Friday, 17 March 2017

Luck of the Irish...? Gerberas, Crysanths and Cabbages! Oil painting on linen.


In progress - the end of the first pass
When I looked back to find the photos of the initial stages of this painting, I was shocked to see that I began working on it 5 months ago. Now, this doesn't mean that I've taken 5 months to compete the painting! No. In fact, it's still not quite finished, but another few hours on the background will do it.  In between bouts at the easel, I have been very busy illustrating and photographing my book, as well as doing lots of teaching.  I am trying to finish the painting in time for the book launch - I love a deadline!

This photo is to give you an idea of the scale of the painting

Tonal beginnings!

I took the reference photo several years ago, just before Christmas in a florist in Lisburn. It was snowing outside, but the light caught the flowers beautifully. I don't often paint flowers - but it was painting light and colour that I was interested in, and in spite of the complex nature of the subject, I was happy to tackle it. 

Beginning the colour  
Creeping around, flower by flower.


I always enjoy the blocking-in stage - it's all to play for, and the true magnitude of the task in hand hasn't quite hit home yet... After toning the background, I did a rough layer of colour over the whole canvas. This should be as close as possible to the final colours and tones, but it acts as a good base for the final colour layer to sit upon.  I worked one flower at a time. 


The first layer completed.

I usually do my cropping at the photographing stage, but in this case I altered the composition slightly on the right hand side, removing a chrysanthemum from top right which I felt disrupted the strength of the patterns created by the tallest daisy. 


yuck!

At this point, I went through a phase of getting paint everywhere, including my computer keyboard, which is... not helpful! So I decided to try working with gloves. I wasn't sure if I'd like it - but I do! Just about everything we use for oil painting is toxic to some degree, so it's sensible to protect the hands. 

second layer begun at top
Second layer applied to the top flowers and the left flower only. 
I began the second layer by painting one flower at a time once more - when you know are going to have long gaps between visits to the easel, it's great to have small areas to 'complete' as you go along.  The second layer gives a richness to the painitng. Remember, oil paint is transparent, so the more layers, the more 'solid' and secure the painting will be. The background at the top is an ornamental cabbage, which currently looks like draped fabric!




It was somewhere between the photo above and the photo below that my camera stopped functioning. It just couldn't focus - the flower on the right is blurred.  (In reality, the flower is soft but not as soft as the photo!)  Oh no!!



Above - the second layer on the flowers is complete. As you can see, the flower at the top is blurred - this, again, is the camera. For the photo below, which is the whole painting complete apart from the top background, I had to use the 'selfie' camera, so the quality isn't good, but hopefully you get the gist. 


The camera I've been using is the one in my iPhone. I consider myself VERY lucky. I used it to take every photograph in my book (over 500 shots printed), and the quality is excellent. The repair shop replaced it with a new camera, hoorah! But sadly, it still doesn't focus, which means, apparently, that it's 'a phone problem'.  I suspect that I've used up my picture allowance.

 I've had the phone just 18 months. I think the time has come to buy a little digital camera again, and not rely on the phone for photographs. Gone are the days of repairing our belongings, it seems. But an 18 month life-span isn't long enough for me! This consumer is looking elsewhere... 



Next up: oil painting workshop, Belfast.

for info email julie@juliedouglas.co.uk 

BOOK LAUNCH and display of student drawings and paintings, Sunday 2nd April, The Engine Room Gallery, Belfast. All welcome!

To preview the book, please click:









Wednesday, 8 March 2017

Burning the midnight oil... edit edit edit!! Notes From The Atelier, the first arrivals!

The past few months have been full on (yes, even more than usual!!). So, by September last year I'd written a book (well, MOST of it). But then I realised I needed to learn how to use InDesign, so that I could do the layouts. My degree is in Graphic Design, and (fortunately) I love layout, but I'd never done it on a computer. Indesign is HUGE... However, I got started, and learnt about it as I went along, and it became rather addictive. 

Various, early proofs, spiral boumd for convenience only. 

What was less addictive, but highly necessary, was the editing process. BIG SIGH!!! I am hugely indebted to David McKnight, who edited tirelessly, and never complained, EVER! 

Yet more (late night) editing. 
Just a slection of the printed proofs - each copy
different to the one before, and all of them edited
 and re-edited... I know, I'm repeating myself.!
As a self-published book, the thing that can be lacking is a DEADLINE! And deadlines are so focussing. Then a student mentioned that she's going to America and wanted to take a book with her as a gift - and so my deadline was born! After getting it all to the printer on time, thanks to designer Paul McNally for help with the technology side, I was glad to see an end to it!!


And now I've recieved the first batch!!Exciting! 


I admit, it does feel strange to see so many copies of it all at once!

Sneak peek at Nisa's painitng

Sneak peek at Pat, Sara and Jean's paintings. 
As you can see, it's a big book - 250 pages of Big!


Here's Paul McNally holding his copy. Thanks Paul!!
If you'd like a preview of more pages please click here:

http://www.juliedouglas.co.uk/julies-book/notes-from-the-atelier

The link also shows you how to order a copy if you'd like one. The price is £35 until the launch, which is on 2nd April. 

NExt up: Oils workshop 25th March. For info email julie@juliedouglas.co.uk


Friday, 3 March 2017

Compressed Charcoal, tonal studies of apples and onions!

Compressed charcoal is a delicious, and very flexible medium. Recently I gave my students the task of producing two drawings in one session, first on white cartridge paper, then on thicker, mid-toned grey paper.

My demo drawings, with the Compressed Charcoal box top left. 
While most of us enjoy colour (after all, we do live in a colourful world!), working in black and white really improves our abilty to see subtle variations in tones. These same tones are necessary in our colour work too but easily overlooked, giving an unsatisfactory result without depth.

Demo showing the variety of tones, using only three greys, and white.
Graphite pencil is excellent for training our eye to see subtle nuances in tones, but using compressed charcoal allows us to cover the whole area in a shorter time frame, helping us to remember to compare tones in areas all across the page (relative to each other) as well as tonal variations which are close together.


My quick demo on tinted card, with darker tones left hatched rather than blended.
After arranging the apples and onions pleasingly on cloth, the drawing was lightly mapped in, and the tonal challenge began in earnest. Unlike charcoal, the compressed sticks come in a range of 4 greys plus black and white. The challenge was to remember to change the stick as we went along - leaning more heavily or lightly doesn't alter the tone. 

Lovely artwork by Brigid
Another great study by Gavin, who enjoyed the challenge so much that he spent the full session on this artwork. 
It's a dirty business, but once we get stuck in, we become more absorbed in observing the subject than worrying about chalky fingers! We worked on white paper first, and enjoyed the differences when we moved on to the tinted grey paper.

Dawn, blending nicely 
Working on tinted paper means that the whites really sing out brightly. it is also a pleasure to add highlights, rather than realying on the white of the paper to do the job for us. It's good to vary the tone of our paper - 'white' is not our friend. It can be harsh and cold. A neutral colour is often better as a base to work upon.

Sara's atmospheric artwork, nearing completion


Nisa, who is getting lovely richness in this study.

A group of studies - not quite finished, but well on the way.
 Compressed charcoal gives a lovely, velvety texture and laying tones on top of one another creates a wider variety of shades, and the result is very painterly. A delicious exercise, and everyone enjoyed it!

A wonderful result from Joanne, with excellent tonal ranges. 

Next up in March: Colour pencil and watercolour workshop. 
Oil painting workshop. All suitable for all levels of experience. 
For information on workshops please email 
julie@juliedouglas.co.uk

For information about my book 'Notes from the Atelier', and to see a preview please click 

http://www.juliedouglas.co.uk/julies-book/notes-from-the-atelier




Tuesday, 21 February 2017

Field trip! Castle Espie Wetland Centre, County Down.


Hmm... Bag packed with pencil case, paper towels, sketch book, palette and hot water bottle? It can only mean one thing - FIELD TRIP!!
It's a good idea to get out and about during the term so that students don't get too used to working at a table. Variety is important, and it helps keep the bravery levels up!

My two little sketch book demos. 


Ben and Roisin settling in.
This time we went to the lovely Castle Espie Wetland Centre, which faces onto Strangford Lough. Even in February it was beautiful. 


 Left to right - Lorraine, Jackie, Ailbhe and Ben

Luckily for us, they have recently built new hides, and we chose the Lime Kiln not only for it's stunning views, but also with the hope that it might be less freezing! As you can see from these photos, it is wall to wall windows, making it perfect for drawing and painting. 

Roisin, Lorraine (bundled up in her coat against the cold), Jackie, Ben

It's important to travel as light as possible when working on location. A fold-up palette is ideal, as is a hard backed sketch book. Mine had thick watercolour paper, so I could splosh plently of water around without it buckling. Another important factor in deciding where to spent time, is proximity to coffee. it gets very cold sitting or standing still, and the thought of a hot drink at the end is very important! 




The weather was overcast and dull, but we could see enough to give us a first try at landscape work. The key to mastering landscape is.... practise. We worked quickly, with a time limit so as not to become either worried or overly attached to any painitng. This was the first time painting outside for the students. 
No table? No problem!
Although the day was lacking in light, at least it meant the colours remained consistent. It didn't start raining until we were nearly finished, and shortly there was no visibility at all.

Ben, deep in concentration
By this time everyone had done two paintings, got over their huffs and carried on (well done folks!) and were ready for coffee and warmth. We walked past lots of small ponds, trees and birds on theway back, so it'll be great to return  in the warmer weather for another try. 

Lovely work by the students. 







Wednesday, 1 February 2017

Hot off the press! My book is ready for pre-order!!!




After working on it for the last 18 months, I am delighted to tell you that I have finishing writing, illustrating and designing my instructional book, ’Notes from the Atelier’.


I have attached a link below which will give you a preview!

http://www.juliedouglas.co.uk/sample


If the above link to the preview does not work for you, please use this one:


The book is a collection of 32 of my weekly drawing and painting workshops, providing a programme of exercises designed to build skills cumulatively using a variety of media, strategies and subjects.

Guiding students through the steps required to develop a new way of seeing the world, the fully illustrated book provides an accurate reflection of lessons from the studio. Fresh, practical advice on the creative process, to empower students to enjoy the learning experience and to draw and paint better than ever before. With over 245 pages, and a foreword by artist PJ Lynch, the book is packed  with over 500 illustrations and photographs. The artwork was done by me and over 50 of my students.

I am self-publishing the book and have just sent the artworks to an excellent printer, with a view to a book launch in March 2017. 

 At this stage, I need to decide how many books to print, so I need an indication of your interest please.  I am taking pre orders, as I have to inform the printer in the next week or so. If you would like a copy, please email me as soon as possible. The cost for pre-order is £35 per book (Plus post and packaging where applicable. To give you a guide, postage costs approx £5 to UK, £13 to Ireland, £20 to USA. At pre order stage you will only be charged for the book, and postage charges will be invoiced after printing). 

Everyone who orders a book will be invited to the launch to collect it. The launch will include a display of artwork of my current students. If you would like to purchase at the pre order price, here is the link:

http://www.juliedouglas.co.uk/julies-book/


If you have any questions, please don’t hesitate to ask. My email is julie@juliedouglas.co.uk 


Julie Douglas

Friday, 25 November 2016

Foiled! Student watercolour paintings.


This week at the drawing board was all about colour and pattern. Having put everyone through their paces last week by asking them to draw a packet of crisps (which, as you might imagine, gathered a 'mixed' response, but lovely drawings nonetheless..!), I decided that the natural way to capitalise on the lessons learnt from that was this setup of a lemon and orange set on tin foil.

OUCH? Well, not really... 

Merlynn

Tin foil can appear to be colourless and boring - but when we crinkle it just a little and put something bright on top - voila! Colour and pattern heaven! 

Gavin



Sara
We began with a careful line drawing,  using the fruits as a safe anchor-point from which to connect the maze of patterns. You can see from margery's drawing below that the amount of observation and concentration required was rather like solving a complicated puzzle.
Margery's drawing 
Adding colour brought relief and an element of clarity. 
Margery's artwork after a couple of hours painting. 
While the fruits were painted first, the artworks were transformed with the addition blues. I hesitate to say that the blue acted as an excellent foil for the warmth of the yellow and orange, but it did so you will excuse the pun!  



Colin - this is only the fourth watercolour that Colin has done. Amazing! 

Dympna

The results were a triumph of colour and the paintings are joyful! While everyone 'suffered' at various stages in this exercise, a lot was learnt and some were even keen to try the subject again! None of the paintings were completed due to time restraints, but they still look great. 

Brigid


Lorraine

 I'm very proud of how hard my students work, and am grateful for the trust they put in me when they walk in the door and see what awaits every week. I thanked them during the class yesterday, and Pat's little voice said... 'Resistance is futile' !!!!! 

Pat
Next up: Drawing worshop Belfast, Children's workshop, Watercolour weekend. For information email julie@juliedouglas.co.uk