Aurora Cultural Centre: Classical Still Life in Oil Workshop — June 25, 2022

Aug31

Finally back in Aurora, Ontario, for a one day oil painting workshop. It was an extremely hot day and I was relieved to be inside the air-conditioned Aurora Town Hall where the event was held.

The Town of Aurora

The town of Aurora is located approximately 40 minutes north of Toronto and is consistently ranked as one of the top places to live in Canada. With its picturesque rolling hills and heavily treed woodlots, Aurora has managed to blend its small-town charm and historic downtown core with a thriving urban and suburban centre. Aurora is the childhood home of Lester B. Pearson, Prime Minister of Canada from 1963 to 1968. In 1851 the population of Aurora, then known as Machell’s Corners (after a local merchant), was 100 residents. In 1854 the name of the settlement was changed by postmaster Charles Doan to Aurora – meaning Goddess of the Dawn in Roman mythology. The settlement was incorporated as a village in 1863 with a growing business community, several factories and mills, five churches and a school house. By 1869 the population had grown to 1200 and in 1888 Aurora became a town. On April 8, 2010, the town re-opened the historic and fully renovated Church Street School as the Aurora Cultural Centre.

Due to ongoing renovations at the Aurora Cultural Centre, the workshop was held at the Aurora Town Hall (see below).

Aurora Cultural Centre

It is the vision of the Aurora Cultural Centre to provide a facility that enhances cultural life in the area through the fostering of art practice and presentation, production and reception. Since 2010, the building has welcomed the community to participate in diverse creative experiences for all ages. Located in a beautifully-restored 1886 schoolhouse, the Aurora Cultural Centre is a charming historical treasure featuring four gallery exhibition spaces, a range of instructional classes for children, teens and adults, an eclectic live music series, special family events, summer art camps, and stunning rental spaces for community activities. The centre is a registered charity, funded in part by the town of Aurora. The professional staff is supported by a dedicated volunteer board of directors and enthusiastic team of volunteers. The facility is wheelchair accessible, air-conditioned with parking surrounding the building.

The Aurora Cultural Centre is located at 22 Church Street, Aurora, Ontario.

Phone: (905) 713-1818

info@auroraculturalcentre.ca

Check out the website to see what is happening!

http://auroraculturalcentre.ca

The Workshop

Completing an oil painting still life in one teaching session is no easy feat. One always has to consider the layering process and drying time usually associated with oil painting.

Below is the still life drawn onto a cotton canvas (20 x 16 inches) – pear, grapes, drapery and a rustic wood table. Usually at this stage I would underpaint the entire canvas with something like a grisaille (grey or another neutral greyish colour) or a burnt sienna tone and leave it to dry before developing the layers of the painting. In this case of having to complete the painting in one sitting I am taking a different approach.

Still life sketched onto the canvas showing the grid lines — 20 x 16 inches.

Note: To assist in the drawing process, the handout for the still life included a grid scaled at 50 percent (10 x 8 inches) of the canvas size. To use the grid method for transferring the drawing onto the canvas, students lightly drew a grid onto the canvas doubling the size of the grid lines. Instead of the one inch grid on the handout, they used a two inch grid on the canvas.

The colours on the pear (from left to right ) – yellows, oranges reds etc. – were placed in separate bands, each color barely touching the one before it. Then with two soft brushes (I used two Simmons #8 soft, flat brushes) the edges where the two colours meet were blended with short, soft circular strokes to create a transition from one colour to the next. For the blending process, paper towels were used to remove excess paint from the brush.

Below: The pear is blended to give strong form and realistic transitions in colour.

Now adding the drapes and background. Thick white paint in the highlight areas of the cloth and blend with two Princeton (or Simmons) #8 soft, Filbert brushes, one for the light tones and one for the dark. With a mix of burnt umber, Payne’s grey, yellow ochre, cadmium red and white, the dark values of the cloth were blended with pure titanium white.

Below: Drapes and background developing. Grapes added.

Above: Painting the wood bench and developing the background. Each student shows individual expression in painting the still life.

Painting the grapes and background.

Above: First layer in progress.

Below: Using a dollar store backscratcher as a mahlstick tool support to paint detail on the grapes.

Above: Still life painting completed by Sarha Shana.

Check out my new book: Botanical Drawing & Painting available on Amazon.ca and Amazon.com

Featuring 12 step-by-step botanical projects in graphite, coloured pencils and watercolour.

www.amazon.ca/Botanical-Drawing-Painting-step-step/dp/B086Y5JJJW/ref=sr_1_1?crid=11QEZYEESB216&dchild=1&keywords=michael%20spillane&qid=1601818748&sprefi

x=michael%20spi%2Caps%2C157&sr=8-1&fbclid=IwAR3ASV2Bf9cnoJANPmLGedf-PrgHbRCOThf_Y9pTgvWZPahV4PzPqVLKI2o

My next workshop, Country Landscapes in Watercolour is on August 17 & 18 at Southampton Art School & Gallery.

201 High Street, Southampton, Ontario / Telephone: (519) 797-5068
Hope to see you there!

Michael Spillane

http://www.spillane-arts.com

The Fundamentals of Botanical Drawing — Toronto Botanical Garden — June 4 & 5, 2022

Aug1

My first workshop of 2022 after what seems to be an eternity following the COVID lockdowns over the last two years. Back at the Toronto Botanical Garden for another two-day workshop on the Fundamentals of Botanical Drawing.

The Toronto Botanical Garden is located at 777 Lawrence Avenue East at Leslie Street, in Toronto, Ontario. The gardens are open year-round from dawn until dusk and admission is free of charge. Check out their website to see what is happening!

Phone: 416-397-1340

www.torontobotanicalgarden.ca

About the Toronto Botanical Garden

The Toronto Botanical Garden is located in Toronto’s Edwards Gardens and is a gardening education and information centre. Termed “The little garden with big ideas,” the TBG opened in 1958 and features a superb collection of themed “city-sized gardens.”

Edwards Gardens is a public park, owned and administered by the City of Toronto, whereas the Toronto Botanical Garden is a volunteer-driven charity dedicated to disseminating horticultural and gardening information to the public. Alexander Milne, a Scottish miller, settled his family and built his business on the site that we now know as Edwards Gardens in 1817. The land stayed in the Milne family for over a hundred years. Subsequent owners made some improvements to the property, but the area eventually became over-grown and weed-ridden. In 1944, a Toronto businessman, Rupert Edwards, bought the property to fulfill his dream of creating a magnificent country garden with wide open spaces and plenty of room to move and breath.

Edwards transformed the property into a glorious garden, boasting one of the largest rockeries in Canada, a private 9-hole golf course and a safe haven for wildlife. Ten years later, when the city began to encroach upon the property, Edwards decided to sell. Wanting to preserve the estate as a public park, he sold it to the then Metro (Toronto) Council.

In 1956, Edwards Gardens was opened to the public and the Garden Club of Toronto shared Milne House facilities with The Federation of Ontario Naturalists. The Garden Club wanted to establish a facility which would provide horticultural information to the public and to that end, the Toronto Botanical Garden was established.

The Workshop

The Fundamentals of Botanical Drawing

The drawing process starts with a series of gesture sketches and exercises to establish a good composition. Once the basic composition of the subject has been decided, the next step is to produce a simple geometric framework of the plant as a base for developing the drawing. When the sketch is completed over the geometric lines, a final contour drawing completes the process prior to applying graphite tonal values (see below).

With step-by-step instructional pages, demonstrations and individual attention given to each student, developing the drawing skills necessary for botanical art becomes relatively easy.

The fuchsia ballerina flowers are dancing!

Light layers of graphite are built up and blended with blending stumps to create light and dark values.

Blending stumps and a kneaded eraser work hand in hand with the H and B graphite pencils to produce the finished drawings.

A range of graphite pencils are used to develop the drawing including 2H, H, F, B & 2B (hard and soft grade pencils).

My detailed handouts help students to follow each step in the drawing process.

The next project on the second day of the workshop featured Daffodils completed using a hatching technique in graphite.

Hatching
Hatching is a technique often used in graphite or pen and ink drawings to produce tone and texture in a range of values by applying small hatch lines or strokes sloping in the same direction. Darker values are built up by closing the gaps between the hatch lines to produce more density in the hatching. Cross-hatching is also used where the lines are crisscrossed over each other to create a different range of darker values.

The sketch of the daffodils is transferred onto illustration board and the first layers of hatched lines are established.

Establishing a range of values from light to dark by building up the layers of hatch lines.

A range of values creates a high contrast realistic drawing.

Above: Using the Mono Tombow eraser, an excellent erasing tool for highlighting fine lines in graphite drawings.

Below: Finished projects. Daffodils in graphite on illustration board

This step-by-step project is featured in my book: Botanical Drawing & Painting, available on Amazon.ca and Amazon.com.

www.amazon.ca/Botanical-Drawing-Painting-step-step

My next workshop, Classical Still Life in Oil is on Saturday, June 25, at Aurora Cultural Centre

Telephone: (905) 713-1818

info@auroraculturalcentre.ca
Hope to see you there!

Michael Spillane

http://www.spillane-arts.com

Southampton Art School Workshop – September 2020

Oct16

My second workshop of 2020 was at Southampton Art School on September 26 & 27 and titled Florals on a Black Background in Coloured Pencils. We still had strict protocols in place for COVID-19, kept our distance from each other and had our masks at hand.

Southampton

The town of Southampton is located at the mouth of the Saugeen River on the shores of Lake Huron, in Bruce County (Ontario), and is one of my favourite places to visit during the summer and fall months. It is a popular tourist and retirement destination and known for its magnificent sunsets (see above and below).

Southampton Art School & Gallery

Southampton Art School and Gallery can be found in the heart of downtown Southampton and a short walk to pristine, sandy beaches. The facility provides a wonderful teaching environment and also a gallery showcasing regional and local talent. The building has been around since 1957 and is an integral part of the art community of Bruce County. The original community was known as Saugeen by the early settlers but was later named Southampton after the English seaport, when the town was incorporated as a village in 1858. It was later incorporated as a town in 1904. Southampton was also one of the last communities in Ontario to use the Gaelic language in everyday speech; the language could still be heard by local fishermen as late as the 1930s. Just off the Southampton shore, the Chantry Island Lighthouse is a popular visiting spot for tourists. Boat tours to the island run throughout the summer months. As well as Chantry island, the town is close to Sauble Beach, Port Elgin and Saugeen First Nation.

Below: Southampton Art School and Gallery

The Workshop

Florals on a Black Background in Coloured Pencils

This workshop is ideal for the botanical artist looking for something a little different. To that end I have chosen two of my botanical projects for this workshop – hopefully to demonstrate how interesting and dramatic the technique of using coloured pencils on black paper can be. The workshop will include demonstrations, one-on-one interaction, and detailed instructional handouts to guide students through the process from start to finish in completing the two projects. Techniques such as burnishing and layering, along with accurate colour matching, tonal rendering and composition, help students master this rewarding method and medium.

The two projects are shown below.

Stargazer Lily (Lilium ‘Stargazer’)

Bleeding Heart (Dicentra spectabilis)

Below: The sketch drawing was transferred onto Fabriano Black 680 GSM paper, taped down onto a 18 x 14-inch masonite board. I used a sheet of reverse transfer paper to transfer the line drawing onto the paper and then cleaned off most of the white powder with a kneaded eraser.
I then reinforced the line drawing with a white pencil.

Below: A base tone of white was first established over the petals with White Faber-Castell 101 pencil.

The tones are blended smooth with a clean, thick blending stump.

Below: The white pencil base shows up clearly on the black paper.

Right: The first layer of pink is applied over the white and then burnished again with the white pencil to create this soft blended look.

Below: Step-by-step pages help students to accurately learn the techniques and complete the project.

Below: As the colour layers are added the drawing becomes more dramatic and three-dimensional.

Above: Line drawing shown next to the coloured pencil project.

Above right: colour layers being developed through burnishing.

Above and below: Completed projects.

The same process was followed in the second project, the Bleeding Heart perennial. Drawing completed and transferred using reverse transfer paper onto the black paper.

Bleeding Heart
(Lamprocampos spectabilis) (formerly Dicentra spectabilis) is an old-fashioned favourite for the Victorian, shade, woodland or cottage garden. The pink or white heart-shaped flowers (cultivar ‘Alba’) with their white or pink teardrops (referring to the common name) hang on graceful, arching stems with bluish-green, fern-like foliage that provide a striking accent in early spring.

The drawing slowly developing layer by layer.

Nancy with her finished Bleeding Heart project.

This amazing botanical project completed in one day!

For more of my step-by-step botanical drawing and painting projects, check out my new book, Botanical Drawing & Painting, available on Amazon.ca and Amazon.com.

www.amazon.ca/Botanical-Drawing-Painting-step-step/dp/B086Y5JJJW/ref=sr_1_1?crid=11QEZYEESB216&dchild=1&keywords=michael%20spillane&qid=1601818748&sprefix=michael%20spi%2Caps%2C157&sr=8-1&fbclid=IwAR3ASV2Bf9cnoJANPmLGedf-PrgHbRCOThf_Y9pTgvWZPahV4PzPqVLKI2o

My next workshop, Magnificent Florals in Coloured Pencils is on Saturday, October 24 at Aurora Cultural Centre in Aurora, Ontario

To register contact Michael Spillane at 905-891-8422

Email: michael@spillane-arts.com

Or call the Aurora Cultural Centre at 905-713-1818

Hope to see you all soon!

Michael Spillane

http://www.spillane-arts.com

Orangeville Workshop — September 2020 — Maggiolli Art Supplies & Services

Oct9

Due to the COVID-19 pandemic, my first workshop of 2020 started on September 23 & 25 in Orangeville. I was at Maggiolli Art Supplies in the centre of this picturesque little town to instruct a workshop titled The Fundamentals of Botanical Drawing.

Orangeville

The Town of Orangeville is located 58 km northwest of Toronto in Dufferin County. Orangeville was named after Orange Lawrence, a businessman born in Connecticut in 1796 who owned several mills in the village. As a young man, he moved to Canada and settled in Halton County. Lawrence purchased the land that became Orangeville. He settled in the area in 1844 and established a mill. The post office in the town dates from 1851. In 1873, Orangeville was incorporated and given town status. The public library, located at Broadway and Mill Street, was completed in 1908. The town is noted for its well-preserved buildings. Unfortunately, Orange Lawrence committed suicide December 15, 1861.

Maggiolli Art Supplies – Workshops – Art Services

158 Broadway Avenue, Orangeville

Located In Downtown Orangeville, near the public library (158 Broadway, Orangeville).

Established in 1996, Maggiolly Art Supplies – Art Classes & Workshops – provides artists in the Orangeville area with a full range of art supplies, art classes and workshops for adults and children.

Art Studio Rental / Full Range of Artists Supplies / Art Classes (Adult & Children) / Art Storage / Custom Canvases And Framing Services /Art Gallery Rental (519) 942-9560

http://maggiollyart.com

Below: All decked out and ready to go with full COVID protocols in place — social distancing, washing hands and, of course, the ever present mask — in all styles, patterns and colours. Welcome to our brave new world!

Above: Artist Instructor Michael Spillane and local artist Ann Livingstone (during the Fundamentals of Botanical Drawing workshop), standing in front of Emilia Perri’s wonderful painting called “Harvest!” Michael has another workshop coming up in October teaching Florals on a Black Background in Coloured Pencil.

The Workshop

The Fundamentals of Botanical Drawing

Below: First the basic geometry of the subject is established, then the contour or line drawing, followed by tonal rendering in graphite.

First project: Fuchsia in graphite.

Layering different pencils in graphite creates a high contrast drawing.

With step-by-step instructional pages, demonstrations and individual attention given to each student, developing drawing skills necessary for botanical art becomes relatively easy.

Above: Blending stumps and/or tortillons and a kneaded eraser work hand in hand with the H and B pencils to produce these drawings.

Above: A range of graphite pencils are used to develop the drawing including 2H, H, F, B & 2B (hard and soft grade pencils).

Below: Student drawings.

Below: Two sisters, two red masks and two fuchsias!

Above: Elizabeth, almost close on 87 years young, takes up drawing. A lesson to us all: you are never too old to start anything!

The next project on the second day of the workshop featured Daffodils, completed using a hatching technique in graphite.

The sketch of the daffodils is transferred onto illustration board and the first layers of hatched lines are established.

Left: Outline drawing of the daffodils on the illustration board and the first layer of hatch lines.

Above: Using the Mono Tombow eraser (available from Maggiolli Art Store), an excellent erasing tool for highlighting areas and fine lines in graphite drawings.

Below: Detail step-by-step pages help to complete the project.

Below:The layers of hatch lines are starting to show contrasting values and three-dimensional form.

Developing the drawing layer by layer.

Below: Finished projects. Daffodils in graphite on illustration board

This step-by-step project is featured in my new book: Botanical Drawing & Painting and is available on Amazon.ca and Amazon.com.

My next workshop, Florals on a Black Background in Coloured Pencils is on September 26 & 27 at Southampton Art School & Gallery.

201 High Street, Southampton, Ontario / Telephone: (519) 797-5068
Hope to see you there!

Michael Spillane

http://www.spillane-arts.com

Guelph Workshop — November, 2019 with Michael Spillane

Jan17

Above: Wyndham Art Supplies and Guelph School of Art.

Below: Wyndham Street, Guelph.

I was back at the Guelph School of Art (Guelph, Ontario) on November 9 & 10 – just as winter was beginning to set in – to teach a two-day workshop titled Abstracting Fall Leaves in Watercolour. This workshop is perfect for the autumn season (so a little late, unfortunately) and different from what I usually teach, most certainly more looser and leaning towards abstract expression rather than scientific botanical illustration. My approach to the workshop was to combine detailed realistic painting of fall leaves with an abstract compositional or impressionistic approach to the layout.

The workshop was held at Necessary Arts a few minutes walk from Wyndham Art Supplies and the school.

Necessary Arts: Founded on December 1, 2012, Necessary Arts Company is a space dedicated to teaching arts and crafts and supporting local artists.

The Town of Guelph

Known as “The Royal City,” (named after British Royal Family monarch, King George the IV), Guelph was founded on April 23, 1827, and officially became a town on January 1, 1856. Guelph was chosen as the name for the town because it was one of the family names of British royalty and had, apparently, never been used as a place name before. Guelph is located in southwestern Ontario, roughly 28 kilometres (17 miles) east of Waterloo and 100 kilometres (62 miles) west of Toronto. The town is consistently rated as one of Canada’s best places to live and it plays a very important role in the history of Remembrance Day as Canadian physician, soldier, teacher and poet, John McCrae who wrote the poem “In Flanders Fields” was born in Guelph, Ontario, on November 30, 1872.

The Workshop

This particular workshop provides a unique opportunity to combine detailed watercolour botanical painting with expressive abstract work. The workshop covers basic watercolour techniques – such as wet-on-wet painting and drybrushing – as well as focusing on composition and colour theory. Students are given step-by-step instructions on how to use glazing, splatter and other special effects to complete a magnificent, impressionistic-style painting themed on the glorious colours and textures of autumn foliage.

Above and below: Abstracting fall leaves into pleasing arrangements. My own projects.

Below: To get started, first the watercolour paper is taped down to a masonite board and sprayed with water until the paper is moist. A mix of Cadmium Lemon, Yellow Ochre and a touch of Payne’s Grey was applied as a uniform wash over the paper.

The main and lateral veins on the leaves are masked to preserve the light areas. I used a Daniel Smith Fine Line Artist Masking Fluid Applicator to mask off the intricate leaf vein lines.

With the leaf outlines drawn or transferred onto the paper, changes are made by adding or removing leaf shapes to increase contrast and/or interest in the overall design.

Once the paper is toned and the leaves are drawn, the base colours are painted by first analyzing the true colours of the leaves (that are available). Because most of the fall leaves had already given way to winter, we worked from a selection of photos taken when autumn leaves were abundant.

Every project is different and unique in its colour scheme and compositional layout.

During fall there are so many leaves on the streets, parks and gardens to choose from. This is a great project to take advantage of the season by creating a collage of interesting fall leaves and preserving them in a painting.

Above: The leaves are so realistic they seem to overlap each other on the page and jump out from the background.

The leaf outlines are positioned on the surface of the paper in an interesting pattern. The idea is to create pleasing shapes, negative spaces and overlapping outlines. Once the leaves are in place, a piece of masking tape holds down each leaf whilst the outline is transferred onto the paper with transfer paper. The leaves can also be drawn in freehand.

High contrast is achieved by developing the layers in the painting and maintaining a range of values and highlights.

A cluster of magnificent fall colours!

Below: Wow! These leaves are just so realistic!

Below: Another project with subtle analogous autumn hues.

Autumn brilliance! Realism meets abstract!

Almost completed.

This is my last workshop of 2019… and my last of the decade! I will be up and running again in 2020, starting on April 4 & 5 back at the Guelph School of Art. The workshop is titled Florals on a Black Background in Coloured Pencils & Acrylic and you will not want to miss it!

Check out the GSA website for all course and workshop listings. www.gsaguelph.com

Telephone: 519-767-1317
Toll Free: 1-800-560-1970

All the best,

Michael Spillane

Toronto Botanical Garden Workshop — October 2019

Dec23

I was back at the Toronto Botanical Garden on October 26 & 27 for another two-day workshop titled Abstracting Fall Leaves in Watercolour. This project is perfect for the autumn season and a little different from what I usually teach, most certainly more looser and leaning towards abstract expression rather than scientific illustration. My approach to this workshop was to combine detailed realistic painting of fall leaves with an abstract compositional or impressionistic approach to the layout.

The light and colours are wonderful at the garden this time of year!

Below: Glorious fall daisies.

Roses still in full bloom at the TBG.

About the Toronto Botanical Garden

The Toronto Botanical Garden is located at 777 Lawrence Avenue East at Leslie Street, in Toronto, Ontario.

Phone: 416-397-1340

The gardens are open year-round from dawn until dusk and admission is free of charge. Check out their website to see what is happening!

www.torontobotanicalgarden.ca

The Workshop

The workshop provides a unique opportunity to combine detailed watercolour botanical painting with expressive abstract work. The workshop covers basic watercolour techniques – such as wet-on-wet painting and drybrushing – as well as focusing on composition and colour theory. Students are given step-by-step instructions on how to use glazing, splatter and other special effects to complete a magnificent, impressionistic-style painting themed on the glorious colours and textures of autumn foliage.

Above: Perfect time to paint the magnificent colours and textures of the changing autumn foliage.

My project example.

Above and below: More examples of abstracting fall leaves into pleasing arrangements.

Below: To start the project, the watercolour paper is taped down to a masonite board and sprayed with water until the paper is moist. A mix of Cadmium Lemon, Yellow Ochre and a touch of Payne’s Grey is applied as a uniform wash over the paper.

Once the paper is toned and the leaves are drawn in, the base colours are painted by first analyzing the true colours of the leaves.

With all the leaf outlines transferred onto the paper, changes can be made to the drawing by adding or removing leaf shapes to increase interest in the composition.

The leaves are placed to create an interesting composition.

Deep, vibrant autumn colours.

There are so many leaves out in the gardens to choose from. This is a great project to take advantage of the season by creating a collage of interesting fall leaves and preserving them in a painting.

A bunch of autumn leaves ready to be arranged on the paper.

Deep contrast is achieved in the painting by developing the layers and maintaining highlights as you go.

Below: The main and lateral veins on the leaves are masked to preserve the light areas. I used a Daniel Smith Fine Line Artist Masking Fluid Applicator to mask off the intricate vein lines.

Completed projects.

Autumn brilliance! Realism meets abstract!

What a way to fully be in the moment and embrace the fall season!

I will be teaching this same workshop at the Guelph School of Art — 125 Wyndham St N, Guelph, ON — on November 9 & 10.

Check out the GSA website for all course and workshop listings. www.gsaguelph.com

Telephone: 519-767-1317
Toll Free: 1-800-560-1970

Southampton Art School Workshop — September 2019

Nov26

The September sun sets in violet and orange brilliance over Lake Huron in Southampton.

My next two-day workshop at Southampton Art School & Gallery on September 21 & 22 teaches the fundamentals of colour theory and how students can appy the principles of this theory to art and design.

Southampton

The town of Southampton is located at the mouth of the Saugeen River on the shores of Lake Huron, in Bruce County (Ontario), and is one of my favourite places to visit during the summer months. It is a popular tourist and retirement destination and known for its magnificent sunsets.

Above: Striking orange with a subtle hint of blue, blue grey: Altered complimentary colour scheme.

Above: Southampton Art School

Southampton Art School & Gallery

Below: Southampton Art School back entrance.

The Workshop

The Basics of Colour Theory

I designed the workshop to help students understand the basics of colour theory. Through a series of exercises and written notes, students develop a study book to serve as a future reference source for use in colour mixing, colour application and painting. Topics covered in the workshop included the following: wavelengths and the illusion of colour, tints, tones and shades, hue and value, colour schemes and how colour can often represent emotion or have symbolic meaning.

INTRODUCTION

Colour theory as a subject can be very complex, but there are some basics that with a little bit of study and understanding will greatly benefit the artist. Firstly, colour is a property of light wavelengths; white light passed through a prism splits into the colours of the rainbow. As light changes, so does colour. Painting is the science of “seeing.” To think in terms of colour – for example, Impressionism – you have to learn to see the world as a mosaic of colour changes.

This property of light was illustrated by Sir Isaac Newton in the seventeenth century when he put white light through a prism. The prism broke up white light into the familiar colours of the rainbow.

Objects have no colour of their own but merely the ability to reflect certain rays of white light, which contain all the colours.

Above: An abstract painting by Wassily Kandinsky in black and white.
The exercise involved using the above design to translate the values from light to dark into colour. Black can be added to the darkest value or white to the lightest value to increase contrast in the design.

The colour scheme is based on the colour wheel:
Primary colours first, then secondary colours, then tertiary colours.

Translating values into colour.

VALUE
Lightness or darkness of the colour or hue.
It is important to know how to translate colour into value, and value into colour. Learn to see and analyze colour in terms of value, whether what is seen is lighter or darker in terms of what colours are next to it, not just a different colour.
Although individual perception varies, most people can distinguish at least forty tints and shades of any colour. Value can be altered by adding white or black paint to the colour.

HUE
Hue refers to the colour name e.g. red, blue etc. Spectrum intensity refers to the hue on the colour wheel in its purest, brightest form. Even though there are relatively few hues, there can be an almost unlimited number of colours.
Ex: The hue can be red – pink, rose, scarlet, crimson etc are all colours.
The same hue or colour can have many different commercial names.
The most common arrangement of basic colours is called a Colour Wheel. The wheel system dates back to the early 18th century and uses 12 hues, which are divided into three categories.

Two other colour systems are: the Munsell Colour Organization & Ostwald Colour Wheel System

Exercise completed: Colour scheme based on the colour wheel:
Primary, secondary and tertiary colours.

Kandinsky painting translated to colour.

Below: Exercises to create value scales: Tint / Shade

Value can be altered by adding white or black paint to the colour.
Adding white lightens the colour and produces a tint, or high-value colour.
Adding black darkens the colour and produces a shade, or low-value colour.

Intensity / Complimentary Colours: Red /green; blue/orange.

Below: Exercise to explore and understand pure & altered complimentary colours systems.

Exercise:

1) Image transferred onto watercolour paper.

2) Paint one version in pure hue complimentary colours – yellow/violet.

Or: use two sets of complimentary colours Ex: yellow/violet
blue/orange.

3) Paint another version in dulled, altered complimentary colours – yellow/violet – mixed.

Or: use two sets of dulled, altered complimentary colours.

Ex: yellow/violet; blue/orange.

Complimentary colour schemes

Below: Colour temperature and emphasis

Areas of emphasis in a drawing or painting create visual interest. Colour is very often the means chosen to provide this emphasis.

Colour is so strong a visual element that it will dominate other devices to establish emphasis (such as larger sizes, changing a shape or isolating one element).

Cool colours recede; warm colours advance.
A sense of depth can be created by a progression of warm to cool colours.

Below: Colour Schemes:

Monochromatic
Analogous
Complimentary
Triadic (3)
Split Complimentary
Tetradic (4)

Above: Analogous colour scheme
An analogous colour scheme combines several hues that are next to each other on the colour wheel. Again, the hues may vary in value.
3-hue analogous scheme e.g. orange, yellow/orange and red/orange.
The range can be extended from 2 to 6 colours.
The visual effect is peacful and harmonious.

Above: Complimentary and monochromatic (one) colour schemes.

Complimentary: As the term implies, this colour scheme joins colours opposite each other on the colour wheel. This combination will produce a lively, exciting colour scheme, especially with the colours at full intensity.

Below: Four colour schemes perfectly understood and painted in gouache.

In painting colour is often used intuitively, and not so much by formula. But knowing these colour schemes and harmonies can help artists/designers to consciously plan the visual effects they want a finished painting to have. Also, colour can easily provide a visual unity that might not be obvious in the initial pattern of shapes or composition.

Abstraction in Design

Based on Georges Seurat’s painting – A Sunday Afternoon
on the Grande Fatte – 1884-1886.

Symbolic meaning: Cooler blues and greens are associated with less outgoing feelings and can express melancholy or depression. These are generalities, of course, and reactions can be influenced in many ways, including colour combinations, systems and value changes.

Below: Frantisek Kupka – Planes by Colour
Large Nude 1909 –1910. Oil on canvas
The colours in Kupka’s painting were chosen for their spatial and decorative qualities, not for any objective reference to the natural colours of a nude woman (Arbitrary Colour).

Below: Colours widely separated on the colour wheel (but not compliments) are generally seen as discordant combinations. For example: Red and blue-purple; orange and yellow-green; blue green and blue-purple; pink and orange.

With all the exercises completed, students gained a deep understanding on colour theory, colour systems and how to apply this knowledge to their painting.

My next workshop, titled Abstracting Fall Leaves in Watercolour will be on October 26 & 27, at the Toronto Botanical Garden

(777 Lawrence Ave. E. North York, Toronto).

To register contact Michael Spillane at 905-891-8422

Email: michael@spillane-arts.com

Or: contact the Toronto Botanical Garden at 416-397-1340

Hope to see you all soon!

Michael Spillane

http://www.spillane-arts.com

Southampton Art school Workshop — August, 2019

Nov8

The sunsets are always spectacular in Southampton.

My next two-day workshop at Southampton Art School & Gallery was on August 26 & 27 titled Magnificent Florals in Coloured Pencils

The Mountain Ash or Rowan (Sorbus americana) belongs to the rose family and in May and June the trees are covered in glorious white flowers. The flowers are followed in late summer with bunches of bright orange-red berries that fill the trees with vibrant colour. The berries also provide a valuable food source for birds.

Below: Enjoy an exciting evening of awesome custom, classic and antique cars with classic rock to set the mood every Thursday from June to August in Southampton.

Below: Trumpet Vine (Campis radicans) is a spectacular, but invasive and aggressive, deciduous vine with showy trumpet-shaped flowers that bloom in varying shades of red, orange or yellow. This plant was providing a magnificent display of scarlet/red flowers at the back of the school entrance.

Southampton

The town of Southampton is located at the mouth of the Saugeen River on the shores of Lake Huron, in Bruce County (Ontario), and is one of my favourite places to visit during the summer months. It is a popular tourist and retirement destination and known for its magnificent sunsets.

Below: Globe Thistle (Echinops): Stunning blue perennials in the aster family with deep dark blue spiky flowers.

Southampton Art School & Gallery

Below: Southampton Art School

Southampton Art Gallery

The Workshop

Magnificent Florals with Coloured Pencils.

Below: My completed Morning Glory (Ipomoea tricolor ‘Heavenly Blue’) and Peruvian Lily (Alstromeria) botanical drawings in coloured pencil on hot-pressed watercolour paper.

Ipomoea tricolor ‘Heavenly Blue’ is a fast-growing twining annual or perennial native to the rainforests of South America. Commonly called the Mexican Morning Glory, the plant belongs to the family Convolvulaceae and has mid-green, heart-shaped leaves. The large, vibrant deep sky-blue funnel-shaped flowers only last a day (hence the name) before fading and dropping but other flowers follow in quick succession. The striking blue flowers have yellow throats haloed in white. and are up to 8 to 13 cm across (3 to 5 inches). The seeds of several varieties of Ipomoea tricolor are highly toxic and contain a naturally-occurring psychedelic or hallucinogenic product, (LSA), similar in effect to LSD. Seeds of Mexican morning glory were used by the Aztecs in shamanistic rituals. Ipomoea tricolor ‘Heavenly Blue’ has been awarded the British Royal Horticultural Society (RHS) Award of Garden Merit.

Alstromeria or Peruvian Lily
Alstromeria, also known as the Peruvian Lily or Lily of the Incas, produces beautiful blooms ranging in colour from white, pink and salmon to bright orange, red and purple. Although the plant is poisonous and also a skin irritant, it is commonly grown for the cut flower market. Alstromeria is a genus of flowering plants in the family Alstroemeriaceae. They are native to South America although some have become naturalized in the United States, Mexico, Australia, New Zealand, Madeira and the Canary Islands.

Day 1

We spent the first day of the workshop developing the Morning Glory drawing and working from my step-by-step instructional pages. Students produced a sketch of the plant followed by a grey monochromatic (one colour) tonal drawing. The base undertone was rendered with grey coloured pencils prior to adding colour layers. I used Faber Castell Polychromos coloured pencils throughout the project, although some of the students came with Prismacolor Premier coloured pencils which were cross-indexed to match the right colours.

Coloured pencils are easy to use and convenient to store and replace. They can be used alone or combined with graphite.

Faber-Castell Polychromos coloured pencils
The renowned German company, Faber-Castell, is the oldest pencil manufacturer in the world and its Polychromos line of oil-based coloured pencils has been around since 1908. Polychromos (meaning many colours) pencils come in a range of 120 colours and have excellent lightfast pigments that blend well and maintain a sharp point without breaking.

Below: Monochromatic undertone.

Below: This method of instruction shows how accurate the reproductions are and how efficiently students can learn various techniques used in botanical art.

The workshop covered techniques such as burnishing, blending and layering with coloured pencils, along with accurate colour matching, tonal rendering and composition. I combined detailed step-by-step instructional handouts with demonstrations and one-on-one interaction to help students to complete the botanical projects.

Burnishing with a white coloured pencil

Burnishing involves applying heavy pressure to the drawing once several layers of colour have been applied. This breaks down and blends the underlying colours to produce a smooth, painted-like finish. Once burnished, the drawing is then usually given a light application of workable fixative and, once dry, another series of layers can be built on top. Burnishing can be done with a white pencil, the lightest colour in the mix you are using, or a colourless blender. I prefer to burnish in light areas with a white pencil and use the colourless blender or blending stump for the darker tones and shadows.

Developing layers of colour

Adding detail.

Below: shows the first layer of colour in place and the second layer being developed over the leaves.

Sharp pencils are required to add the detail to the drawing.

Below: The second day of the workshop was taken up completing the morning glory vine before moving on to the Alstromeria project.

Below: Actual flower.

Developing the leaves.

Keeping a sharp point on the pencils.

Below: Developing colour layers over the grey tonal base.

Adding detail to the flowers.

Almost completed.

Alstromeria project finished.

Below: Vibrant colours are achieved by burnishing and building layers of colour.

I will be returning back to Southampton Art School for my next workshop, The Basics of Colour Theory on September 21 & 22, 2019.

Southampton Art School & Gallery

201 High Street, Southampton, Ontario
Telephone: (519) 797-5068
Toll Free: 1-800-806-8838

Hope to see you there!

Michael Spillane

http://www.spillane-arts.com

Southampton Art School Workshop — July, 2019

Nov1

Continue reading →

Toronto Botanical Garden Workshop — June 2019

Aug5

I was back at the Toronto Botanical Garden on June 15 & 16 for another two-day botanical drawing workshop titled The Fundamentals of Botanical Drawing. The workshop featured graphite as a drawing medium in botanical art. Students were given step-by-step instructions along with exercises on gesture, contour drawing and blending techniques to produce realistic botanical drawings. The projects for the workshop included a Fuchsia and Daffodils .

Above: The classrooms and lecture rooms at the Toronto Botanical Garden.

About the Toronto Botanical Garden

Above: Krinkled White Peony (Paeonia lactiflora) features large slightly fragrant blossoms with white paper-like, crinkled petals and and a central burst of golden stamens.

Above: Perhaps the tallest of the ornamental onions, Allium giganteum has a striking globe of tiny star-shaped lilac-purple flowers.

The Toronto Botanical Garden is located at 777 Lawrence Avenue East at Leslie Street, in Toronto, Ontario.

Phone: 416-397-1340

The gardens are open year-round from dawn until dusk and admission is free of charge. Check out their website to see what is happening!

www.torontobotanicalgarden.ca

Allium giganteum

Above: Golden yellow Flag Iris (Iris pseudacorus)

The Workshop

The Fundamentals of Botanical Drawing

Many layers in graphite create a high contrast drawing.

Light H (hard) graphite pencils form the initial tonal base.

Below: First the basic geometry of the subject is established, then the contour or line drawing, followed by tonal rendering in graphite.

With step-by-step instructional pages, demonstrations and individual attention given to each student, developing drawing skills necessary for botanical art becomes relatively easy.