newsletter spring 2017 - adelaide art...
TRANSCRIPT
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Adelaide Art Society Inc.
Newsletter Spring 2017
Adelaide Art Society Inc.
112 Margaret Street North Adelaide 5006
Phone: 8267 4226 www.adelaideartsociety.com.au
President’s Remarks The committee has been working tirelessly on your behalf to bring a variety of Social Night events, Workshops, Exhibitions, Sketch Groups and Notifications of external events. On your behalf, I would like to thank them for their time, effort and commitment to the society and its members.
Our website generates much interest from the public and members. We endeavour to keep it up to date and if you have suggestions for it, please let me know on our email [email protected] If you have images of your art-work to display on our site’s Members’ Gallery please send them to me via our email address.
We have been very fortunate to have Bob Rennie, who has offered his time to do some much needed maintenance work on the building and equip-ment. He has recently been attending to the maintenance of our easels. If you have any sug-gestions for mainte-nance issues, please let me or a committee member know. I would like to thank Bob for his generosity and atten-tion to detail.
Paintings left in the front store room There are several paintings and packaging from exhibition entries in the small storeroom at the front of the stu-dio. The room is small and meant primarily for
society paraphernalia storage and temporary member storage. If you have stuff in there, could you please remove it before year’s end or it will be disposed of at the committee’s discretion. Thank you. There is now a power point in the rear storeroom, on the wall where the tables are stacked, for the people who want to use dryers on their paintings, please use this instead of the kitchen power points. We have a Christmas Lunch coming up on Sunday 3rd December, for members, spouses, partners or bring a friend. More details on our website http://adelaideartsociety.com.au/event-gallery-2/ To all members, the committee wishes you a Merry Christmas and a wonderful New Year. Winston Head
Some of feature artist’s work at Spring Exhibition, Earleen Eastwood
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Member News:
Welcome to new members: Victoria Rolinski, Hel-en and Kathryn Wiltshire, Peter Stevanz, Irene Christensen and Eliza Au. Deceased Regretfully: two wonderful members have passed away Coralie Armstrong and Marian Jones. Resigned: P J lee, Fred Whitson, Yufen Wang, Eve-lynne Richardson, Colleen Ingham, Chris Wake, Martha Adams, Uta Mooney and Libby Austin. Congratulations to: Betty Anderson for winning first prize in class 2 still life at the Royal Adelaide Show and to the winner of the Adelaide Art Socie-ty Sponsored prize Rosemary Huddy. Members who won prizes at the Cathedral Art Show were for best portraiture – Marilyn Jacobs for ‘Roger Whittaker’. Hangers’ prize – Victoria Rolinski for ‘Solitude of the Murray River’.
Change of times for the Wednesday morning group!
This group will now begin at 10.00 am and finish
at 1.00 pm. This has been brought about by the
increasingly heavy morning traffic making it very
difficult for participants and models to arrive on
time and also to find parking.
If you have any ideas, photos, articles etc. contact Marg at
Another Congratulations to Betty Anderson. This email was received from Betty recently. “A month or so ago I received an email stating that I had been nominated for the Global Art Awards. Had never heard of it, nor have any idea who and how I was nominated, but checked it out, and finally submitted an entry. Shortly thereafter I received a further email stating that I had been selected as a finalist, and sure enough, my name was on the list of finalists. Net result - I am going to the function for the an-nouncement of winner on 17 November, in Dubai, together with my daughter. I have attached my entry, for your info. Betty”
Sketch Groups’ Summer Break
Last session 2017
First session 2018
Monday Portrait
10am-1pm
18 Dec 15 Jan
Tuesday Still Life
10am-1pm
12 Dec 6 Jan
Wednesday AM Life Drawing
9.30-12.30pm
20 Dec 10 Jan
Wednesday PM Life Drawing
7.30-10.00pm
13 Dec 24 Jan
Thursday Portrait
10am-1pm
14 Dec 25 Jan
Friday Studio
10am-2pm
15 Dec 12 Jan
Featured Sketch Group
Still Life Tuesday 10am – 1pm
The Still Life Sketch group paints from life each Tuesday at our society. Each week a new and interesting composition is devised by the group with an arrangement of fresh flowers and other complementary elements such as fruit or veg, interesting pots or fabric. At the end of each session, the artistic results are displayed and helpful and encouraging comments are offered. The group is very supportive and friendly and welcomes any newcomers. For more infor-mation, you are welcome to contact Marjorie Sheppard on 0419 189 118
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Social Night Program Thursday October 26th 7:00 pm for 7.30pm start.
Paul Jackson the well-known water-colourist,
from the USA will give a demonstration.
These events provide an opportunity for members
and their partners to meet their fellows and enjoy
a demonstration, video or a guest speaker.
Non-members are also welcome to this
Social Night for a $5 entry fee.
The evening ends with a “bring a plate supper”.
Paul Jackson discovered his passion for
watercolor at Mississippi State University in 1985.
He received a Master of Fine Arts degree in
Missouri in 1992, and has since been relentless
in pursuit of his creative dreams, receiving top
honours in national and international
competitions, contributing his art to a vast library
of magazines and books and sharing his
creative influence to all corners of the earth.
https://www.pauljackson.com
Instead of a Social Night in November, we will be having our -
CHRISTMAS LUNCH
Sunday 3rd December
12.30 for 1pm
Bring a plate to share and your own drinks.
Partners and friends are all welcome.
RSVP by 1st Dec just for catering purposes.
Bring your thinking caps, I believe there will be a quiz!!!!!!
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www.adelaideartsociety.com.au
Want to develop your skills in Art using
pencils and Acrylic paints?
Art Beginners provides all the
resources for you to discover all your
talents. No need to expend money
purchasing paints and mediums that
you may never use again.
You will bring your
A5 or A4 Visual Art Diary /
Sketchbook for doing thumbnail
sketches & taking notes.
Paint brushes (#12 & #6 Hogs-hair
Bristle Flat Brushes plus a White
Taklon Liner Brush)
Soft graphite pencil
Roll Paper Towel
Figure 1 Settlers Cottage Blinman
You will be provided with Atelier Interactive
Acrylic paints, references, canvas sheets &
stretched canvas.
Plus Fast Dry Medium/Fixer, Clear Painting
Medium and Glazing Medium.
Baguette Lunch is included.
You will be shown:
a painting approach which solves one
problem at a time and can used for
painting any subject.
how to manipulate line, shape, tone
and edges to create more interesting
and engaging images.
how to control paint drying time and
use acrylic mediums.
four key colour concepts to guide
colour choices and colour mixing.
the elements and principles of design
and how they apply to composition.
Figure 2 Palm Valley in Northern Territory
The Tutor, Richard Rogers, is known for vibrant paintings
of Australia’s landscape, wildlife and people. A regular con-tributor to the Australian Artist magazine, his work has also
featured in The Artists Palette & International Artist maga-zines. www.richardrogers.com.au
Day 1 participants will paint a series of studies on canvas.
Day 2 they will do a larger painting on stretched can-vas that builds on and the previous day’s experience.
9:30am setup for 10am to 4:00pm
Cost for 2 days: $150
AAS members $125
Secondary & Tertiary Students $100
Contact to Register: Neil Hamilton
0408 852 101 [email protected]
Art Beginners Boot Camp #2 4th & 5th November 2017
Art Beginners Summer Camp 3rd & 4th January 2018
Adelaide Art Society 112 Margaret Street, NORTH ADELAIDE 5006
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More Workshops
Portrait painting in Oils with Iroda Adil #2. We are delighted that Iroda Adil has agreed to do another workshop just one year after the first. This could be very nicely combined with the work-shop in portrait drawing she is to conduct for the Royal South Australian Society of Arts (RSASA). South Australia has had luminary portrait painters but none have had the impact upon the skill de-velopment that Iroda has had in her few years with our club. Her training in painting and specifi-cally in portrait painting is deeper than we can imagine, academy level training 6 days a week for 10 years and upon graduation her performance in Soviet wide competition confirmed the depth of her talent and gave her very special access to the
treasures of Russian galleries. But she engages with sketch group participants gently sharing her knowledge and disarming the correction with a smile. Iroda is a master who can understand your posi-tion and in seeing a bigger concept teach to your need. In her own work she enjoys finding deeper qualities in the sitter, exploring the effect of the colour of light and presenting a strong visual con-cept. You do not need to have attended her previous workshop, but for those that have the emphasis on finishing the portrait, understanding light and skin colour, the integration of background, using the palette knife and observing elements that ex-press gesture, life and personality will teach how to create portraits with impact and deeper mean-ing: how to move to a higher level.
Internationally there is a huge resurgence in Soviet style academy teaching. Academy courses have been offered in Florence to Chinese students using multiple interpreter levels to communicate across the language barriers. We are very fortu-nate to have this opportunity and to have it here in Adelaide. The same model will sit for both days of the work-shop. Iroda will demonstrate from that model and we will be able to develop our own work over an extended interval. Yes you will be allowed to paint but it is vital we see and draw accurately first. We are seeking a model who has the stamina and commitment for the role. All model fees are in-cluded with the workshop. In brief it is :
Alla Prima Portrait Painting in oils with Iroda Adil #2. Date: 24th and 25th March, 2018. (10am till 4pm) with set up from 9.30am. Place: The Grainstore Studio, 112 Margaret Street, North Adelaide Booking: Exclusive offer- AAS members only offer till 22 January, 2018. If places remain non-members will be welcomed after that date. Mem-bers may reserve their place with a $60.00 de-posit (or full payment). Cost: Members- $150.00 (including model fees)
Non-members- $170.00 (ditto) Booking contact: Donald Burrow- [email protected] or 0419 816 801.
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AMANDA HYATT WATERCOLOUR WORKSHOP PLUS—SOCIAL NIGHT DEMO AT 7.30PM ON 6TH JULY, 2018
When: 7,8th July 2018 Where: Adelaide Art Society Studios 112 Margaret St, North Adelaide Cost: $230 members of AAS and SAWS $250 non members $100 deposit required by Dec 31st Bookings: Helen Taylor [email protected] visit Amanda’s website amandahyatt.com.au
Biography Amanda Hyatt was born and educated in Mel-bourne and qualified with a BSc (Hons – Chemis-try) and Dip Ed. She began her art career in 1984 and has since achieved the following:
Recognised as one of Australia’s and world’s best watercolour artists who pushes the boundary of traditional watercolour.
Sought after portrait painter (oil), examples Prof. Peter Doherty (Nobel Laureate), Prof Robin Batterham (Chief Scientist, Rio Tinto); Sir Malcolm McIntosh (CEO, CSIRO); Mr Barry Jones and nu-merous CSIRO executives including Prof. Mike Rickard and Dr Bill Snowdon).
33 solo exhibitions, 2 in New York.
Won most Australian art awards including the fol-lowing majors: The Camberwell Rotary Gold Med-al for watercolour, and 8 other Club awards. The St Kevin’s College 1st prize. Mt Waverley 1st prize. The AME Bale watercolour award. People’s Choice Award Kenneth Jack Watercolour Award.
Teaching:
Recognised as one of Australia’s best teacher/ tutor in watercolour.
Recognised as one on the worlds top en plein air artist and teacher.
Teaches at major Australian painting workshops.
Invited teacher/tutor of international workshops including England, France, Portugal and Italy.
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Social Night
Report on August Social night and Workshop with Keiko Tanabe
Keiko Tanabe embarked on a professional career in 2005 and since then she has exhibited across America, Asia and Europe. She also has her work published in leading art magazines in America, Eu-rope and Japan. Keiko has published six art books and has been a judge at many international art exhibitions. She is a very sought-after workshop instructor and we were very privileged to have her here at the Adelaide Art Society.
As the workshops were completely booked well before Keiko’s visit, there was lots of interest in her demonstration at the social night which was held on the Thursday night. She wowed everyone with her beautiful loose washes and is a master of watercolour painting particularly her landscapes and urban scenes. (Detailed account of the social night demonstration is on page 10).
The first day of the workshops was spent in the studio and the emphasis was on tonal values. Stu-
dents did two paintings, the second from a sketch of their own material. Day two was all about per-spective. Vanishing points was the thing I took away from this session. We did a tonal painting using one colour and then in the afternoon did a colour version. Day 3 - Keiko insisted we go out-side and gave a fabulous demonstration (in the rain) of her plein air skills. A couple walking across Tynte Street were quite thrilled to see themselves in the painting on their way back from their walk. At the end of each day the group critiques were also a very valuable learning tool.
Keiko was an inspiration to us all and the work-shop was quite relaxing and most enjoyable.
Report on DVD Social Night
An enthusiastic audience munched on popcorn and jaffas whilst watching excerpts from an interesting variety of art DVD’s at our September Social Night. Members chose from a range of titles on offer.
In “Breaking the Rules of Watercolour with Shirley Trevena RI”, the artist demonstrated different mark-making tech-niques combining watercolour with other media to give in-teresting, free flowing abstract effects. The result was beau-tiful and will no doubt inspire our water-colourists to give it a go.
In “Colour & Light in Oil” with Maxwell Wilks, we saw his ‘plein air’ approach to painting a lively harbor scene on the NE coast of England. We were intrigued by the fresh and impressionistic way he captured the scene.
Lian Quan Zhen in, “Improve your watercolour with Chinese Techniques”, showed us a variety of brush strokes, which he then applied to creating some simple forms.
In “A Life in Paint Margaret Olley”, we were given an insight into the life and work of this amazing Australian artist. Origi-nal film clips of Margaret working and also speaking about her passion for art were especially moving. It was fascinating to see her working at her art at home, surrounded by past
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SNAPSHOTS FROM OPENING OF SPRING EXHIBITION
SPRING EXHIBITION WHICH WAS OPENED BY THE LADY MAYORESS OF ADELAIDE.
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Recent DVD additions to the library
Improve your watercolour with Chinese Tech-niques Lian Quan Zhen
Lian uses a variety of brushes and brush strokes to create different effects. He shows how to employ these approaches to create simple studies such as a fish and an onion and then applies these to cre-ate more detailed paintings of flowers, a rooster and ducks.
The Nude in Art with Tim Marlow
This is a four-part series charting the portrayal of the naked body throughout history from Classical times through the Renaissance and the Enlighten-ment to the Modern Era.
In the Classical era, Tim explores how and why the naked body was first depicted.
In the Renaissance, Marlow illustrates how the Christian idea of nudity associated with sin was re-placed with ideas of nudity being associated with beauty and sensuality.
In the Enlightenment, the image of a naked body was used to shock, coerce, titillate, impress and instruct.
In the Modern period, Marlow explains how the 20th century changed perspective on the nude as emotional truth overcame physical realism.
Manet from the Royal Academy Exhibition on Screen
In this acclaimed film, focused on the Manet exhi-bition at the Royal Academy of Arts, London, we explore Manet’s life and works. There is exclusive access to the exhibition, the show’s preparation and a detailed biography of Manet in rapidly changing 19th century Paris. Leading experts and painters provide their analysis.
A Life in Paint Margaret Olley
This is an intimate documentary about one of Aus-tralia’s greatest painters. It puts Margaret Olley, the painter, centre stage. Margaret speaks passion-ately about her compulsion to paint. We are taken on a journey through Margaret’s beloved house in Paddington where much of her greatest work was created. Close friends recall a much-loved friend who was intrigued by the painting process right to the end.
ArtLab visit
As one who did not know ArtLab I was surprised to see the list of those who will attend the first AAS ArtLab visit. Yes there were the technically minded members who have connections with the Art Gal-lery of SA, but the list included so many of the in-formed, involved and savvy members that I real-ised I needed to learn who or what ArtLab is.
I found Artlab to be a government agency estab-lished in 1985 under ArtsSA. It is the largest conser-vation centre in our hemisphere! Yes they clean pictures, fix frames, clean guano from Colonel Light’s statue but they are much more than that. They are responsible for conserving all of the our state’s collections and have clients in business, gal-leries, libraries and museums from SA, interstate and overseas.
At 70 Kintore Avenue, they are just east of the Mi-gration Museum. Artlab Australia offers community groups tours of their unique conservation centre. These tours are free to bona fide groups. You will see conservators at work in five laboratories and working on items such as large paintings, sculp-tures, small objects, beautiful books, prints and old textiles to name a few. The staff explain and demonstrate their innovative techniques and an-swer questions.
Artlab tours introduce you to an exciting working environment where conservators are challenged to create techniques to preserve the State’s collec-tions, family treasures and historical items from all over Australia and overseas. Take the time to speak to those who have attended and perhaps if you missed out you can make time to further your art education in a later visit. Portrait of Anna Pavlova, Sir William Orpen. 1920 restored for the Mildura Gallery.
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AUGUST SOCIAL NIGHT – WATER-COLOUR DEMONSTRATION WITH KEIKO TANABE
(Report based on comprehensive notes made by Barbara Rayner. Many thanks.)
A large enthusiastic gathering attended a wonderful demon-stration by Keiko Tanabe at our August Social Night. Keiko began by explaining the process she uses to begin a painting. Most of her paintings are done plein air or inspired by sketch-es made outdoors. She often makes quick small tonal sketch-es using a 4B water-soluble graphite pencil. These drawings are then used as reference for her paintings but she also then paints from her imagination. Before commencing her work, Keiko tries to visualise what the painting will look like.
Materials
Paper
Keiko likes to use Arches 300 gsm rough. Often she uses this in a block form. Keiko also said she is planning to try a new paper that Winsor and Newton is bringing out. She attaches the sheet to a board with masking tape around the edges. She finds she doesn’t need to pre-stretch the paper.
Brushes
The large brushes are mainly synthetic mops for initial wash-es. These are soft and absorb a lot of water. The brands used are Da Vinci, Escoda and brushes from Cheap Joe's in the USA.
Keiki finds the mops too soft for the second stage of her paintings. Instead she prefers a stiffer brush with a fine point. She also uses a range of smaller brushes, a rigger and a very stiff brush to correct "mistakes" and to lift out.
Palette
Keiko uses a small Holbein metal palette which has a hole to enable her to hold the palette while painting plein air but she likes to use this palette in the studio as well. Normally she doesn't clean her palette to begin as any residue paint pro-vides her with some lovely greys.
Keiko uses a limited palette of 15 Winsor and Newton colours, including, Lemon Yellow, Yellow Ochre, Quinacridone Gold, Winsor Orange, Cadmium Red, Alizarin Crimson, Cobalt Blue, French Ultramarine, Burnt Sienna, Burnt Umber, Neutral Tint, Cobalt Turquoise, Lavender (quite opaque) and white. Keiko said she does not use Neutral Tint (which is almost black) very much - mainly for tonal sketches. She tries to keep areas of the paper white rather than using her white paint but does use it from time to time. Turquoise is her favourite colour.
Keiko doesn't like to use masking fluid. She finds the edge created is too hard and artificial for her. She feels her work is more interesting with lines which are not dead straight.
Demonstration
Composition is important when planning the painting then tone (hence the tonal studies) and a balance of soft and hard edges. It is also very important to think about where you want to leave the white areas of the paper - what to paint around. Consider also what is the reason for the painting - that is, the story behind it and the inspiration and how to convey this to the viewer either through tone and/or atmosphere.
Keiko talked about painting from photos. She said most pho-tos have all hard edges so when using them as a reference think about where you can make some soft edges.
There is a lot to think about before commencing the painting including the focal point but Keiko said this often evolves as she is painting. She sometimes does thumbnail sketches.
The first stage of her painting is the initial wash. Then she finishes with the darks in the second stage. She likes to con-nect the dark areas and shadows. Keiko said she has always been attracted to scenes of strong contrast. However it is im-portant to paint what excites you.
Keiko did a quick pencil sketch on paper from a reference to-nal sketch of St Peter’s cathedral in Adelaide, which she had made since arriving. In such street scenes, perspective is im-portant so she placed quite a few perspective lines on the paper. The Cathedral was in the background with a street sce-ne of cars and people in the foreground. Keiko believes, the initial drawing is very important.
Keiko did not wet the paper. Instead she used lots of water to make a pale mix of lemon yellow and yellow ochre and paint-ed random strokes for the sky. She then mixed a thicker grey. You need to think about whether you want a cool or warm grey. She then placed random strokes of this grey on the sky area for clouds. She then let it dry a little but while still damp painted some areas of trees using both hard and soft edges.
Keiko then wet the bottom of paper before putting in a dark area for the road, leaving whiter area towards the right. She had painted around the cars but washed over several of them with a grey colour to tone them down. The figures were done very quickly with a couple of quick strokes for legs, one stroke (almost orange colour) for faces and then some bright colours for the clothes viz. turquoise, yellow. Very dark shadows were painted under the cars.
The painting had now reached the stage where Keiko no long-er referred to her tonal sketch but was now painting from her memories of the location and her imagination e.g. she put some gum trees into the painting with harder edges; added darker shadows across the front of the road from left to right and several darker perspective lines on the road. Keiko splattered some paint here and there but warned you need to be careful to ensure it lands where you intend. Finally, Keiko warmed up some areas of the painting using an orange mix-ture.
Keiko considers that watercolour is elusive and doesn't try and control it. She prefers to see what happens as she paints and to build upon that. It is very important to know when to stop which can be difficult. Keiko said she would rather see a painting that looks unfinished than one that has been over-worked.
It was a wonderful evening and the positive responses from those attending showed how much they appreciated the demonstration by this engaging and instructive artist.