them all. If you check the links I have provided below they give you an idea of the concept...<br />
<br />
<a href="https://www.winsland.lansonplace.com/en-us/page/gallery">Botanical</a><br />
<br />
<a href="https://www.winsland.lansonplace.com/en-us/page/gallery">Waterscape</a><br />
<a href="https://www.winsland.lansonplace.com/en-us/page/gallery">Waterscape</a> <br />
<br />
<a href="https://www.winsland.lansonplace.com/en-us/page/gallery">Dawn</a><br />
<br />
The Dawn one isn't very clear but definitely more pink than the others and the Botanical doesn't look quite as green in the photos as it is in reality but looks like a very nice place!!<br />
<br />
Hope I can get preferential rates if I ever go back to Singapore!!<br />
<br />
The work was commissioned by <a href="http://www.hlakl.com/">HLA </a> designers to the hotel and resort industry based in Malaysia with offices in the far and middle East as well.<br />
<br />
So my first commercial venture, it was a completely different experience to working for private clients but I was pleased with the outcome and more importantly so were they as they now have a unique concept in their hotel...they could have easily simply had photographs but the designers decided on watercolour and they had the technology to scale up to these large proportions without losing detail and definition. As you can imagine, a big phew from me when they were all accepted!<br />
<br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com10tag:blogger.com,1999:blog-2350562909222800870.post-13196987872983294282018-03-31T08:43:00.001-07:002019-02-10T04:57:53.486-08:00Butterfly Step by StepFirst I painted the flower and then lost most of the edges into the
background. However as you can see I keep some edges...if you lose all
the edges all you would get is a yellow wash...losing some of the edges
keep some of the form of the flower and also lets me see where I am
going.<br />
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Next I have painted the butterfly..I haven’t drawn any of this (I draw with the brush) and I worked<span class="text_exposed_show">
on the body first then moving on to the wings. When you are painting
like this you aren’t looking for a photographic representation of the
actual subject, you are looking for a feel of it and I don’t mind if you
cannot tell what species of butterfly it is I am more concerned that
you simply see it is a butterfly. I have painted the butterfly in
exactly the same way as the flower though I haven’t lost any edges on
the body. </span><br />
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I have added a bit more detail to the flower and butterfly, added a
touch more colour top left above the flower and done a bit of
splattering around the bottom edge of the butterfly.... Colours used, W&N cad yellow, quin gold, burnt sienna and purple, DS transparent pyrrol orange, 15x11 Arches 140lb rough.<br />
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There will always be a debate as to whether or not it is finished and my view is that I don't want to work on this any more as too much fiddling will result in loss of spontaneity.<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com4tag:blogger.com,1999:blog-2350562909222800870.post-21341196686191363092018-03-17T08:25:00.002-07:002018-03-17T09:09:54.994-07:00Wet in Wet funSo a little while since I updated my blog...life and stuff getting in the way but hoping to get back to it in the future.<br />
<br />
I have been playing with wet in wet and decided that although it isn't a technique I often use, that doesn't mean I shouldn't share it with my group so this is the painting we did last week which I have finished today. <br />
<br />
I tend to create washes on the paper so although I don't usually go into wet paper I do end up using a lot of water. Wet in wet is an extension of that really in that the paper is wet to start with and the idea is you drop paint in letting it mix and mingle on the paper and I know many of you may use this technique for skies and backgrounds etc. However when doing skies, the paper isn't usually as wet as it was in the following painting and with others I have done using this technique.<br />
<br />
This photo was one from a very talented wildlife photographer...<a href="http://walksnwildlife.blogspot.co.uk/">Gary Jones</a><br />
<br />
I decided swans lent themselves very well to this technique as the subject matter to me seems to call for smooth lines and transitions which again isn't my usual style as I love texture but wet in wet does create lovely smooth washes which is what I was looking for here.<br />
<br />
The idea is to wet the paper thoroughly, letting the water soak in for 5 minutes or so...you want the paper wet but not dripping when you work like this and any areas where you want to reserve the white of the paper can be done either by not wetting that area (bearing in mind this will give you a hard edge) or by lifting the paint with a thirsty brush,, which is what I did with this painting.<br />
<br />
As the paper starts to dry you can then begin to add edges....you can only add hard edges when the paper is completely dry but working when it is still damp will allow you to get some soft edges where paint will bleed slightly into the surrounding areas.<br />
<br />
Good painting is a mix of soft lost and found edges so this way of working does allow you to get a good mix of edges.<br />
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<br />
In this painting you can see soft edges to the right behind the neck...both lost and soft edges around the feathers and hard edges around the neck and head where I want the focus to be.<br />
<br />
This was a very limited palette,Daniel Smith Ultramarine Turquoise, Winsor Lemon and Winsor Violet. I am adding some DS colours to my palette and this is a gorgeous colour, a bit greener than W&N Pthalo Turquoise and though I don't prefer it, it adds a different colour to anything else I already have so I will have fun trying to find combinations of colours I like using this new one.<br />
Limited palettes work well for wet in wet... as the colour is mixing on the paper, there is a rainbow of colour you can achieve with all sorts of variations and I would urge anyone reading this to give it a go. <br />
<br />
The group seemed to really enjoy working like this so we may well do more in future, it can be tricky as understanding when to go in with what concentration of paint, is key and as always too much working with the brush can cause a muddy mess...so a challenge but we did get some very nice results. <br />
<br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com5tag:blogger.com,1999:blog-2350562909222800870.post-3053637397640583142017-12-05T00:50:00.001-08:002017-12-05T00:50:14.905-08:00My first video!!I have been toying with the idea of making videos for years now but never felt confident enough to take the plunge plus I have never know how to set the equipment up. Anyway with the purchase of an ipad, a small stand to fit said ipad I made a commitment on a fb group I belong to so that I could no longer keep procrastinating and had to "do" something.<br />
<br />
I asked for some feedback as to subjects for me to video and I decided to concentrate to start with on materials....I get asked a lot about paper, paint and the brushes I use as I visit groups around the country and anyone who regularly reads my blog will know I am particularly passionate about people using paper which is fit for purpose so that was my first subject, the sound is a bit low, and Chester wasn't supposed to make a guest appearance no matter how cute he is...here's the link<br />
<br />
https://www.youtube.com/watch?v=AUDGB-LooD4<br />
<br />
Would love to hear what you think! <br />
<br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com0tag:blogger.com,1999:blog-2350562909222800870.post-23668437726063732652017-10-10T07:54:00.000-07:002017-11-16T06:53:46.842-08:00Workshops with Beverley Wells...experiences to rememberNot sure where to start really.....<br />
<br />
At the beginning is best I expect so it is true to say that I have wanted to do a Bev Wells workshop for a good few years now...probably as long as I have known of her existence but as the journey is close to 31/2 hours from "up North" to those posh sunnier climes of Spalding in Lincolnshire I have never taken the plunge and booked one.<br />
<br />
Those who read my blog regularly will know that Bev has been mentoring me for a few months now and the desire to attend a session has been growing stronger until I could no longer resist and I booked to go this last weekend. Bev kindly invited me to attend her Friday class with the "Friday Girls" and I decided to set off at an unearthly hour on the Friday morning to make sure I arrived in time... I wasn't going to miss a single second of the wisdom I knew Bev had to share.<br />
<br />
The icing on the cake then unexpectedly came my way when Bev posted on fb that she had a couple of places come available and I had a brainwave... why not ask the lovely Polly Birchall... she of Annie Arkwright fame!! Her response was favourable and after staying overnight with us and bellies full of spag bol ( from dinner the night before) we set off at 6.00am for our adventure to Lincolnshire.<br />
<br />
Now, we had a list of materials and instructions which was a completely different experience for us both, we needed Arches Cold pressed paper (I don't use it), home made tracedown (what!! with instructions of how to do it), stretched paper (with staples) and my trusty unstretched rough paper was relegated to the boot for the duration of the workshops!!<br />
<br />
We also had slight concerns as to the speed of things, as we are both very fast painters so we both went armed with other images in case we needed other things to paint. How wrong we were... about everything!!<br />
<br />
I think I had Bev rather worried before we went...fast painter, never stretches, uses rough paper, and a firm graduate of the "slap it on and see" School of Painting. However she asked me to allow her to entertain me and learn from her.....as she pointed out, I know how to paint my way and of course I do bow to her knowledge and wisdom anyway, so I would have been a fool not to do as she said.<br />
<br />
Bev runs a regular class on Fridays where she hates being described as a teacher. However when I looked up one definition of the word teacher...the description (which fits Bev to a tee) is<br />
<br />
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<span style="font-family: "" "times new roman" "" , "serif";">"teaching is
imparting knowledge or skill"</span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">which describes what
Bev does in her workshops in bucket loads. They are sessions full of
discussion, debate and banter which Polly and I absolutely loved.</span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">The other thing which
made a huge impression on me is the professionalism and extent of Bev's
preparation. Her workshop piece was framed ready for us all to view and she had
drawings, tonal plans a laminated step by step card and her own very precious
book of value plans where she has tried out different options and then on the
opposite page a full tonal painting in beautiful black watercolour. </span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">Both the Friday class
and the workshop followed a similar format (though there are some who paint
alternative subjects in the classes where Bev will advise and help where
needed)... in essence everyone discusses the plan for the painting, the
planning part for Bev is by far the most important and she has spent the days
and weeks before planning her subject, planning the composition and then
creating her value plans, her sketch and finally her painting. </span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">Once the theory behind
the plan and then the colour choices have been thoroughly dissected and
analysed, Bev starts the painting and the group follow as a step by step. The
Friday class was slightly different to the workshop as they could if they
wanted create their own value plan (which I did before I went to the class as
Bev has e-mailed through the image) whereas in the workshop we all followed
Bev's plan. </span><br />
<br />
Bev is very specific about her own colour choices and is exceedingly
knowledgeable about colour mixing and understanding the properties of paint. My
own method is much less informed (mixing my colour planets) but I do think my
colour choices are a strength and so that is one area of my work I am happy to
stick with, though my journey with colour continues and I am constantly
learning more about which combinations work or don't work.<br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">Though I love painting
flowers which was the workshop topic, I was delighted at the subject choice for
the Friday class and using my new ipad and pencil set about my own value plan.
I have finally learned how to create different tones using the tools and I was
really pleased with this digital painting..</span><br />
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<span style="font-family: "" "times new roman" "" , "serif";"> Bev had produced
a line drawing for the class to use and again this is very specific as it has
been drawn to proportions which create the composition within the specific size
of paper. Those who read my blog may remember I did make mention of this in
terms of creating my value plan on the ipad and then having to approximate in
the scaling up process. I'm sure I will be able to solve this technical problem
but I do see the point of creating your drawing the actual size, then doing an
accurate transfer onto the paper.</span><br />
<span style="font-family: "" "times new roman" "" , "serif";"><br />
My colour choices were slightly different to Bevs as I do like to inject a bit
of self. Bev had liked my value plan which I used as well so although I did
adopt Bev's way of painting... very wet in wet which I love anyway, I felt more
that the painting was mine, not just a copy of Bev's.</span><br />
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<![endif]--><span style="color: #444444;"><span style="font-size: small;"><span style="color: #402000; font-family: "times new roman";"><br /></span></span></span>
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<span style="color: #444444;"><a href="https://1.bp.blogspot.com/-Z9XSGBlWAGY/WdzXLc6ChkI/AAAAAAAADfg/HRUXlvvBMuUcFemEuNkwZqvvKK4g7xEhACLcBGAs/s1600/IMG_3054.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1600" height="229" src="https://1.bp.blogspot.com/-Z9XSGBlWAGY/WdzXLc6ChkI/AAAAAAAADfg/HRUXlvvBMuUcFemEuNkwZqvvKK4g7xEhACLcBGAs/s320/IMG_3054.JPG" width="320" /></a></span></div>
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Here is the painting.... not exactly as the tonal as the drawing is slightly
different, but the idea is there of following the pattern of darks and lights
as I had already prepared in my plan.<br />
<span style="font-family: "" "times new roman" "" , "serif";"><br />
The workshop was actually about mark making but initially the painting process
was similar to the previous day and Bev has a lovely wet in wet technique which
I really must start to use a lot more for my own work. I tend to paint wet on
dry for a variety of reasons but each day all who attended had wonderful
results although all very different.</span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">Once we were nearing the
end of the painting the time had come to do some mark making both with
watercolour paper and the end of a computer stylus, very effective and the
whole process of working like that reminded me of how good it is to play and
experiment....something I should do a lot more of!</span><br />
<br />
<span style="font-family: "" "times new roman" "" , "serif";">I haven't shared the
value plan for this as that belongs to Bev and so not appropriate for me to
share. I probably won't share many of my plans in the future either.....</span><br />
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In this I have to say that the drawing, composition, colour choices, value
plans are all Bev's and while I don't normally do this when I attend workshops
there were good reason for all those things as I mentioned earlier and not much
point attending to simply do your own thing. The main difference in this and
other step by steps is that we were given so much information to use and take
away to incorporate into our own work.....this doesn't always happen when you
do a step by step but in this workshop we were given many tips and tools to
apply to our own work.<br />
<br />
As an aside, I would have thought that this workshop was definitely not for
beginners and for the best part I would have said that everyone was a pretty
experienced painter... with one exception, Jan with whom I have corresponded on
fb. When she saw that Bev had places available she also booked to come and as a
beginner with not much extra help at all, she did a fabulous painting......more
testimony to the exceptional "teaching" and guidance Bev gave us throughout
the day.<br />
<br />
Bev's mantra is "Fail to Prepare, Prepare to Fail" and this is not
only evident in her planning for her own work but also for these classes and
workshops. I have never ever attended a workshop with so much attention to
detail, these workshops are meticulously planned and the results of her efforts
are there to see in her own paintings and the paintings we all achieved. <br />
<br />
In conclusion I cannot recommend this workshop highly enough....Bev is honest,
forthright and very generous with her praise where due, but more importantly
very generous in her sharing of her wealth of knowledge and that is definitely
not always the case!!!<br />
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<![endif]--><span style="color: #444444;"><span style="font-size: small;"><span style="color: #402000; font-family: "times new roman";"> </span></span></span> Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com3tag:blogger.com,1999:blog-2350562909222800870.post-88981272470318319052017-09-19T12:23:00.003-07:002017-09-19T12:23:53.504-07:00My New Greetings Card RangeWell have I been busy or what???<br />
<br />
I have a demonstration at Lytham Art Society on Saturday, I am preparing for a craft fair I am doing next Wednesday, my own group starts up again on Thursday and in between I came across this lovely company who create greetings cards for artists called<br />
<br />
"Love from the Artist"<br />
<br />
I heard about it from Alison Board's facebook page or blog, can't remember which, and decided to check them out.<br />
<br />
I have needed new cards for a little while now and been putting it off as it meant I also needed to get technical.....my son has always set the artwork for my cards as he has all the relevant software like photoshop (and more importantly the relevant know how) which I don't have but it was time I became a big girl and started sorting things out for myself........ <br />
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So I got a new ipad for my birthday and thought that might be the way forward and my son found a programme which he thought would be suitable (although I have to admit he did say the ipad is not really for creating cards!!) and I had a go....I was only on the first card when I had a problem which I couldn't get round...all to do with the orientation of the text on the back and in the end I nearly threw my brand new ipad through the window and just as that was happening........I stumbled upon this little gem......hmmm interesting I thought, very interesting!!<br />
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I set up an account with them before we went away and when I got home last week I got into the brains of it and loaded some cards. The site really is user friendly- something I had checked with the owners before I even signed up with them and they have DVD's with easy to follow instructions showing you just how to do things... I was still a little challenged but then I am not the most technically minded and I think in the end I have done rather well and feel immensely pleased with myself as today I received my first small sample batch of cards which have all turned out rather well.<br />
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I wanted to wait until I had got those before I placed my big order of xmas cards and others so I have spent most of today creating and uploading cards to my site where they are now all available to view and in fact purchase.<br />
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Here are some of the benefits of this site from an Artist's perpective<br />
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1. You can order as few as 10 cards all of different designs at the same cost as 1000 cards or even more. You will of course pay a higher relative cost for P&P for the smaller number but it is an ideal way to check out the quality and settings before you order a larger number and now I have set things up, whenever I add a new card I can simple add it to a larger order to check it.<br />
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2. The ability to order just a small number of cards to test the sales potential is such an advantage compared to having to do a large run of cards with a printer to get a decent price.<br />
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3. The cards come with envelopes and cellophane bags. I have historically bought these separately but here they are included in the price. <br />
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4. It is easy to set the artwork on the cards and now I have the hang of it I can do a new one in less than a minute.<br />
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5. The owners are extremely responsive and have come back to me re queries very quickly and at any time of day.<br />
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6. Cards are available for not only the artist to order in whatever quantities they want and but lso for the general public, as well as card retailers so a real win win for we artists. It means we have an online presence with a good selection of our work available as cards to a good cross section of potential buyers.<br />
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7. There are lots of ways to search to find what you are looking for, be it the type of card, the artist the medium etc....as mine are some of the latest to have been loaded they appear at the end of the searches as they must load in order of addition to the site... just something for you all to remember lol!! If you search on the artist their selection of cards is then available to view. <br />
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8. Now it is all set up I will always have access to greetings cards for my workshops/demos and odd little outlets who sell my cards and I can replace the best sellers quickly. Also whenever I want to create another card it will be easy not only to set up but I will be able to add to another run so that I can get new cards into circulation very quickly.<br />
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9.The service has been very good and I am told the order I have placed today should be with me in 3 days.<br />
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10. The quality of cards I have received today is excellent, the paper is a good weight and the surface shiny but not too shiny... very pleased with them.<br />
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11. The cost of the cards is more than I have paid at my printers in the past and they are smaller in size but I have had to order considerably more to get that price historically and therefore lay out a lot more money which takes a lot longer to recoup. This way I have ordered a lot less at a still very good price and will get my money back much quicker.<br />
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12. Very easy to edit the cards if the images or text needs tweaking.<br />
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Here are a few of the cards that came today<br />
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So I am really excited about this new little venture....and here is my site...ta da!!!<br />
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<a href="https://www.lovefromtheartist.com/artists/bolton/art-by-judith-farnworth">https://www.lovefromtheartist.com/artists/bolton/art-by-judith-farnworth</a><br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-4872334732040342722017-09-18T12:09:00.000-07:002017-09-18T12:09:55.408-07:00Sorrento, Amalfi, Capri with a bit of Plein Air thrown in!!We have just returned home from a great trip to a small village called Massa Lubrense about 7km from Sorrento. We have visited Amalfi in the past, been to Umbria, Tuscany, Venice and Lake Garda and we have both come to the conclusion that we love Italy so decided to visit the area of Sorrento this year.<br />
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We arrived at our hotel to these views!<br />
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The hotel had a stunning location and this was meant to be one of the best views of Capri in the whole area which you can see here in the background and the island was on our list of places to visit. On our first morning I sat on our balcony and painted the glorious view of Capri.<br />
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The weather was beautiful on our first day which we spent lazing around by the pool.<br />
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These were a couple of sketches done with my elegant writer... what a fantastic pen, a must have for anyone wanting to sketch!! Also done with paper I have added to my Midori Travellers notebook...as an aside, a little book I had been lusting after for quite a while which my son and partner bought me last xmas. It comes with it's own inserts but you can add your own paper and as I prefer to sketch with proper watercolour paper it's ideal for me to use. The only drawback is it is small and I really prefer to sketch bigger but good to use with the pens. <br />
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Even though they hadn't had rain since May.... guess what happened our second day? Yep.. thunderstorms so we decided to go to Ravello a small town which sits on a hill above Amalfi.<br />
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Now Amalfi is only 25 miles away so when the tour rep said it would take about 2 hours I scoffed and thought..."what does she know?"So we set off on a courtesy bus from the hotel to Sorrento to catch the regular coach to Amalfi which takes the scenic route along the wonderful coast of the Bay of Salerno. We have seen the coastline from a boat and stopped at Amalfi which was why we decided to go straight to the village of Ravello with a plan to maybe stop off at Positano if we had time, on our way back to Sorrento.<br />
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Nearly 2 and a half hours later we finally arrived in Amalfi...the traffic was horrendous on the journey and of course the road is so narrow there are hardly any passing points so when you have a large coach things can get very tricky!!<br />
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We managed to catch the coach to Ravello and that journey, no more than 5 miles took another 45 minutes and we arrived at just after 1.00pm and as the bus back to Amalfi was just after 2.00pm a quick coffee and lunch was just about all we managed!! And forget the idea of stopping off at Positano on the way back as in order to catch the shuttle bus back to our hotel we needed to be back in Sorrento at shortly after 5.00pm!<br />
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The following day was forecast to be good so we thought it would be a plan to catch the ferry across to Capri...good weather wasn't forecast for the rest of our stay and the previous day some of the ferries had been cancelled so we wanted to make sure we not only got there and got back as well!!<br />
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We had read about the funicular which takes you to the town of Capri from the harbour but being hardy Northerners decided to walk!! BIG mistake....over 20 minutes of either steps or steep pathways in the heat of the day did not make me a happy bunny. Even hubby who is extremely fit was puffing by the end!<br />
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Quenched by a couple of beers at the top we set off in search of a restaurant a friend had told us about which had fantastic views and luckily enough as we made our way down the other side of the island I spotted a sign for this beautiful place...Il Geranio. For those of you who have visited Capri it is on the side of the island which faces away from the mainland. <br />
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We had the most delicious meal and this was the spectacular view from our table..... I would certainly visit this place again if we were ever to go back to Capri<br />
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Saturday was a glorious day which we spent leisurely by the pool and Sunday we spent the day in Sorrento which though we had passed through several times had not stopped at. Though it is a very large town, the centre is really quite compact, quite commercial but some lovely little shops on pedestrianised cobbled streets. We had the obligatory pizza for lunch with the odd beer and the weather was surprisingly kind and didn't drench us completely as it had the previous bad day.<br />
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Our final day did not look good from the minute we woke up....it was cold, blustery, thundering, lightening with torrential rain in fits and starts. We decided to stay in the hotel and that is where I finally did some more painting. I had done one or two sketches previously using the elegant writer but only one painting.<br />
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The hotel had an open air lounge with a roof but open sides where we sat with jumpers on keeping warm with the odd Cappuccino and this was my painting. Even though we had a roof we were braving the elements so I am calling this one en plein air!!!<br />
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We got colder and colder and finally gave in and went in to the warmer lounge inside where all the other wussy guests were seated.<br />
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I got an ipad for my birthday in June and it was great to use for all my photos on this trip as I found it easier to carry around than my big camera and it was also very useful to use for my reference for the next painting which was an old dilapidated dwelling by the side of the road on the way to Amalfi. So I have to confess, this wasn't en plein air as even though the coach wasn't moving that fast, I couldn't manage a whole painting as we passed it either!!<br />
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As I finished this painting one of the guests asked would I show them a bit about how I paint so as there was nothing else to do and I can't resist an audience I did a little painting lesson for 4 of them which everyone seemed to enjoy...just a pity I didn't have enough materials with me for them all to have a go.<br />
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So in true British style a post a bit obsessed by weather... in Malaysia in the same way as we in the Uk talk about the weather they talk about food and the restaurants they have visited.. after all the weather is so consistent and predictable there, there isn't much to discuss.<br />
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On a final note we were actually in Italy in June and the weather was also a bit freakish then....that time with a heatwave!! We had spent 3 days by the coast where it wasn't too hot but as we drove inland to the Chianti region of Tuscany there were temperatures pushing 40 degrees which is very unusual in June...never satisfied are we?!?!?!?<br />
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Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com0tag:blogger.com,1999:blog-2350562909222800870.post-69511335335973903492017-07-27T12:04:00.001-07:002017-07-27T12:04:57.607-07:00Strawberries and Cream!!I know the title might make you think of Wimbledon and in fact I have been this year and had my strawberries and cream but that isn't what this title is all about!<br />
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We have a lovely hydrangea bush which has cone shaped flowers and teeny petals and when they first appear they are cream... slowly over a week or two they change colour to a lovely pink, starting at the tips until the whole flower has changer colour... really weird!!<br />
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Anyway I really do love both phases but have a leaning towards painting white (cream) flowers... they can be challenging but also freeing as you can add in whatever colours you like for falling and cast shadows, and of course you can create gorgeous leaf colours, but I find I do have a preference for a cooler palette though when the pink phase arrives I may do another piece in a completely different palette.<br />
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Colours used in this were<br />
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Green Gold<br />
Pthalo Turquoise<br />
Purple<br />
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One of my favourite trio of colours....<br />
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I did a quick sketch outside to get a feel for the colours and used a touch of pink which I think warms everything up but decided to stick with just the 3 colours when I came to work on my painting. This was the sketch ( more about sketching on another blog!!)<br />
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I began to work on a value plan for this painting using my own composition, the idea being that I work entirely from the plan for my painting... only allowing myself the odd glance at a reference photo for some details of the flowers. Working without a photographic reference is not new to me as I have always enjoyed creating a composition from nothing, in fact often worked completely blind and just created on the paper. But as <a href="http://bevwellsartclass.co.uk/">Beverley Wells </a>keeps telling me "Fail to Prepare...Prepare to Fail"something I have always talked to my children about but not always applied to myself!! So.....more value plans for me!!<br />
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As an aside I am now the proud owner of an ipad... never had one before and I have also got an apple pencil which is how I am hoping to do my value plans in the future. Bev uses black watercolour paint and to be fair spends a lot more time on her value plans than I do ( more lessons I need to learn from her!!) but I think using the ipad will help me get a feel for doing them as I can quickly erase what I've done if I don't like it<br />
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This was the plan I started using<br />
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What I am learning from this is that it isn't sacrosanct that I stick rigidly to the plan, but it is meant to guide me. I have already decided the values work in my plan so are likely to work on my painting.<br />
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I need to use a different programme to get the mid tones but I am working on that too!! Bev felt it needed a few more darks and as I came to work them in around the painting I found some areas weren't working as well so I have tweaked it. One of the reasons for that I think, is that the drawing may not be a complete replica of the plan. I know Bev works her sketches full size whereas I am working ipad size so if I feel I need to change my way of working I will. Any planning is better than none for me at this stage!<br />
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Working to a plan like this does strange things to your way of working and I started this by adding the darks first??? Why... I have no idea and for the future I will work in my normal way, which is to build up to the darks. I think normally I don't know where the darks are going until I am getting further on with the painting whereas working from a plan I kno0w before I start so just went for it!<br />
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As a result I ended up with an unfinished painting with only dark and light tones<br />
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I needed to lose a lot of the intensity while adding other areas of depth, so a couple more sessions or working on it and here is the finished piece<br />
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You can see lots of softened edges compared to the earlier stage and some deviation from the plan though not too much. I think this is my most successful painting to date using a plan which hopefully means some of Bev's invaluable help is sinking in!! <br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com6tag:blogger.com,1999:blog-2350562909222800870.post-46617824526475083342017-05-27T11:55:00.002-07:002017-05-27T11:55:24.993-07:00Figures in the LandscapeAm not sure if this was a wise decision but no backing out now as my All Day Figures in the Landscape workshop takes place in just over a week and a half!!<br />
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I have run a half day workshop for a lovely group called Paint Pots in St Helens where we did a lot of preliminary work on figures, proportions and how to place them so that they follow the rules of perspective...often the heads or shoulders will all be at the same height depending on where your eyeline is and it is the feet which move up or down making the figures larger or smaller thereby p;acing them more in the distance or closer.<br />
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We will also be doing some gestural drawing which is a really fun exercise..... well at least I enjoy doing it!!<br />
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However I then had to come up with a plan for pulling it all together and placing some figures in a landscape!! Easy......nooooo! The problem has been that any image I have found with suitable figures in have had a rather complicated bg's maybe with buildings with lots of issues of perspective or other images have had people sitting at cafes and again would be rather complicated to translate into just an afternoon session so I have done quite a few "practice" pieces thinking I had found a good image only to realise they may be too tricky for workshops. So I do have a few unfinished pieces at the moment which I may at some time come back to. Anyway I have finally stumbled across a beach scene (by Max Hemingway) which looked perfect and also a street scene (by John Melhuish) which I have cropped a bit to eliminate some of the bg. I am swaying towards the beach scene as it shows some of the principles quite nicely and I am worried that the street scene will prove a bit too difficult. If it has taken me a while (I am a fast drawer and painter) it will take the students longer and we may not have time to complete.<br />
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I have found from running workshops all over the place that there is a vast variation in the speed at which people work especially when drawing and in the main we have to go at the slowest pace so that everyone has a chance of completing. I remember going to workshops myself and could often do 2 paintings in the time and I often work with more than one piece on the go at any one time (I have been working on 3 this afternoon!!). so I know am not the barometer on which to gauge how quickly we may do something!!<br />
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Here is the first painting. I have tried to show the principle of using a "halo" around the figures which has worked well as the light is coming from the large window ahead and is casting shadows behind the figures allowing me to silhouette them and so not be caught up in too much detail. Looking at this I can see there is a perspective issue mid left with the tops of the canopies... they should be at a more acute angle which I will probably alter on the painting before the workshop.So there you have one of the problems.....if I'm not getting right I can hardly expect the students to!! <br />
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This is the second image which I think is probably more suitable as the bg isn't as difficult but what I will probably do is take a selection of images for people to choose from and though most will choose the one I am demonstrating for those who work a bit quicker or who want a bigger challenge there will be a choice.<br />
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As you can see from this one there aren't as many figures though we can add as many as we want and as well as using the image for reference they will be able to work from the quick sketches they have done earlier in the day. Part of the earlier session will include painting a selection of figures of different sizes and in different modes of walking and at different distances away all of which can be incorporated into their final piece.<br />
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So wise decision or not, I will be there on Wednesday the 7th June ready and waiting for everyone to arrive and have another fun filled (and I hope informative) day!!Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-37851616101447814022017-04-17T14:38:00.000-07:002017-04-17T14:38:09.438-07:00Spot the MistakeMore work with my value plans. Still trying to get the idea that I need the plan... any plan and then I have to fit the subject within the lights and darks of the plan... tricky!!<br />
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So as I do tend to paint in the seasons I was trying yet another daffodil composition and was becoming somewhat disgruntled with what seemed to a be a boring lacklustre painting!!<br />
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Here it is<br />
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All a bit smooth and uninteresting partly I think because I am so wrapped up in placing my darks and keeping my lights!!<br />
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Anyway, I talked to <a href="http://bevwellsartclass.co.uk/">Bev Wells </a>whose support and input in this journey has been invaluable and we agreed the composition was a bit tedious but I also felt I was becoming a little restricted by staying within the plan and as Bev pointed out the painting is the same... I need to use all the tricks up my sleeve, the only thing I am doing any different is having some idea as to where I might place the lights and darks beforehand.<br />
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So, my colour choices, my brushstrokes, paint techniques all stay the same and I need not be restricted just because I have some plan to start with and I think the penny dropped again.... lots of penny's need to drop I think before I get the whole thing but I am determined to get to the point where I can incorporate this planning into my natural way of painting.<br />
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So I set to again over the weekend and added a few more touches which I do feel have transformed the piece but again having spoken to Bev there are things I could have done to improve it.... I wonder if any of you can come up with some compositional ideas? I have decided not to alter this one as I don't think it would be that easy and while I am not usually precious about paintings and certainly agree with the premise that we should take our paintings to the final point even if we ruin rather than leave not quite finished, I really quite like this one as it is. One day I may look at it and if I ever get to do a workshop with Bev I will take it and maybe work on it with her... let me know what you think<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com3tag:blogger.com,1999:blog-2350562909222800870.post-52381820036707828322017-03-15T12:58:00.000-07:002017-04-18T00:47:07.251-07:00New Value Plan PaintingAs some of you may know I have been benefiting from the wisdom, skill, and mentoring from the wonderful artist <a href="http://bevwellsartclass.co.uk/">Bev Wells</a> and she is pushing me to work hard with my value plans, offering me such valuable critique at every stage. She has guided me to completion on several paintings so far but this is the first she has actually had little to say about and the suggestion she offered was to simply try something to see it if worked......in the past there have been very definite ideas as to how to improve something and areas where I have been weak.... connecting shapes, leaving too much space have been problem areas and as soon as Bev has pointed something out, I have kicked myself and thought "Now why didn't I see that it is soooo obvious!" Anyway maybe I am beginning to get the hang of it!<br />
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So once again I started my value plan. The idea is to simply create a plan regardless of subject, then you paint your subject according to the lights, darks and midtones you have created in your simple plan.....easy hey? No not easy at all and I am finding it difficult to not consider my subject as I start my plan. I think the solution will be to simply play with the plans in my sketch book when I am not painting and create a library of value plans.Then, as I come to paint a subject I will look at my plans and see which one I feel will work best. As many of you know I often only use my reference as a clue and build up a composition from the starting point (especially with florals) so I'm not afraid to alter my reference almost to the point it is unrecognisable and that is how I need to work with the value plans. Take my reference as inspiration only and once I have drawn it or got an idea as to placement of subjects, simply refer then only to the plan. So I get the theory, now for more practice!<br />
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This was done from a value plan where I then placed my reference on top. I used a photo of a sunflower and then painting according to my plan. The point about painting like this is that because I have done some preparation I now have an idea as to where the darks are going to go before I start. I have created my plan with a view to a pattern of lights and darks throughout the painting which I feel works so it has taken the guesswork out of it. Now I'm not saying that all artists need to work this way but I have been wanting to improve my compositional skills for a while and this is the first method which has truly resonated with me.<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com3tag:blogger.com,1999:blog-2350562909222800870.post-23322392100474702962017-03-01T06:51:00.001-08:002017-03-01T06:52:23.277-08:00Line and WashI have been practicing my line and wash exercises ready for the workshop I am running in a fortnight. I have done a few and need to decide which of the reference photos we will be doing... whether I can paint it isn't really the issue (though it certainly helps lol!!) but it has to be something which is achievable for the group too. I have posted a few paintings on fb to judge reaction and one lady who is attending the workshop felt one would take her much too long to complete. That is a problem when running workshops.... I have to make sure the ones who take a bit longer have the time while still keeping the faster ones engaged. Maybe 2 images is the answer so I am considering that as well.<br />
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In the meantime these are a few I have done. The first 2 are from photos taken by my brother in law John Robinson <br />
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This is the one which may take a bit too long as lots of windows <br />
and foliage but I do like how it turned out and liked the colours. The house was hidden on the banks of the river Lune and we only happened to see it by chance as we looked back. <br />
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This is certainly an option as it isn't too difficult to draw and not too many fiddly details<br />
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Next, this one was painted from one of my own photos taken at Anglesey during our
painting break last year. I think these are some derelict old toilets
and there was an old bike parked at the front but thought that was pushing it a bit as
they are most definitely not the easiest things to draw... but hey
artistic license, leave it out!! This is another possibility and quite a
fun one to do.<br />
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Another of my own photos of the church in Ingleton (North Yorks)... I do think this one lends itself to line and wash but there is a bit of tricky perspective on the church tower which might prove difficult<br />
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Finally I have painted this a couple of times both in Brusho and watercolour and is from a photo of a beautiful house in the centre of Rivington, a tiny village about 3 miles away from where we live... typical tiny little village with a few houses, used to have a post office, 2 churches, a tea room but not even a pub!!<br />
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The lovely thing about pen and wash is you don't have to worry about the paint....if you go over the lines it doesn't matter because that's what the pen is for... to define the drawing. A lot of artists use the line after the painting and that will often rescue a piece and can certainly improve a painting but this way is done with intent to make a line drawing then paint it and can really encourage a looser approach as you can paint where you like, let wet paint run and none of it matters!! Just how I like it....<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-55449971262757934532017-02-23T09:22:00.000-08:002017-02-23T10:09:12.770-08:00It's getting hard!!For some time now I have talked about looking at composition and it always seemed so hard. Now I have always believed that any of us on our artistic journeys become receptive to more complex information as our knowledge and skill sets grow but some aspects of composition still seemed to elude me namely that of creating pathways for the eye to follow.<br />
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Compositional tools like using the rule of thirds, focal points, contrast, variety are all becoming clearer but I have know that if I want to move on I need to understand more about creating better design and pathways in my work. I have read that pathways are created whether we are aware or not but they are not always good pathways so for example we may create a line which leads the eye out of the composition without realising we have done it. The other problem is we don't all see direction in the same way and I struggle to see it at all in a finished painting!!<br />
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So...I was chatting with my lovely friend<a href="http://bevwellsartclass.co.uk/"> Beverley Wells</a> (click on the link to take you to her website) who is a formidable woman and known for her forthright approach (which suits me perfectly as I need to know exactly how it is!!) but an exceedingly generous, knowledgeable and hugely talented (and I rarely the word talented!!) woman too, and we were discussing composition and I aired my inadequacies.<br />
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Well as fast as I could say value plan she had me working!! And over the last few days she has mentored me unreservedly and given me so much guidance that I have to say (very quietly confidently) that the penny is dropping!! I am now beginning to understand how to actually create a path for the eye to follow and I have to say it is how I have wanted to paint for a long time but I have been winging the composition part of it and not really following any plan, relying on a very unreliable eye to guide me. Bev uses the phrase "Fail to prepare... prepare to fail!" something I used to drum into my 2 sons when they were younger. But in my case I was at a bit of a loss as to what to prepare... well now I know!!!<br />
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So I have to start with a value plan and that is first the hard bit creating a pleasing sort of pattern from scratch with values of 1-9. Once you have a plan, any subject can be placed on it but for the time being I will be sticking to flowers. Then the next heard bit transposing the value plan into a painting!! I thought that would be fairly easy... wrong!!! I realised I need to at least start fairly closely to the plan but it can be tweaked as the painting progresses but not as easy to rub out paint as pencil!!<br />
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Anyway here is the first effort which I knew wasn't right but didn't know what else to do<br />
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I felt I had gone in too heavy with the darks and though I could see the plan was reasonable there was something missing.....Bev knew immediately and here is the finished piece<br />
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Just the addition of some lighter values above the roses has given it an extra dimension....thank you so much Bev!!<br />
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BTW Bev runs workshops and classes and I am sure they would be fabulous if you get chance to attend!! <br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com4tag:blogger.com,1999:blog-2350562909222800870.post-89230145273889356962017-01-28T11:54:00.002-08:002017-01-28T11:54:42.232-08:00Have I deserted?No I haven't deserted my blog but it is over 2 months since I posted which is a long time for me. I haven't been painting much but over the xmas period we were very busy with visitors from the far East arriving on the 16th Dec for 5 days and my son and new fiance for 5 days after xmas. Then all the usual entertaining, blah blah blah, we've been away for a few days, I've been running workshops and organising my new All Day Sessions and a new course at Sunshine House in Wigan so I have done some painting but not much to chat about or post.<br />
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Anyway for the last two sessions at my group we have been doing portraits. The first class we took a full face portrait, folded in half and taped to their paper and they had to paint a mirror image of that half. It's an exercise I did as a student many years ago and I had forgotten about it but I remember it was a really good exercise in looking at skin tones and also it isn't too difficult to draw as they only have to do half an image which is a lot easier. There were some excellent results and I was so pleased with what they had achieved.<br />
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Last Thursday we did a full portrait so I took an image along to demonstrate. I found that a lot more difficult than anything else and I realise I work very instinctively with portraits and when I had to paint and try and get my thoughts in order for the class it was really tricky. I didn't get very far with mine but I did promise I would finish it for them and take it next time.<br />
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I do portraits to commission so it never crossed my mind to practice before I ran the workshop. As many of you will know I always practice my pieces before so that I know I can deliver so as I have done many portraits I thought it would be fine. I decided to do an Afro Caribbean child and I have only painted a couple a dark skin tones before so next time I would certainly practice beforehand as there was a lot a variation in her skin and I felt rushed trying to find the colours and tones. The sessions is only 2 hours and I wanted them to spend time on their own portraits while I was there to help them, rather than watch me so I maybe spent only 15 minutes on mine and a portrait will take me between 3 and 4 hours if I include drying time!<br />
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Here is the piece so far. I usually look at them for a day or two and maybe tweak a little but don't think I will be doing much more to this<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com0tag:blogger.com,1999:blog-2350562909222800870.post-45677143997396315672016-11-17T00:47:00.000-08:002016-11-17T03:24:04.237-08:00Negative Painting....Aaaaarrrggghhhh!!!I teach this concept at every class I do and though it was something I grasped in the early days, I never grasped when best to use it so it was a tool at my disposal which I promptly forgot about. It wasn't until I really started to improve that I began to understand the significance of what an important technique this is.<br />
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Good painting is about having a variety of aspects so colour, tone, shape, line etc (and having repetition as well) and of course edge. Edges can be soft, lost, found, positive and negative.<br />
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Here is a definition I found from Craftsy<br />
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<span class="_Tgc"><b>"Negative painting</b> is a simple technique that involves applying pigment around an subject to give it <b>definition</b>. You'll add <b>paint</b> to surround the person, place or object, making it stand out because it appears lighter than the background"</span><br />
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<span class="_Tgc">which is pretty much what I would have said about it too. However you don't need to use the technique to make the whole subject appear.... you can just reveal part of it. I mentioned lost and found edges, well it is the found edges which can be created both positively and negatively... the lost edges simply aren't there. </span><br />
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<span class="_Tgc">Will give you some examples......</span><br />
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<span class="_Tgc">In the leaf below at the base of the leaf you can see some hard edges formed negatively to reveal the edge of the leaf. Opposite another area of negative painting. The tips are mostly lost and there is a bit of a soft edge towards bottom right. Other areas have been painted positively where I have painted the body of the leaf and created the edge from inside. But the whole subject has a mix of all the edges and not all the subject has been defined.</span><br />
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<span class="_Tgc">In the the following example the heads of the sheep have been created by painting the background behind them using a build up of quite dark paint. I have also left a little "halo" around the heads which also helps the idea of pitching light against dark while still allowing me to give some of the sheep dark heads and faces.The bodies have in contrast been "lost" into the foreground and the details on the faces have been painted positively.</span><br />
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In this final example (a Brusho hydrangea) I have again used a variety of edges. Some of the form of the bottom of the flower head has been created negatively if you check out the stem it is clearly painted negatively as it is paler than the bg, and also some of the petals inside the flower. You can also see a little touch of yellow almost in the centre of the painting which just create a teeny bit of form and likewise if you follow the edge anticlockwise to just before "o'clock" you can see another tiny bit of yellow. Those touches just finish the shape physically and our eyes do the rest. If you look carefully at this painting you will see the full variety of edges though fewer positively created shapes than negatively, as hydrangeas tend to be lots of petals hidden behind others so lots of darker shapes</div>
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<span class="_Tgc">Would appreciate any comments to let me know if this has helped and if you would like another blog with some more examples... I didn't want to bombard everyone with too much information at once?</span>Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com8tag:blogger.com,1999:blog-2350562909222800870.post-50054909083960383642016-11-14T13:30:00.000-08:002016-11-14T13:31:31.688-08:00Did it Work?I have been to the lovely Westhoughton Art Group this morning or WAG as they are affectionately know and they wanted me to do a Brusho workshop so I happily obliged. Joanne Boon Thomas had taken a lovely photo of some poppy seed heads which I have used a couple of times and I also have one from Richard Long on PMP so I used them both for reference.<br />
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I asked them all to select their palette first as I find with Brusho it is very easy to get muddy colours and a little time spent before is time well worth spending as it is so easy to get the colour choices wrong. Just 3 and at most 4 colours.<br />
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I did a quick drawing....I don't often draw with watercolour but find it more important with Brusho so I have some idea as to where to sprinkle the crystals.<br />
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I used lemon, purple, leaf green and turquoise... it's a combination I use quite a lot... first because I like it, second because I know the colours work together and third I felt it would suit my subject.<br />
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One of the members of the group had been doing his homework and told me of another way to apply the Brusho which he had researched yesterday on the internet and I have to confess I have seen this done but not tried it so today was the opportunity to give it a go. It involves lifting the lids off which doesn't sit well with me, then, using a dry brush, scoop up some Brusho using your brush to sprinkle onto the paper, I have to admit you could certainly position the Brusho better on the paper than sprinkling from little holes on the tops of the pots, my two hesitations are unless you replace the lids IMMEDIATELY you risk tipping the pots over and getting Brusho everywhere and unless you use a different brush for each application, you risk contaminating the different pots.....<br />
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My piece is still a WIP but I have to say I thought it worked well and I think I will go back to this one and just add a few finishing touches...... something I rarely do with workshop pieces. But this one has promise, it needs a bit more in the bg I think but I hope it will be a lovely painting when it is finished..... what do you think?<br />
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Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com0tag:blogger.com,1999:blog-2350562909222800870.post-2818269022920936972016-11-06T14:05:00.002-08:002017-11-16T06:41:59.819-08:00An Update on my Colour Planets (and other things too)I have had a lot of questions recently about my<a href="http://judithfarnworthart.blogspot.co.uk/2012/04/colour-planets.html"> colour planets</a> (click for the link to the blog post) and though the blog post remains true to this day I thought I might update it with a bit of extra information.<br />
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As many of you know when I come to choose my colours I simply have a look at my palette, sometimes think which colours haven't I used for a while and what might go with them and what will make a nice combination that might look good with my subject. So very unscientific to say the least!!<br />
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I don't always use my planets now but if I find I am losing my way with colour choices or a bit uncertain I go back to them and they ALWAYS make a difference.<br />
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When looking at my options I always choose one (or sometimes more) colours which will give me the darkest tonal value... all paints will give the lightest values simply by adding more and more water but not all colours will give the darkest values and even if it is only for the slightest touches, some really good darks will make your work sing. Colours such as Indigo, prussian, Ub, purple, burnt/raw umber etc.<br />
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So I start by adding my prospective colours fairly wet but quite concentrated to my paper (usually in a circle hence the name planets) adding more water to allow the the different colours to mix (water is the transporter so paint will only flow where the paper is wet). I start usually with 3 colours and then may decide I need another one or at most two more. Once the paint is on my paper I watch it mix and mingle and judge the effect I am getting....the colours produce the mood and atmosphere so it is clear very quickly if I like or if I think they will suit my subject.<br />
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Once I have chosen my colours I use only those choices. This helps in two ways, first to harmonize colour around the painting and second it takes away any decisions you might have to make mid painting when you may be rushing and you may not make good choices... you know which colours you are using as you have already decided so all greens are made with what you have chosen, all oranges, purples and everything in between all from your initial choices. I often find it helps me to work only with tone once I have chosen my colours and simply apply the paint in darks, mid tones and lights as I see them in my reference. Here is an example<br />
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This was a dull Autumnal day with not much light but I liked the gate which is sort of hidden along a private road close to where I live. I didn't want to paint exactly as I saw and decide to try an unusual colour scheme of Turq, purple and burnt sienna and all my colours were mixed with these 3 colours... this was the painting<br />
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As you can see the colours bear no resemblance to the reference but I like to think it is an attractive piece in it's own right and maybe has added something to the original photo.<br />
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Here is another example...a photo I took of a chocolate box cottage in the Lake District. I have painted this subject many times but each time adds a new dimension as I choose a different palette<br />
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This first example is an xmassy theme using purple, burnt sienna and green gold... lovely cool feel to this one and exactly the sort of atmosphere I was looking for</div>
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The next example was done in Brusho and I think you can see has a completely different atmosphere but still only limited colours, Turquoise , purple, yellow and emerald green (I think, it's a while since I did this one but you get the idea...) <br />
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And finally a painting of my friend's dog Holly a gorgeous Shitzu cross<br />
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I can't actually find the reference for this but basically it was a B&W photo which I interpreted with colour... indigo, translucent orange, opera pink and raw and burnt sienna. Colours placed randomly around the face paying attention only to tonal value.<br />
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2 things I am trying to get across here.<br />
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First is that you don't need many colours to create a good painting and the more colours you use especially when you are in the early stages of your journey the less likely you are to get a good result. But the secret of choosing a good colour scheme is to try it our BEFORE you start and one way to do that is to use a colour planet.<br />
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Second you don't need to be a slave to your photograph in fact have the confidence that you can steer away from it and actually improve the image and give it an added dimension. I have to say this one took a while to sink in with me as I never thought I could improve on the information a photograph gave me... after all that was nature and that's what it was like... so wrong and now the last thing I want to do is create a photographic representation so even if I decide to recreate my subject as close to life as possible I will always play around with a different background and add colours and tones which will enhance my subject, pitching light against dark and placing complimentary colours together. these tricks will all help to enhance the image, will add another dimension and create truly individual work.<br />
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As many of you will know I mix paint on my paper so by using the colour planets it gives me a really good idea of how my painting will look and how the paints interact together. <br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com0tag:blogger.com,1999:blog-2350562909222800870.post-32482111349186223982016-11-05T10:20:00.002-07:002016-11-05T10:20:29.265-07:00How I run my All Day WorkshopsI ran my first beginners all day workshop at the BoonRic Gallery where the lovely Joanne Boon Thomas gave me an opportunity. I was quite nervous but prepared well and I would like to think they were well received. Since then I have run more at the gallery and then moved to Sunshine House in Wigan where they have a lovely room and very nice facilities.<br />
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I am also invited to lots of art groups and societies where they not only organize their regular 2/3 hour demos and workshops but also all day events and if anyone would be interested in me visiting their art groups after reading this please get in touch here or e-mail me on judesfarnworth@hotmail.com. I am prepared to travel to most parts of the UK as I am happy to stay over either before or after the event if it is too far to travel in one day. <br />
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Now I tend to run my own sessions a little closer to home and hire a really good sized modern church hall and though I don't provide lunch I do make sure we have a yummy selection of biscuits. No-one can accuse me of not getting priorities right!!<br />
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I run them all along the same lines though of course we do different subject matter and this year I have run 3 Brusho and 2 watercolour events. I will shortly be booking some sessions for next year so if you would like to be on my e-mail list to be notified then again please get in touch.<br />
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We start by a short description of how I paint and why I paint like I do and I demonstrate everything as I believe a lot of people learn better from visual clues rather then verbal. I then ask people to have a try and I am there to help, show them how or to answer any questions.<br />
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We then do a small study which is part of the theme we are working on for that particular session where I talk about lost, found positive and negative edges, light/dark contrast, complimentary colours and anything else I can think of on the day.... all this information is really important to grasp if you ever want to really progress with your work.<br />
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That takes care of the morning and in the afternoon we tackle a full painting using all the tips,hints and hopefully skills learned during the morning session.<br />
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My next session is Winter Florals later this month and I have been looking at different subjects for the main painting I will be demonstrating and I think I have settled on some Xmas roses, photo courtesy of Glennis Weston on PMP. I started off by painting her white roses but it ended up taking too long to complete and though I liked the finished painting I felt it might be a bit difficult for a workshop. Today I have had a go at some pink/purple roses which I feel will work better. I paint do paint quickly but if I am to finish a painting in a workshop giving enough time for people to do theirs I need to be able to complete mine in about an hour and the first painting took quite a bit longer. This next one has taken about an hour and though I am not wholly happy with it at the moment and I will do it again and tweak it to make sure it is achievable.<br />
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For people who think we just turn up at workshops and deliver... think again!! By the time I am ready for this one I might have spent more than double the time of the actual workshop in preparation starting with creating some sort of advertising material, sending out e-mails, admin involved then for the actual day, trying to find suitable images to work from both for the studies and the main painting, practicing the ones I feel may be suitable, discarding some and keeping the actual ones I choose. On the day I arrive early to set the room up with help of hubby, set up the refreshments. take the money etc, then when finished put everything back, empty bins, hoover up and head home for a very welcome G&T!! Phew!!<br />
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Here is a sneak preview of the painting we may be doing<br />
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<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-69610586078433147822016-11-03T12:38:00.001-07:002016-11-03T12:38:33.264-07:00One Way to Make your Flowers Look Part of the CompostionI have been playing with some ideas for my Winter Florals workshop I am running on the 22nd November and I love Christmas Roses. we have some deep purple (almost black) in our garden but they aren't flowering yet so I searched for an image and found this one by Glennis Weston on PMP.<br />
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I did my drawing which didn't include all the flower heads, just 3 and created my composition from there. As all the petals had a white edges and I needed to find a way to make them part of the background without losing those edges. Normally I would wash some of them away but decided to work a bit differently for this one<br />
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I used the following colours Quin Magenta, Turq, Cad yellow, green and I masked the stamens before I started painting making sure it was completely dry before I began painting.<br />
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I then did my background alternating my colours , throwing the paint and water until my paper was soaked.... instead of waiting for it all to dry, I started another painting... more of that another day!<br />
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The bg had dried with lots of cauliflowers and I really wasn't liking what I was seeing and in fact didn't like any of it for almost the next hour!! I worked on the petals in an almost botanical way, adding layers wet in wet and wet on dry until I was getting some shape to them and although you can't really see any of the magenta in the image I added it to my petals (well it is my painting!!) together with the other 3 colours in my chosen palette, keeping some areas very light and darkening others. I then moved back to the bg and created and then lost some of the leaf shapes and only then did I feel I might just rescue something from what I was beginning to think was a total disaster!!<br />
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I stepped back a bit when I had added a couple of the dark areas and moved around the piece with touches of dark here and there and losing some of the leaf edges as well.<br />
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By adding those touches of colour which are in the bg into the petals I
feel the whole painting pulled together and I have ended up really happy
with the result... just shows we need to finish our work, often beyond
the point of where we feel we are overworking and as we have been
discussing in a fb group recently, it is better to finish a piece and
overwork it than not finish and be left wondering what to do. By working
on them further you free yourself to try different things and learn so
much from the process and there is a chance you will get something you
like out of it!!Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com2tag:blogger.com,1999:blog-2350562909222800870.post-69232613706262256442016-10-06T11:25:00.000-07:002019-02-10T04:58:37.885-08:00Step by Step Autumn Leaf in WatercolourI am running an all day Brusho workshop (Autumn leaves and florals) a week next Tuesday so I am really hoping the leaves will have fallen by then and we will have some gorgeous colours to paint.<br />
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However, I am not too hopeful.... we do have fallen leaves in the area but they are all still green, with some turning slightly yellow so rather disappointing display at the moment....never mind, we will just have to "make it up" as I have with the colours on this step by step.<br />
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My leaf was still green so I just used it as a template for the shape and drew around it. In my classes I find this is the easiest way for the students to get a good result. Sycamore leaves do have a distinctive form and if they try to draw freehand they may not get the proportions quite right and even if they then do a fabulous painting they will still be disappointed with the final piece as the drawing wasn't right on the first place.<br />
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The colours I chose for this were Alizarin Crimson, Green Gold, Burnt Sienna and Purple<br />
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Colours all mixed on the paper, plenty of water, edges lost into the background and with my finger nail I have scratched in the veins. Then left to DRY!!<br />
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Now I can start to add some hard edges around the leaf so as you can see
some are positive and some are negative with still plenty of lost and some soft edges
too. The key to painting like this is not to add too much all at once
and even where you do add an edge it is still possible to break the line
you have just added. It is also possible to lose your edge completely
if you feel you have added in the wrong area. Bit of splattering to the right of the painting... always helps to create a loose feel. Now I leave to DRY.<br />
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Next I have just worked in the centre adding a bit more paint to the body of the leaf... guess what, yes leave to DRY.<br />
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Here I have started to add a few more edges and this is where it is really difficult to verbalise how you should go about it. I have added a positive edge top right, slightly broken and added a negative edge just below right of centre. I have also darkened around the stem. I am trying to create the form of the leaf without adding every edge and and there is no right or wrong to doing this. If you want to create light then you will need fewer edges and then just faint ghostly ones. But if I was doing a full piece I would take time to assess what the painting needs and usually I place them on my sofa so I can see them both close up and from a distance and bit by bit it tends to become clearer where the composition needs work. This is also where it becomes difficult to say when the painting is complete and that varies greatly from individual to individual and again there is no right or wrong.<br />
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Here I have darkened around the centre of the leaf where the stem meets it and I also felt it needed a touch more paint where I had added the negative purple paint mid right (where you can see it is still wet) and I have also added a few more splatters. I think I will leave it there, I could work on it for hours yet adding more and more paint but I'm not sure if I would improve it and again if I wanted to do a "proper painting" I would still leave it now and maybe look at it again in the morning.<br />
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Just by adding little touches here and there, there is far less risk that you will ruin your work... it is when you go in heavy handed doing too much at once that you may take the piece beyond the point of no return. Here any little edge I have added can easily be both extended if I like or washed away quickly if I feel it doesn't work.<br />
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Would appreciate any comments to let me know if you feel that this has been explained well enough and has helped... would also love to hear if any of you have a go!!<br />
<br />Judith Farnworth Arthttp://www.blogger.com/profile/03466625674796659185noreply@blogger.com6