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Machines and anything Mechanical

Machines and anything Mechanical

This was the members brief:- Our next challenge is 'Machines and anything Mechanical'. This is a wide topic for your interpretation from cars to farm machinery or the Kenwood in your kitchen. Michael Haynes Watercolour Train to Bodmin David Aspinall Liaison Dangereuse Watercolour Lynda Pearce Rusty Car in Woodland Pen, ink and watercolour Angel Musil Old Machine David Dixon London Eye Ink and watercolour 42 x 30cm Angela Musil Mechanics Angela Musil Cranes at Hamburg Harbour Michael Haynes Pen, ink and Watercolour Kate Rundell The Bike Pen and watercolour

Photo Interpretation

Photo Interpretation

Our members challenge was to interpret the photo below in any way they felt inspired to do. Sally White Fairlight Watercolour Clive Dand The Beach, Pett Level Oil Caroline Anderson-Jones Sea Reflections Michael Haynes Watercolour Gunda Cannon Pastel Beach Pat Lock Shaft of Light Acrylic David Dixon Oil on card 25 x 40cm

Extend an Image

Extend an Image

This was our brief:- " Your challenge is to use this image and extend it! Print off the image and attach it to your canvas/paper/board - in any orientation and anywhere on the surface. Extend lines, shapes, colours in any way you want to produce a "new" image - figurative or abstract. It is a tiny part of an existing painting, but try to make it your own. This was the image members used The snippet was taken from Paul Gaugin's "The Yellow Christ Sally White My interpretation of the snippet of picture you sent us. I’ve worked it into a photo I had of walking along a walkway at Barley Cove in Co. Cork Ireland. The boat is the brown bit from your picture and has been ‘borrowed’ from Dungeness! Gunda Cannon Honister Pass, Lake District Watercolour, pen and ink 270 x 200 mm Leelee Kock Graham Lock My 'extended' watercolour (with the original extract supplied in the top left hand corner) fills just over a quarter of the whole piece in the bottom right. This was scanned, printed in different sizes, mainly with the colour desaturated, and all the images mounted overlapping each other behind the original. Alison Chandler Mindful - Pastel Not sure about the quality of the outcome, but producing it was a very relaxing, mindful experience! Pat Lock Expanded Acrylic on gessoed board Clive Dand Spring daffodils Pencils and biro Lesley Feakes I kept turning it around till I found something. Not very good though I fear .. Multi media Cliff view Michael Haynes I have to say that it was very difficult to make anything of the ‘scrap' you provided — I concluded I had no imagination but anyway here is my try and believing it is somewhere in the style of the real picture. Judy Williams Bubbles over something Chris Hautot A Triffid maybe? Chris Schalburg The Circus It was a very difficult piece of painting to integrate

Skylines

Skylines

This was our brief:- 'The next challenge is Skylines. This could be from your window, out on a walk, or looking back to when the snow covered the landscape. Here is a link if you would like some inspiration. There is some great art here and worth a look:- https://www.saatchiart.com/paintings/london-skyline/feature Or just put 'skyline paintings' into your search engine and you will be swamped with ideas.' Kate Rundell From my daily blog Wednesday, 24th February 2021 - New Vista Some trees have been taken out at the bottom of the garden. I am looking forward to admiring the view and watching the sun rise from my bed in the morning. Watercolour Angela Musil View from Lombards bridge in Hamburg Angela Musil Castle Trakai Lituania Angela Musil Dresden Angela Musil Tallin, Estland Judy Williams Wintery Sunrise Acrylic on board Leelee Kock Boughton Malherbe Skyline Graham Lock Not one of my usual mediums, nor my usual approach .. and will probably never be repeated .. but it can be fun to experiment. Clive Dand Chris Hautot Acrylic on board Leelee Kock Treeline from my kitchen window Chris Schalburg Gunda Cannon Manhattan skyline from Brooklyn Bridge Park Watercolour, charcoal, pen and ink 290 x 220 mm Glyn Evans St Mildred's Church, Tenterden Caroline Anderson-Jones Silhouette of Stone Henge Pat Lock Michael Haynes Romney Marsh looking towards Rye David Dixon London I have done a composite of London in oil size 60x40cm and for comparison an oil I did in 1969 not in good condition as it was rolled and now wrinkled and cracked, a bit like the artist. Not many high rise in the city then. (See second painting below) David Dixon London 1969 I have done a composite of London in oil size 60x40cm and for comparison an oil I did in 1969 not in good condition as it was rolled and now wrinkled and cracked, a bit like the artist. Not many high rise in the city then. (See painting above)

Art of the Close-up

Art of the Close-up

We were given an informative brief for this challenge:- Art of the Close-up Your next challenge is to produce a work inspired by a close-up view of something familiar. Your work can be as large as you like, but should represent a close examination of its subject. If you are looking for inspiration, an obvious place to start are the flower paintings of Georgia O'keeffe, whose painting Oriental Poppies has become an icon. Other artists have looked at fruit for inspiration – see Dennis Wojtkiewiczartand Kamille Saabre. You could also find your subject in the human body, such as this painting of a single eye by Thomas Saliot. However, your inspiration doesn’t have to come from something organic, it could come from simple items around the home. Domenico Gnoli’s paintings frequently featured shoes, while Ellen Altfest’s often examine everyday fabrics in detail. It would be great to see some semi-abstract images inspired by the unusually close view of familiar objects, such as Michael Craig Martin’s Full Life Jason Smith I have much Heart Maple and Acrylic Bowl 22 x 5cm Angela Musil Raindrops on a Leaf Angela Musil Shells Clive Dand Mother and Child Clay Judy Williams Katherine's Mussel Acrylic on Paper Gunda Cannon Apple halves Watercolour, pen and ink 210 x 140 mm Sally White Shoe Susan Smith Chaz Sheila Klein Rain Drops on Plastic Pat Lock A Pine Cone Acrylic on board Michael Haynes Bluetit Kate Rundell Button Watercolour Chris Schalburg Corner of the Kitchen Watercolour and Pencil Leelee Kock Woodland Patch Guiseppe Bertoli A Vase of Flowers Acrylic on board Graham Lock Hinged Alison Chandler Orchid David Dixon Eraser Drawn freehand on 300g paper with ink Pencil and acrylic 40x30 cm Caroline Anderson-Jones Pebbles

Mixed Media Challenge

Mixed Media Challenge

This was the challenge set to our members:- Produce an artwork using a variety of media. It could include: Collage, Material, Paper, found objects, newspaper, wood, cloth, photographs, ink, oil/ acrylic/watercolour paint. Picasso, Braque, Matisse, Dubuffet, Kurt Schwitters, Marcel Duchamp were all artists who produced and explored works of art using mixed media. Fran Sharp Paper and Acrylic Chris Hautot A woodland scene Collage inspired by a photo with cutouts from a magazine Chris Hautot Fishing Boat Acrylic on board with the addition of cardboard, net, string and plastic to create the picture Lesley Feakes Painted from a photo of Sissinghurst taken in 2019 Watercolour, ink, charcoal and collage Sheila Klein Poinsettia Media: Christmas cards, cooking foil and pencil Kate Rundell I am following an on-line portrait course and this was the first module. Ink, watercolour and charcoal Pat Lock Still Life with Orange Jar Collage, acrylic and pen Michael Haynes Some watercolour, some acrylic, some pen AND a patchwork trying to capture Hastings John Robson Vase collection- charcoal, cling film John Robson Leaves in Collage, cling film and pencil Graham Lock Ravenglass, Cumbria Still one of our favourite counties. This place always feels forlorn, deserted as if the world has moved on leaving this place isolated and with few signs of life. Watercolour, pastel and white acrylic ink. Kate Rundell Bare Taken from my Painting and Drawing Diary Blog Charcoal and Watercolour David Dixon This is my interpretation of Canary Wharf at rush hour I am reminded of times before retirement It comprises mounting card buildings, indecise pages from the Times, ink and charcoal figures, watercolour and card Tube sign coloured with gouache. On oil board 20" x 16". Guiseppe Bertoli A hard day‘s work, cutting sugar cane in Haiti Clive Dand Mountain landscape Collage Clive Dand Collage and acrylic paint Caroline Anderson-Jones Valentine Acrylic and Paper Alison Chandler Zero Waste I Constructed from “failed” prints of mine, cutting out the sections I liked to be reassembled into something new. I had hung on to these for years – some had even moved house with me – and at last I have found a use for them! Clive Dand Art Studio Collage, pastel, watercolour Alison Chandler Zero Waste II Constructed from “failed” prints of mine, cutting out the sections I liked to be reassembled into something new. I had hung on to these for years – some had even moved house with me – and at last I have found a use for them! Angela Musil Connection I "One can find some pieces of paper stuck on canvas" 50x50cm Collage and Acrylic Angela Musil Connection II "One can find some pieces of paper stuck on canvas" 50x50cm Collage and Acrylic

Challenge - A Room In My Home

Challenge - A Room In My Home

Members have sent in some wonderful pieces of work. The challenge was to make a piece of art inspired by A Room In My Home. A "Room in your Home" produced much careful observation and use of perspective showing so much artistic ability. One needs a wide angle to tell the full story of your room so cropped and cut off views were well used to give the viewer a sense of focus. The images of Sheila’s pantry, Kate’s stove, Pat’s printing press and Guiseppe’s daughter give us a glimpse into some of important things in our lives. Most views are from eye level, giving a pleasing normality in these difficult times of lockdown. Our eyes are drawn to details - the time on the clock, the photos of horses, potted plants and Agas. Pen and ink highlighted and suggested form. Colour either wonderfully bright or from your limited palettes enhanced the style of furnishings. I felt a real connection to David's beautiful comfy chairs that you could just imagine yourself sinking into. Thanks to all the artists for welcoming us into their homes. Lets all enjoy the art ………... Sheila Klein My Pantry Charcoal Lesley Feakes Cat Watch of the Blue Planet Pat Lock A sketch of my printing room - a riot of colour equates with a riot of mess! Michael Hayes The Dining Area Acrylic Sally White A Room Of My Own Michael Haynes The Snug Watercolour Gunda Cannon ‘Living room – semi-furnished’ Watercolour and pencil wash 290 x 210 mm Kate Rundell The Kitchen Pen and Watercolour Judy Williams Guiseppe Bertoli My Studio - ( painting my daughter and her baby) Chris Hautot David Dixon A mixture of acrylic and watercolour on canvas, it started of as a perspective in ink Size 40 x 30cm Clive Dand My Studio Oil Clive Dand My Bedroom Watercolour and Ink

Abstract Challenge 2021

Abstract Challenge 2021

Well done to everyone who embraced this Abstract Challenge set by Pat Lock. What a fantastic variety our members have produced. John Hamilton I tried adding a castle and lake in the Glens to give some realism to this abstract picture Angela Musil Acrylic on canvas 50 x 50cm Pamela Hudson Housing Complex Sheila Klein What inspired me:- “I do not like discarding things so I decided to experiment using the soft red netting that oranges are packed in to see what effects I could achieve. Messy but fun. I also now realise that just one picture could produce hundreds of pictures if one zoomed in closely to the detail. Very interesting”. Red acrylic paint and soft netting Angela Musil Pirat Acrylic on Canvas 40 x 50cm Lesley Feakes Gunda Cannon Eve's Apple Gunda Cannon Just Today Caroline Anderson-Jones COVID-19 Fishing Links Michael Haynes Squares David Dixon Market Place Acrylic and oil on canvas board 40 x 30cm Jason Smith “Abstract Bowl” Alcohol ink and acrylic on wood 28cm x 6cm Alison Chandler Acrylic and oil “It’s not all black and white” Clive Dand Abstract watercolour. Virus 2020 is a reflection on the effect that the virus has had on my life and the life of everyone in the world that we currently live in. John Hamilton Blossom in the Kent apple orchards using a stipple effect and scratching to reveal the darker paint layers below John Hamilton Colours of a stormy harbour. Rubbing off paint and drips add to the atmosphere John Hamilton Tall sheds at Hastings using a palette knife and gold leaf Sheila Klein What inspired me:- “I do not like discarding things so I decided to experiment using the soft red netting that oranges are packed in to see what effects I could achieve. Messy but fun. I also now realise that just one picture could produce hundreds of pictures if one zoomed in closely to the detail. Very interesting”. Red Acrylic Paint with soft netting twice

Working in Pencil

Working in Pencil

This was the brief for our challenge:- Drawing Challenge For this challenge I would like to focus on accurate drawing skills. Practising our drawing will help in all our painting from landscape to portraits. I would like to suggest we all draw a single chair but dont think Van Gogh, this time I would like to see a chair which stands up and could support a weight. David Dixon Chair One Michael Haynes Dining Chair David Dixon Chair Two Sheila Klein A Chair Alison Chandler Pencil Chair Gunda Cannon My Chair When I was younger I smiled about chairs like these but now I love them Clive Dand Garden Chair

Work in the Style of an Artist

Work in the Style of an Artist

This challenge was to Work in the Style of an Artist Our brief was:- 'Try your hand at a painting of in the style of another well known artist. You may like to choose your favourite classical artist, or maybe one of the impressionists.' Members have sent in some wonderful pieces. Glyn L Evans Valley Homes in the style of that great Welsh artist Sir Kyffin Williams. Graham Lock Watercolour 9" X 7" After 'The Persistence of Memory' (1931) Salvador Dali's kitchen can't take the strain of Covid19 and another lockdown Gunda Cannon Rowland Hilder (1905-1993) is one of my favourite landscape artists. ‘Under a winter sun’ is based on a Hilder landscape that was a combination of etching and aquatint. Glyn L Evans Caernarfon Castle inspired by a poster designed by Norman Wilkinson CBE RI Lesley Feakes “I have long thought the trees at Charing roundabout remind of a John Nash painting , here is my attempt at similar .“ Clive Dand Oil painting, my interpretation from a figure drawing in the style of the English artist Keith Vaughan Clive Dand My original charcoal sketch Clive Dand Pastel in the style of Renoir Pat Lock In the style of Helen Frankenthaler, one of the leading Abstract Expressionist painters who pioneered the Colour Field painting technique. She used diluted acrylic paint on untreated canvas so that the paint soaked into it. Alison Chandler Oil in the style of .... Braque??? Pat Lock In the style of Ben Nicholson. He was greatly influenced by Cubism & over many years experimented with a variety of forms. In 1935 he produced his most innovative relief work - seen by many as a mechanistic extreme in abstraction. He used an old, worn table top found in a junk shop, cut it , shaped it and painted it white. My attempt is merely card! David Dixon In the style of Van Gogh Caroline Anderson-Jones In the style of Bob Ross Michael Haynes A lonely girl "Tried copying a ‘little bit’ one of Toulouse Lautrec works. Good fun but he was so good that my effort does not give any credit to him!" Gunda Cannon Rowland Hilder (1905-1993) is one of my favourite landscape artists. ‘Bane revisited’ is based on one of Hilder’s b&w illustrations for Mary Webb’s Precious Bane Glyn L Evans Adieu This is from a Farewell Dinner Menu for the 1930s cruise liner "Arcadian" by Kenneth D Shoesmith RI.

Winter Challenge Autumn Light

Winter Challenge Autumn Light

The members have produced some amazing pieces of work for this challenge. Pamela Hudson Gold Season Oil on canvas. This is partly from a photo and partly imagination Lesley Feakes On the River Glyn Roberts My neighbour John, a furniture restorer who is a superb craftsman. Michael Haynes Walking in the City Michael Haynes Walking Through The Woods Clive Dand Oil Angela Musil Watercolour Angela Musil Acrylic Pat Lock Acrylic on board Graham Lock An Autumnal Stroll A 15" x11" watercolour. I used a cool Prussian Blue for the sky, to contrast with the warm yellows, reds and oranges of the leaves. Sally White Wet into wet background, then pen and then colour. My first attempt was far more considered and precise and looked AWFUL. In frustration I started again and got this down in about 20 minutes. Lesley Feakes Beech Tree Alison Chandler My two paintings done in the same woodland are very different. The first in oils using the limited Zorn palette (cadmium red, yellow ochre, black and white) was done over a couple of sessions in the depths of the wood with not much light filtering through. The second in acrylics was done much more quickly on a sunny day on the edge of the woodland. Alison Chandler LeeLee Kock Saturday morning in Dering Woods Gouache Gunda Cannon Autumn hues Watercolour, pen & ink collage 220 x 140mm David Dixon Drawn in ink and coloured in acrylic and watercolour. 50x40 cm Jason Smith "Filtered Autumn Light” Bowl Materials: English Sycamore, Acrylics Dimensions: 25cm x 2.5cm While painting this, I had in mind a low Autumn sun - its rays filtering through the boughs and decaying foliage of a broadleaf wood, down to the forest floor below. Whilst being undeniably abstract I did allow myself a degree of influence from Klimt’s Tannenwald series which is a favourite of mine. It can be a considerable challenge to translate something like Autumn Light on to a three dimensional turning, and although I am pleased with the end product I’m not certain that my choice of a bowl with a central working portion was ideal in this circumstance (a thin necked hollow form may have worked better perhaps)? Caroline Anderson-Jones Acrylic on canvas ‘Toadstools ‘

Working in Monochrome

Working in Monochrome

This was our challenge given to us by Graham Lock:- 'For this challenge you may choose to use pencil, charcoal, ink or paint. If you choose to use colour – then pick one dark colour (eg ultramarine blue or burnt umber) which will allow you to use a broad range of values from very light to very dark. The subject of your work can be absolutely anything. You may have decided what you want to create and wish to just jump in and get started. Alternatively you may wish take the opportunity to explore the use of value as part of your planning towards creating a picture. To that end I offer some thoughts and insights into the ways I sometimes work, and you may choose to read through this and take on board or ignore in whatever way you like. ' Here are our members results. They look wonderful. Well done. Reviews of some of the work can be seen by scrolling to the end of the page. John Hamilton This is on a very rough open canvas which hasn’t been primed so the light shines through when it is held up. It creates a beautiful sparkle to contrast with the dark monochrome tones. The picture is of a sea loch in Scotland where the low sun has broken through the mist and created sparkles everywhere. Graham Lock Burnt Sienna mixed with a little Ultramarine Blue or Permanent Mauve in places 15"x11" Michael Haynes Caught my eye in the Daily Telegraph. A photo of this years winner of the Melbourne Cup in Australia and thought, super shot. So, not captured quite how I wanted but in charcoal - Surprise Baby over the finishing line. Sally White Pen and Paynes Grey David Dixon Shellness on Sheppey painted with acrylic Prussian Blue hue on board Alison Chandler Monoprint with chine collé I have been experimenting with monoprinting and particularly liked the textures created using screwed up clingfilm. On this plate they reminded me of a woodland photo I had taken recently, so I gradually overprinted further details – trunks, branches and foreground undergrowth – and then glued on the 2 figures from the photograph. It sounds easy but each time I added more details, the print had to be carefully registered to get them in the right place! Gunda Cannon This painting is inspired by Joseph Farquharson’s ‘Sheep in a winter landscape’. I used Payne’s Grey. The sky in the original is an intense blood red and orange – the challenge was to make it interesting without that colour contrast. Pat Lock Standing Stones at Avebury Pencil and chalk on 'grey' paper Clive Dand I painted this still life in the style of the Italian painter Giorgio Mirandi. He used simple domestic objects painted in subtle tones. Judy Williams Here is my leaf in oils. It is meant to be monochrome but I used ochre and burnt sienna so it doesn’t quite count! Chris Hautot Tall grass on the river Bank Reviews I have enjoyed commenting on this submission – I hope the members enjoyed painting them. I’d like to encourage members to grab the opportunity of using these challenges to keep painting, hone their skills, perhaps experiment and try new ideas. Keep well. Shellness on Sheppey by David Dixon – painting this in Prussian Blue gives the painting a very ‘cool’ wintery feel which I like greatly. Prussian Blue is not an easy colour to control but David has used it well here to give a broad range of values with the lights and darks of the sky reflected below. The groynes lead the eye into the picture and are balanced by the diagonals of the angle of the sea and the lines of lights and darks. Imagine these lights and darks going in the same direction as the groynes and the painting would not be as satisfying or powerful. Also if you imagine this painted in Burnt Umber or Burnt Sienna, or even a red, it would have made this a very different picture … with a much warmer feel … but, again, I think, less powerful and eye catching. If you haven’t tried it I can recommend experimenting with Prussian Blue (or the modern alternative of a phthalocyanine blue like Winsor Blue). It makes a near black when mixed with Cad Red, and beautiful deep greens with Burnt Sienna or Burnt Umber. It can be overpowering – so it definitely isn’t for everyone. Alison’s chine colle monoprint gives a fascinating range of marks and values. Using cling-film is new to me – tissue paper is more normal, I think. The overprinting and the use of photographs goes to illustrate the value of experimenting. It doesn’t necessarily take a lot of equipment to create original prints, so during lockdown this may be something else for members to try. Printing can be combined with pen and ink, watercolours, acrylics, oils, pastels, photography. Be bold and experiment. Art is whatever works for the artist. Joseph Farquarson did lots of pictures of sheep in snow, but Gunda has given us her own interpretation here, with again, a great range of values. The dark wet-in-wet brooding sky with its light at the horizon accentuates the dark skyline, but what I really like are the dark faced, soft, fluffy sheep in the bottom left which become less detailed as they recede into the distance and are a nice contrasting balance to the hard, skeletal winter trees on the right hand side. Commenting on your spouse’s art is always a risky business – but I’ve already told Pat how much I like this piece. Almost everything is cold and hard, but the tree is a symbol of sleeping life and your eye is undoubtedly drawn to it. Four isolated standing stones shouldn’t work; but somehow the composition works. Is it the different shapes, heights or their almost triangular composition? I honestly don’t know. This is a picture with very dominant verticals .. but the horizontal skyline and the landscape (rather than portrait )format, make it seem well balanced. The shadows link the stones but also draw the viewers’ eye into the composition. I can’t help seeing all sorts of different images in the stones – a bird, a bear, a stooping old lady. Clive Dand’s still-life is a very accomplished painting. Where Pat’s four standing stones are isolated, Clive’s four objects each overlap at least one other in a much more conventional composition. The darkest darks here, inside the object and where the objects touch the surface upon which they are standing, are little more than dark middle values. The objects themselves are subtly painted in a muted range of light and mid-tones. Notice how the eye is kept moving around within the objects and how the variety of curves, lines, and lost and found edges all excite the eye. Judy Williams’ leaf is definitely monochrome – a subtle use of yellow, orange & brown. This painting definitely uses the warm side of the palette conjuring the season of autumn; imagine this painted in blues and mauves, as some contemporary artist might, and the feeling would be very different. The painting is much brighter and much yellower, and the reproduction much more pleasing on my phone than it is on my lap-top. Also, my phone shows a clear vignette effect which sets the leaf off well. This is almost completely lost on my lap-top, and perhaps goes to show that we can’t accurately judge a work or art on-line. This is a very seasonal piece, appropriate for our next challenge. Chris Hautot’s “Tall Grass on the River Bank” Notice here the range of different marks – straight and curved lines; horizontals, verticals and diagonals; dots & dashes. Some marks are very solid – others dry brushed, some hardly marking the surface. Again all this helps to excite the eye. The diminishing sizes of the clouds as they move from the top of the sky down to the horizon, the foreground grasses towering over the background trees, and the river disappearing into the distance and around the bend all give a very strong sense of recession. Graham Lock President