Acrylic painting, a course that teaches techniques and just so leads to free experimental work.
Even if a horizontal line divides a picture surface without a preliminary drawing, the viewer almost always immediately associates it with the horizon of a landscape.
With acrylic paints we work on colour surfaces that become landscapepaintings / cityscapes.
Mixing the basic colours on the palette or also directly on the canvas, or first on paper, is just as much a topic as the liberating painting technique.
The instructor supports you in overcoming your own claim to reality and surrendering more and more to the painterly process and the colour.
With a broad brush or palette knife, mood and geometry, as well as light and shadow are captured. Here the art of omission is called for in order to direct the view to the essential.
The properties of acrylic allow for the most interesting combinations and also interplay in the mixed technique.
In this course we will work with classical acrylic colours as well as with ink, charcoal, pastels or oil crayons. This offers great opportunities for experimentation and a wide range of artistic demands.
This courseis aimed at everyone, from beginners to advanced artists.
Her action, always based on the clear awareness that only the knowing and determined work of the artist can give rise to that passing from “chaos,” inherent in the raw, inanimate material, to the “thing” rich in vitality, which by transforming pure virtuality into the concreteness of being, inevitably leads to the manifestation of form like the arising of life from light…
A plan for Painting Workshop – Watercolours/Acrylics on paper.
For beginners and others.
A practical workshop, divided into several overlapping sections. Always involving the actual doing of painting, with accompanied observations. A whole of life look at inspiration and achieving a work of art.
The aim is to create conditions for the ability to create a painting which expresses the observations and insights of individual painters. The basis of originality. The use of traditional methods to go over and above the usual.
The aim of creating something very strong and individual exclusive to you!
Opening up a character and personality, to arrive at a painting identifiable as unique to each painter.
Materials, work-tools and their property and uses, brushes, colours, and paper qualities. Useful for beginners and experienced painters. How to assess materials and all other necessities. Values of various colours and papers, including what suits each individual painter. Cost versus quality. Assessment of necessities. What makes a serious painting and what doesn’t count and isn’t needed.
Colours, properties of colours, mixing, observing, perspective with colour, bases of colour, tensions between colours, colour washes, different uses of colour. Ways of thinking and looking. Observational abilities and how to extract the essential. How to look at a subject and get it down to a unique and personal and complete artwork, identifiable to the painter. Thoughts about the aims of the painting, why it is a chosen subject, and one that brings out the unique individuality of the painter. Plenty of thinking talking.
Avoiding the obvious or pedestrian rendering of a subject. Plenty of thinking talking.
Stretching one’s thinking and working to find the pure essence. Stretching one’s thinking and working to find the pure essence. Looking at the space as an opportunity to make a personal statement. How to construct a painting. Constructive criticism.
The importance of washes and the luminosity of colours painted with water. The underlying bases of colours and how to create space and distance and detail without fussiness. The construction of expressive qualities. The completeness of a composition without unnecessary detailing. The purity of simplicity and the impression of light and distance without effort.
The start and finish of a painting. When to complete, when to desist! How to judge ones own work. When the message has been delivered. How to be one’s own critic. How to pare it all down to one’s identity as a painter. How and when to be satisfied. The completion of an artwork each day of the workshop.
Qantas Airways; NZ Law Society; Art Rentals, London, UK; Christchurch City; Canterbury Society of Arts; Ashburton Society of Arts; Ashburton Borough Council; Ashburton Licensing Trust; Christchurch Girls High School; SIMU; Commissione Lotto; Telecom; Air New Zealand – Christchurch, Auckland, Los Angeles USA, Singapore, Melbourne, Brisbane Australia; Postbank; Christchurch
Hospital Board; NZ Ministry of Foreign Affairs, Washington, USA; Robert McDougall Art Gallery; Christchurch City Art Gallery; Robert Jones; Bell South; Brierleys Corporation; Trustbank; ANZ Bank; Westpac Bank; National Bank; Spicer & Oppenheim; PDL Industries; Concedere Cameron; Resene Paints; Southpac; Forsyth Barr; Lane Neave Rolandson; Anthony Harper; Auckland Golf Club; Wallace Collection, Berkeley, USA; Takahashi Collection, JAPAN; Brian Jones Collection, New York; ASB Bank; PRG Collection AUSTRALIA; BNZ
Bank; Canterbury Regional Council; Mattioli-Mascarelli Collection, ITALY; private collections, Hong Kong; Caxton Press; Comune di Bevagna; In Chartis, Bevagna; Lincoln University, Canterbury, Parliamentary Collection NZ Government, plus many law studios and company and private collections.