Filbert Splosh art experiences

Paul Priestley’s Newsletter: October 2008 - Issue 35

noreply@blogger.com (Filbert Splosh) — Thu, 09 Oct 2008 15:23:00 +0000

Welcome to Paul’s Newsletter. Your comments, suggestions or contributions are welcome.

See below for details of the launch of my new Painting website

Pencil Drawing

Recently, I invested in a good quality set of coloured pencils by Derwent, not a medium I use a great deal, because as some of you know, I am a great fan of graphite sticks, simply because of the variety of marks you can make with them. In this set of pencils I noticed two special ones; a blending pencil and a burnishing pencil, you may know of these pencils, but it is the first time I have come across them. They really are quite useful and not only with coloured pencils.

First a little description;
The Blending Pencil is made from the colourless binder they use to make coloured pencils and is quite soft.
The Burnishing Pencil is made of the same material, but is very hard.

Essentially, all you do is colour an area then use the blender to soften the marks that will inevitably show from the coloured pencil. This produces a more subtle graded effect and if the burnishing pencil is used on top, this gives extra smoothness and also a slight sheen. The advantage these pencils have over other blending methods is that they don’t leave a build up on the surface and are actually very good in the really dark areas of the drawing.

If you like to combine mediums together, you’ll find that the blender and burnisher work just as well with graphite pencils, graphite and also have an interesting effect on charcoal and chalk. What I have noticed though is that you need to be using good quality coloured pencils, probably artist quality from the big makers. The cheap pencils, from the well known cheap and cheerful art shop, contain more of the binding medium and not enough of the colourant and therefore are more difficult to blend. If anyone has any comments on blenders and burnishers please let me know and I’ll publish them here.

Forthcoming Art Courses
October Courses

Starting with Watercolour at Hampton Bishop on 4/5 October – This course is designed for those with little or no experience with watercolour, but want to learn how to handle the medium in such a way to create lovely paintings.
Creative Drawing(1) at Hampton Bishop on 26 October – This course is for those who wish to develop their drawing either by ‘freeing it up’ or using different media. We shall be experimenting and pushing at the boundaries.

November Courses

Abstracting Reality at Aston on Clun village hall on 2 November – Ever wanted to know how to create a successful abstract painting? This course explores some of the ways you might achieve it. All abilities welcome.
Starting with Acrylics at Storridge village Hall on 8/9 November - You may be a beginner or competent in another medium, this course explores the techniques and methods of working with acrylic.
Capturing a Likeness at Storridge village Hall on 13 November - Learn how to capture a likeness with short and long sketches.
Creative Drawing (2) at Hampton Bishop on 25 November - Using some unusual combinations of items for mark making, this drawing course will have you producing some wonderfully creative drawings.
Matisse Interiors at Storridge village Hall on 29/30 November- Using Oil or Acrylic come and explore the wonderfully colourful and dramatic world of Matisse. A model will be available.

You can book other painting and drawing courses online

New Website: http://www.pppaintings.com/

For the past couple of weeks I have been putting together my new painting website. Essentially, it has all my paintings, lots of drawings, together with limited edition prints, but it has lots more too. Not only can you buy paintings, drawings and prints, but you can also go on a virtual tour of my studio and complete an ART Quiz. In fact, if you answer all the questions correctly you will WIN a £10 discount voucher which you can spend on the site. As some of the items are less than £10 you could actually ‘buy’ some items FREE. (You would have to pay for the postage as the voucher does not cover even if the items cost is less that £10). There will be new quizzes every month or so. Why not take a look now at http://www.pppaintings.com/

Christmas Party Events
Some of you may be aware that I run party events for adults– Christmas, anniversaries, birthdays etc. Essentially, this involves an artist such as Salvador Dali or Picasso turning up to your party as a surprise guest. It’s quite an experience watching the reaction of everyone as the artist’s bizarre life unfolds and your guests become the bizarre characters that occupy the artist’s world. It is great fun. If you are interested in a crazy artist coming to your party please call me on 01568 617433

Kind regards

Paul Priestley

Filbert’s Newsletter: September 2008 - Issue 34

noreply@blogger.com (Filbert Splosh) — Tue, 02 Sep 2008 12:00:00 +0000

Welcome to Filbert’s Newsletter. Your comments, suggestions or contributions are welcome.

Pop Art Painting: 22/23/24 August at Aston on Clun

We started the course by looking at the work of a number of Pop Art painters especially, Robert Rauchenberg, Andy Warhol and Jasper Johns. The first day was spent working out ideas and painting around the theme of repetition. Repetition can be found in lots of Pop Art works, primarily because this was the ‘60’s when supermarkets and mass production began to take off. The idea that the design of a can of soup can look quite impressive when stacked together on shelves was taken as a starting point for our paintings, together with the idea of basing the painting around a very ordinary everyday object. So we had impressive paintings of cars and light bulbs in all their repetitive glory.

The second day we took Andy Warhol’s paintings of famous people as our starting point. Using his methods we photographed each individual and projected their images onto large boards. With colours very reminiscent of Warhol’s some fantastic paintings were produced. It was important here to use the methods of Warhol – he was very much into the use of the camera – which is not ‘cheating’ as some might believe. His methods did give us all an insight into how Warhol worked when he set up his Factory to produce his own art works.

On the last day we took Jasper Johns paintings as our inspiration – this meant that the painting would have a life of its own and not be based around any traditional compositional plan. The idea was to base the painting on a mundane aspect of live, like waking up or preparing a meal. Objects associated with this were collected overnight and became part of the painting, so it ended up as a truly multimedia image. Due to illness and absences only a few people were on the course, but they produced some marvellous paintings on large boards. Congratulations to: Sue Pauli and Maria Broughton

Forthcoming Art Courses
• September Course
Starting Drawing at Aston on Clun on 27/28 September – This course is designed for complete beginners and those who don’t feel that confident with their drawing. There will be lots of simple and easy methods to achieve great drawings – you’ll be producing masterpieces by the end of the weekend.
• October Courses
Starting with Watercolour at Hampton Bishop on 4/5 October – This course is designed for those with little or no experience with watercolour, but want to learn how to handle the medium in such a way to create lovely paintings.
Creative Drawing(1) at Hampton Bishop on 26 October – This course is for those who wish to develop their drawing either by ‘freeing it up’ or using different media. We shall be experimenting and pushing at the boundaries.

• SPECIAL OFFER – book Starting Drawing and Starting Watercolour for a combined price of £160 a saving of £20 on the discounted price of booking both. If you are already booked on one of these courses and have paid full price you can book the other for the balance i.e. £60. If you want to take up this offer please let me know by replying to this email and then pop a cheque (made out to Filbert Splosh Ltd) in the post to me. You can book other courses online, for details click here

Art courses in the evening This will not happen in the near future as only a very few people showed interest. However, I shall investigate the idea of running some evening courses after Christmas.

Children’s Party Events Some of you may be aware that I run party events for adults– Christmas, anniversaries, birthdays etc. Essentially, this involves an artist such as Salvador Dali or Picasso turning up to your party as a surprise guest. It’s quite an experience watching the reaction of everyone as the artist’s bizarre life unfolds and your guests become the characters that occupy the artist’s world. It is great fun. If you are interested in a crazy artist coming to your party please call me on 01568 617433 I have been asked on many occasions about doing something similar for children, so I now have organised children’s party events combined with a practical element. Details of children’s party events can be found by clicking this link.

Kind regards

Paul Priestley

Filbert’s Newsletter: August 2008 - Issue 33

noreply@blogger.com (Filbert Splosh) — Wed, 27 Aug 2008 19:26:00 +0000

Portrait Painting at Hampton Bishop – 14 / 15 July 2008

We started the course with some portrait drawing, learning how to proportion the face and understanding a little about its structure. Having done this we used graphite boldly to create light and shade and thus created a three dimensional feel. Having completed the drawing we looked at producing a trial painting based on the drawing. The emphasis on this painting was colour mixing and how to mix flesh colours, both warm and coo,l and where to apply them to create the 3 D effect we desired. This painting took longer than expected so we had to look at painting the portrait with much bolder colours, in the style of Matisse on the Sunday.

Have quickly completed the little exercise painting the face in bold colours, I became the model for the final painting, in which everyone had the choice of using the bolder approach or the more traditional. By the end of the Sunday session some wonderful paintings had been produced. The bigger improvements were seen by those who had done little or no portrait painting before, which was great. Congratulations go to all who attended the course and achieved so much namely: Karen Johanssen, Caroline Waldon, Chrisse Halls, Mark Whittle and his daughter, Jenny Harrison, Pamela Hudson and Maria Broughton.

Foot note: when mixing flesh tones it is a good idea to think in terms of cool and warm colours. Cool for the shadows, around eyes for example and warm for the lighter tones around cheeks, tip of the nose etc. A basic flesh colour can be created by using the ‘five to one to half’ rule – five parts white to one part yellow to half a part of red. This proportion produces a reasonable flesh colour, of course, the different reds and yellows will determine whether the flesh tone is warm or cool. A cool flesh tone might be; titanium white, lemon yellow and red oxide, whereas a warm tone might be titanium white, cadmium yellow and vermillion.

Forthcoming Art Courses

August courses

Landscape in Watercolour at Berrington Hall on 18/19 August – With a beautiful lake, views to the Brecon Beacons, gardens and a Georgian house as inspiration what better place to explore watercolour techniques.
Pop Art Painting at Aston on Clun on 22/23/24 August – If you like working on a big scale, painting boldly in the style of people like Warhol, Hockney or Lichenstein this is the course for you. Large painting boards are provided on this course ready primed for you to work on with acrylic. Should be a great course.

September Course

Starting Drawing at Aston on Clun on 27/28 September – This course is designed for complete beginners and those who don’t feel that confident with their drawing. Lots of simple and easy methods to achieve great drawings – you’ll be producing masterpieces by the end of the weekend.
You can book courses online, for details click here

A possible development: art courses in the evening

A number people have been asking me whether I would run a series of courses in the evening, say every Tuesday evening for two hours for a period of 8 or 10 weeks. A course like this might be aimed at developing drawing, turning drawings into paintings and working on specific painting techniques. It would have a structured programme which would be available before the course starts. It is very likely the courses would run in Leominster or somewhere close to it. In terms of cost it would be around £6 - £7 per hour depending on hiring venue costs etc. The total course fee would probably be paid in full at the start of the course or in two halves, one at the beginning, one in the middle.

At this stage I am looking for expressions of interest, suggestions of topics or areas you might be interested in, painting mediums you would like to explore or other suggestions, I am open to ideas. Please reply to this email if you are interested. Assuming there is enough interest courses are likely to start at the end of September.

Kind regards

Paul Priestley

Filbert’s Newsletter: July 2008 - Issue 32

noreply@blogger.com (Filbert Splosh) — Wed, 16 Jul 2008 12:58:00 +0000

Landscapes in Watercolour at Burton Court – 1 July 2008

This was the first time we have used Burton Court as a venue and I think the general consensus was that it was a wonderful place to paint, lunch was pretty good too! The course was over subscribed but that was not a problem as there was so much space in which to work. The views are wonderful and the building itself also provided inspiration. For some it was the first time they had worked outside and although the sun shone all day we did have a bit of trouble with the wind but the seasoned campaigners coped very well, even if it did mean hanging bricks from the easel to stabilise it.

After an initial demonstration in a fascinating outhouse full of extra-ordinary things we went out side and began work. The emphasis was on keeping colours pale and building layers rather than trying to capture a scene in one go as this often can lead to the paint being applied too thickly. Participants were encouraged to experiment with wet on wet and wet on dry techniques and some very interesting pictures were produced as a result. In the afternoon we concentrated producing one painting and we had some fabulous results. The paintings of the building, a study of a figure under a tree and some great landscapes views were highlights and congratulations should go all participants who included: Andrew Baird, Ann Cook, Ian Cook, Gill, Mags Egby, Ann Siviter, Heather Phillips, Marjorie Stockley, Mr Snead- Cox, Mrs Maris, Fay Howe and Mary Ford. A special thanks to Ian Cook who has supplied the images.

We shall be back at Burton Court on 25 July for the Landscapes in Acrylic course, for those of you interested in painting in watercolour out of doors we are at Berrington Hall, which has equally stunning views on the 18 and 19 August. There are a few places left on both courses.

Forthcoming Art Courses

July Courses

Landscapes in Watercolour at Burton Court on 1 July – After initial demonstrations paint the lovely gardens, views and house That make up Burton Court. A must for those wishing to develop their watercolour skills out of doors.
Drawing for the Terrified at Aston on Clun village hall on 10 July – Absolutely no experience required, if you are willing to have a go you’ll have a great time.
Portrait Painting at Hampton Bishop village hall on 14/15 July – Learn techniques for painting faces and explore the effects of underpainting and creating flesh colours.
Berrington Hall Painting Course at Berrington Hall on 21/22/23 July – Imagine drawing and painting against a backdrop of magnificent views towards the Brecon Beacons, in the vast acreage of ‘Capability’ Brown’s last garden design.
Landscapes in Acrylic at Burton Court on 25 July - After initial demonstrations paint the lovely gardens, views and house That make up Burton Court. A must for those wishing to develop their acrylic skills out of doors.

August course

Landscape in Watercolour at Berrington Hall on 18/19 August – With a beautiful lake, views to the Brecon Beacons, gardens and a Georgian house as inspiration what better place to explore watercolour techniques.
You can book courses online, for details click here

New Developments

Some of you may have noticed that I have launched a new company to run corporate events and special parties. This new venture features the likes of Salvador Dali, Pablo Picasso and Andy Warhol either running teambuilding events or gate crashing your special party to re-enact their lives. It is great fun and details can be found on the new website: www.filbert-arts.com

A few thoughts on drawing

Rather than spending a lot of money on cartridge paper white sugar paper can be a good medium to work on, if you are wanting to work large scale and with a bold approach. As it is so cheap in comparison with cartridge paper you can afford to take a few risks with the drawing. A few things to remember:

· Although we hold the pencil with our fingers don’t forget to move the wrist, the elbow and the shoulder if you want to make bold confident marks.

· Vary the pressure you apply to the pencil to vary the strength of tone of the line

· Thick dark lines will look closer to the viewer than pale soft lines.

· A dark edge will always throw forward the lighter space next to it, where as a dark line simply divides two spaces

· Experiment with the way you hold the pencil, how many different types of mark can you make? Different marks add variety to your work.

· Picasso said, “It is dangerous to copy others, but it is even more dangerous to copy oneself.” Set yourself challenges that you think you can’t do and then go out and do them! The feeling is great!

Kind regards

Paul Priestley

Filbert’s Newsletter: June 2008 - Issue 31

noreply@blogger.com (Filbert Splosh) — Sun, 15 Jun 2008 22:18:00 +0000

Life Painting Weekend: 31 May/ 1 June 2008

Eight people attended the course some of whom had not painted from life before. We started with a few simple sketches, concentrating on proportion before moving onto longer 10 minute drawings. These drawings were broken down into segments, a couple of minutes to capture the structure of the figure, a short period to check proportion, before moving on to applying light and shade.

The tonal qualities of light and shade are important when it comes to modelling in paint. After demonstrating how to mix warm and cool flesh tones we went on to explore underpainting and its effects. We looked at how green underpainting compared with umber and a few tried bolder colours such as blue and red. The flesh tones were added and it was interesting to note how the underpainting effected the outcome. Some people painted flesh tones directly onto a white background which created a lighter effect. Towards the end of the Saturday session we experimented with a much bolder colour scheme of bright primary and secondary colours.

On the Sunday we completed two longer paintings with people choosing whether they wanted to use the more traditional approach of underpainting and then applying flesh tones, or using a much bolder approach. Everyone who attended produced some really successful paintings and congratulations are due to: Tee Holden, Lorna Heard, Ann Siviter, Lorna McDonald, Sarah Jemmett, Geoff Gooding, Geoff Hamby and Mags Egby.

Forthcoming Art Courses

June Courses

Abstract Painting at Storridge village hall on 21/22 June – Feelings emotions and all those abstract concepts we feel are expressed visually. What will your inner vision have to say.
Exploring Monet at Aston on Clun village hall on 28/29 June – Monet was a wonderful painter, using his techniques and methods we shall explore Shropshire’s scenery.

July Courses

Landscapes in Watercolour at Burton Court on 1 July – After initial demonstrations paint the lovely gardens, views and house That make up Burton Court. A must for those wishing to develop their watercolour skills out of doors.
Drawing for the Terrified at Aston on Clun village hall on 10 July – Absolutely no experience required, if you are willing to have a go you’ll have a great time.
Portrait Painting at Hampton Bishop village hall on 14/15 July – Learn techniques for painting faces and explore the effects of underpainting and creating flesh colours.
Berrington Hall Painting Course at Berrington Hall on 21/22/23 July – Imagine drawing and painting against a backdrop of magnificent views towards the Brecon Beacons, in the vast acreage of ‘Capability’ Brown’s last garden design.
Landscapes in Acrylic at Burton Court on 25 July - After initial demonstrations paint the lovely gardens, views and house That make up Burton Court. A must for those wishing to develop their acrylic skills out of doors.
You can book courses online, for details click here

Just a thought

The exhibition season is upon us. There are often open exhibitions and small village shows all over the West Midlands and other parts of the country, so isn’t in about time most of you plucked up the courage, got your work framed and entered into one of these shows. It may get rejected, it might not sell, but hey, imagine the pleasure of seeing your work exhibited and on sale. Even better imagine how it would feel if your work sold. It can happen. So why not take the plunge and let others see your masterpieces!

Paul Priestley

Filbert’s Newsletter: May 2008 - Issue 30

noreply@blogger.com (Filbert Splosh) — Sun, 15 Jun 2008 22:11:00 +0000

Van Gogh Weekend: 10/11 May 2008

The weekend started with painting the traditional Van Gogh image; sunflowers. This was done so I could demonstrate some of the techniques he used to capture an image. There was very little preliminary drawing and virtually no underpainting I encouraged everyone to ‘go for it’ and they did. The produced some wonderful paintings during the day. I encouraged everyone to think about ideas for the following day and on the Sunday morning, some chose to create a painting from their own ideas, others went out side – it was a beautifully sunny day – and sketched ideas. The rest of Sunday was spent working on the paintings. It was really great to see everyone taking Van Gogh’s ideas and techniques and adapting them to their own work. By the end of the day we had some wonderful paintings of which two are shown here. Congratulations to the following artists: Taff and Jane Alexander, Jamie Cramp, Jenny Underhill and Christine Cale.

In less than couple of week’s time we shall be at Aston on Clun for the Life Painting weekend, if you are interested in trying your hand at life painting there are a few places left on this course. You’ll have the opportunity to paint the figure using realistic flesh tones and also with much more bold colours like those Matisse would have used.

Forthcoming Art Courses

June Courses

Life Painting Weekend at Aston on Clun village hall on 31 may/ 1 June – To paint the subtleties of colour and tone that flesh reveals is inspiring. Explore the subtle and the bold means of expression.
Drawing Animals at Hampton Bishop village hall on 3 June – Using simple techniques you can draw animals easily
Beginners Watercolour at Storridge village hall on 14/15 June – No previous knowledge of painting required. If you can hold a brush you’ll have a great time.
Abstract Painting at Storridge village hall on 21/22 June – Feelings emotions and all those abstract concepts we feel are expressed visually. What will your inner vision have to say.
Exploring Monet at Aston on Clun village hall on 28/29 June – Monet was a wonderful painter, using his techniques and methods we shall explore Shropshire’s scenery.

Courses up to March 2009 can now be seen online, you will notice that from September 2008 the price of courses has risen by £5. Day courses will be £55 and weekend courses will be £100. This is the first price rise for over two years and really has been forced on my by the rise in the cost of hiring halls and of course fuel.

You can book courses online, for details click here

Cartridge Paper

I have been looking for a cheap source of good quality cartridge paper and came across this website http://www.technologysupplies.co.uk They will only supply schools online, but I rang them up and they were quite happy to supply me. They sell packs of A2 140gms cartridge paper (200 sheets) for £10.95 plus VAT. If you order over the phone you will have to give them the relevant code which can be found next to the product on the website. Could be a good source if you do a lot of drawing.

Paul Priestley

Filbert’s Newsletter: April 2008 Issue 29

noreply@blogger.com (Filbert Splosh) — Sun, 20 Apr 2008 10:19:00 +0000

Welcome to Filbert’s Newsletter. Your comments, suggestions or contributions are welcome.

Life Drawing and Painting Course: 8/9 March 2008

A few people on this course had not worked from life before, others had some experience, yet they all produced some wonderful results. We started on the first day with drawing, a number of quick sketches to get into the swing of it. This was followed by drawings that concentrated on line and tone. At the end of the day we worked in charcoal and chalk on longer poses.
On the Sunday we looked at mixing flesh tones and produced two small paintings in the morning. In the afternoon we worked on a longer pose and some people experimented with different colour schemes which worked extremely well. I think you will agree from the pictures here that everyone on the course produced some really great paintings. Congratulations to the following artists: Geoff Gooding, Alex Chamberlain, Tony Sharpe, Heather Tuffs, Marjorie Gott, Lorna MacDonald

Forthcoming Art Courses

April Courses

Exploring Muted Colours at Hampton Bishop village hall on 8 April – Not a fan of garish colours. Learn how to mix a beautiful range of subtle colours and how to apply these to your acrylic paintings.
Painting for the Terrified at Aston on Clun village hall on 12/13 April - This really is for those with no experience of painting, but with a desperate urge to have a go.
Watercolour and Pen/Ink at Storridge village hall on 15 April – What a contrast, the subtle flow of watercolour and the sharp, dramatic line of pen. Time to be creative.
Painting Music at Aston on Clun village hall on 17 April – Explore how you would represent inspirational music. A great course for those who want to access their inner selves.
Drawing Difficult Stuff Ink at Storridge village hall on 22 April – Everything from animals to perspective.
Life Drawing for Beginners at Aston on Clun village hall on 24 April – If you want to try life drawing and you’ve never done it before; this is your chance to work from a model. Complete beginners welcome

Courses up to September 2008 are now online; new courses include Pop Art Painting, Multimedia Experience and Life Drawing for Beginners. Also 2/3 day courses take place at the new venue of Berrington Hall, a beautiful National Trust Property near Leominster

You can book courses online, for details click here

Developments with Filbert Splosh

You may have noticed from my leaflets that I am no longer using the name Filbert Splosh for my painting courses and for my work as an artist. Although the company name of Filbert Splosh art experiences will continue. In future, leaflets and courses etc. will be referred to as Paul Priestley; Filbert Splosh art experiences. The name Filbert Splosh will now be exclusively used for my work in schools. My corporate events, parties etc will be rebranded as Filbert-Arts. Payments will continue to be made to Filbert Splosh Ltd. All of this will have little effect as far as you are concerned other than with access to my websites which will be as follows:

www.paulpriestley.com will now be exclusively for art courses, paintings, gift vouchers etc.

www.filbertsplosh.co.uk will now be exclusively for school events, art courses will not be found on this site

www.filbert-arts.com will be for corporate art events and parties.

New Email addresses

For art courses use: info@paulpriestley.com

For schools use: filbertsplosh@talk21.com

For Corporate use: info@filbert-arts.com

All these email addresses will reach me so it’s not a problem if you use the wrong one. The above changes will take place over the next month or so.

Just for Fun

If you have a few spare minutes click on the links below : On the first website your cursor effectively becomes Jackson Pollock and you can create a Jackson Pollock ‘masterpiece’ just by clicking and moving your cursor around the screen. On the second site you can create a Picasso painting from thousands of small elements of his work. It’s great fun.

http://www.jacksonpollock.org

http://www.mrpicassohead.com/create.html

REQUEST

Do you have any old objects of no value to you that would make great objects to draw? Would you be willing to donate them to me? I need to refresh my collection of drawing objects (I have enough kettles, mugs flowers etc). If you have anything of interest, either bring it with you on a course, or if not please give me a ring and I'll arrange to collect it. Many thanks.

Regards

Paul Priestley

Filbert’s Newsletter: March 2008 - Issue 28

noreply@blogger.com (Filbert Splosh) — Tue, 04 Mar 2008 17:38:00 +0000

Painting with Knives Course: 27 February 2008

Many of the people on this course had very little experience working with palette knives, yet achieved some really good results. After a quick demonstration from me, the first exercise was to paint a small still life. Most did well, but a few found it a little difficult to get to grips with using a knife, so for the next exercise we worked together on a painting a face. To help everyone, and this is a good idea to use when first starting with knives, we drew a few lines on the face showing the direction in which we would apply the paint with the knife. This worked well. In the afternoon everyone started work on a landscape and with only a few tips from me produced some wonderful paintings, as you can see from the few produced here. Congratulations to the following artists: Joe Bubb, Marjorie Stockley, Geoff Gooding, Pat Matthews, Pat Masek and Christine Tutt.

Forthcoming Art Courses

March Courses

How to Draw Anything (1) at Hampton Bishop village hall on 7 March – simple techniques for drawing anything – suitable for complete beginners.
Life Drawing and Painting at Aston on Clun village hall on 8/9 March – a structured exploration of how to draw and paint from life.
How to Draw Anything (2) at Hampton Bishop village hall on 21 March – simple techniques for drawing anything – suitable for complete beginners.

April Courses

Exploring Muted Colours at Hampton Bishop village hall on 8 April – Not a fan of garish colours. Learn how to mix a beautiful range of subtle colours and how to apply these to your acrylic paintings.
Painting for the Terrified at Aston on Clun village hall on 12/13 April - This really is for those with no experience of painting, but with a desperate urge to have a go.
Watercolour and Pen/Ink at Storridge village hall on 15 April – What a contrast, the subtle flow of watercolour and the sharp, dramatic line of pen. Time to be creative.
Painting Music at Aston on Clun village hall on 17 April – Explore how you would represent inspirational music. A great course for those who want to access their inner selves.
Drawing Difficult Stuff Ink at Storridge village hall on 22 April – Everything from animals to perspective.
Life Drawing for Beginners at Aston on Clun village hall on 24 April – If you want to try life drawing and you’ve never done it before, this is your chance to work from a model. Complete beginners welcome

You can book courses online, for details click here

Special Offer

This summer I shall be using a new venue, Burton Court near Leominster. This is a large Georgian house set in lovely grounds with a lake and stunning views. A two course lunch is provided and the normal price of a day course for this venue is £55

There are two courses at Burton Court: Landscapes in Watercolour: 1 July and Landscapes in Acrylic: 25 July. For more details of the courses click here

Both courses are available for £90, a saving of £20 to Newsletter subscribers only.

REQUEST

Do you have any old objects of no value to you, that would make great objects to draw? Would you be willing to donate them to me? I need to refresh my collection of drawing objects ( I have enough kettles, mugs flowers etc). If you have anything of interest, either bring it with you on a course, or if not attending a course, please give me a ring and I'll arrange to collect it. Many thanks.

Regards

Paul Priestley

Filbert’s Newsletter: February 2008 Issue 27

noreply@blogger.com (Filbert Splosh) — Mon, 11 Feb 2008 12:27:00 +0000

Forthcoming Art Courses

February Courses

Painting with Knives at Storridge village hall on 27 February – only using palette knives we look at creating some fantastic images. A great way to get to know how paint actually feels.
Intermediate Drawing (2) at Aston on Clun on 28 February – We look at ways of creating detailed observational drawings using graphite and pencil with emphasis on creating a wide tonal range.

March Courses

How to Draw Anything (1) at Hampton Bishop village hall on 7 March – simple techniques for drawing anything – suitable for complete beginners.
Life Drawing and Painting at Aston on Clun village hall 0n 8/9 March – a structured exploration of how to draw and paint from life.
How to Draw Anything (2) at Hampton Bishop village hall on 21 March – simple techniques for drawing anything – suitable for complete beginners.
Pastel Portraits at Storridge village hall on 22/23 March – drawing faces and exploring colour through pastel

You can book courses online, for details click here

Acrylic Painting Tips

All good quality makes of household paint that are water based are actually acrylic so for a cheap way of painting on a large scale you could do the following: Take a large sheet of sugar paper or cartridge paper and paint both sides with white emulsion paint. It is less likely to wrinkle if both sides are painted. You can use card board, MDF board, almost anything that can be emulsioned you could use as a basis for an acrylic painting.

Keeping Acrylic Paints Workable: Because acrylics dry so fast, squeeze only a little paint out of a tube. If you're using a 'normal' plastic palette invest in a spray bottle so you can spray a fine mist over the paint regularly to keep it moist. 'Stay-wet' palettes – where the paint sits on a sheet of wax paper place on top of a damp piece of watercolour paper – eliminate the need to do this.
Blot your Brushes: Keep a piece of paper towel or cloth next to your water jar and get into the habit of wiping your brushes on it after you rinse them. This prevents water drops running down the ferrule and onto your painting, making blotches.
Opaque or Transparent: If applied thickly – either straight from the tube or with very little water added – or if mixed with a little white, all acrylic colours can be opaque. If diluted with lots of water, they can be used like watercolour paint and to create similar effects.
Acrylic ‘Watercolour’ Washes: When an acrylic wash dries, it's permanent and, unlike a watercolour wash, is insoluble and can be over-painted without fear of disturbing the existing wash. The colours of subsequent washes mix optically with the earlier ones, so a yellow wash over a blue wash will create green.
Think Thin When Thinking Glazes: If you want transparent glazes, these should be built up in thin layers; a heavy layer will produce a glossy surface. Do not add white as this will make the glaze opaque.
Improve Flow Without Losing Colour: Acrylic colours loose their colour strength the more you dilute with water. To increase the flow of a colour with minimal loss of colour strength, use a flow-improver medium rather than water.
Blending Acrylic Paints: Because acrylics dry rapidly, you need to work fast if you wish to blend colours. If you're working on paper, dampening the paper will increase your working time.
Hard Edges: Masking tape can be put onto and removed from dried acrylic paint without damaging an existing layer. This makes it easy to produce a hard or sharp edge. Make sure the edges of the tape are stuck down firmly and don't paint too thickly on the edges, otherwise you won't get a clean line when you lift it. Paint along the edge of the tape and not up to it as this may drive paint underneath the tape.
Washing-up Liquid with Masking Fluid: Masking fluid can be used with acrylics washes, just as you do with watercolours. Once masking fluid has dried in a brush, it's nearly impossible to remove. Dipping a brush into some washing-up liquid before using the masking fluid makes it easier to wash masking fluid out of a brush.
Using Acrylic Paint as a Glue for Collage: Provided it's used fairly thickly and the item to be stuck isn't too heavy, acrylic paint will work as a glue in a collage. Acrylic glaze medium is a much stronger ‘glue’ and will dry to strong, clear and flexible finish.

Regards

Filbert Splosh

Filbert’s Newsletter January 2008 Issue 26

noreply@blogger.com (Filbert Splosh) — Tue, 01 Jan 2008 12:18:00 +0000

A Happy New Year to all subscribers to the Newsletter

Featured Artist: Heather Phillips

‘Ever since I can remember I have always wanted to be able to draw and paint. But having been told at school, when I had painted what I thought was a magnificent picture of a stone cottage, “Heather, I don’t think I should bother any more if I were you, I resigned myself to doodling and drawing stickmen.
Then one day a friend was enthusiastically describing a drawing course she had been on with someone called “Filbert Splosh”. I looked at her “before and after” pictures and decided to pluck up courage and have a go myself. Gradually I became less nervous and found that I was really enjoying myself. Paul’s comments were helpful, suggesting how to improve something rather than damming what I had done! Since then I have been on several courses and am looking forward to my next one, “Painting Landscapes”, using water colours’. Heather Phillips.

Forthcoming Art Courses

January Courses
Landscapes in Watercolour at Aston on Clun village hall on 19/20 January 2008 – Course is Full

February Courses
Kandinsky Explored at Hampton Bishop village hall on 2/3 February – Using Kandinsky’s own teaching methods we explore how he developed his abstracted paintings
Intermediate Drawing (1) at Aston on Clun on 7 February – We look at ways of creating detailed observational drawings using graphite and pencil with emphasis on line and texture
Explore Pen and Ink at Storridge village hall on 17 February – we explore ways of using ink with a variety of pens, some of which you will make yourself!
Painting with Knives at Storridge village hall on 27 February – only using palette knives we look at creating some fantastic images. A great way to get to know how paint actually feels.
Intermediate Drawing (2) at Aston on Clun on 28 February – We look at ways of creating detailed observational drawings using graphite and pencil with emphasis on creating a wide tonal range.

Courses up to September 2008 are now online; new courses include Pop Art Painting, Multimedia Experience and Life Drawing for Beginners. Also 2/3 day courses take place at the new venue of Berrington Hall, a beautiful National Trust Property near Leominster
You can book courses online, for details click here

Watercolour Tips

As the landscape watercolour course later this month has proved so popular I thought I’d mention a few little pointers that might help those of you who prefer this medium to any other. One of the unique qualities of watercolour is that pigments have a tendency to separate when applied to wet paper, even if colours have been thoroughly mixed. This property can create some interesting effects, but can be detrimental when black is involved. I have mentioned before the fact that using black is not a good idea as it tends to deaden colours and the vibrancy of watercolour is then lost. The same problem happens to all colours that contain black pigment namely: Paynes Grey, Davy’s Grey (neutral tint) some of the very dark greens and even Indigo. If you need a black use Ultramarine and Burnt Sienna or Burnt Umber. Alternatively, try using complementary colours – colours opposite on the colour wheel – a little green with a purple/violet can create a dark (black) that is ideal for painting plums and other similar objects. Experiment with your colour mixing!

It is a good idea to stretch paper if using wet on wet techniques, but if the paper is good quality this may not be necessary. Nevertheless, it is a good idea to paint with your board at an angle so that water cannot form pools on the paper. Pools can have their uses, but in most cases need to be avoided.

Remember there is a great difference between pen and wash and wash and pen. Too often a watercolour is painted and the pen is used to simply outline the objects afterwards. This usually results in a tired looking piece of work. Pen and wash means the drawing is completed in pen first, drawn boldly and hopefully with panache and then tinted with watercolour. Wash and pen involves creating washes to establish the essence of a painting, perhaps the sky, middle ground hills and a foreground are established before working with the pen. Perhaps only the foreground objects are established in pen to create depth between the pen strokes and the washed hills. It might be interesting to try the different approaches.

Finally, the main problem with painting with watercolour is using the colour too strongly in the initial stages. Try to think of watercolour as painting with light, the lighter the tone the more transparent it becomes. A colour can always be overlaid with another wash to create a stronger tone.

Happy New Year

Regards

Filbert Splosh

Filbert’s Newsletter: December 2007 Issue 25

noreply@blogger.com (Filbert Splosh) — Mon, 03 Dec 2007 16:10:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Special Offer: Filbert Splosh GIFT VOUCHERS come with free course materials if ordered before 20 December 2007. Order a GIFT VOUCHER online for your special friend: click here for details

Featured Artist: Ann Siviter
About four years ago I attended one of Paul’s ‘beginners drawing ‘days. I had not done art before and was somewhat afraid of drawing, always believing I couldn’t. At the end of that day, to my amazement and wonder I was able to draw and this opened a new world to me. Since then I have been to several classes and courses, including a year at Shrewsbury College of Art. I have experienced various media, acrylics, pastels, charcoal, watercolour and others. Recently, I bought some oils and I am looking forward to trying them. However, my first love is watercolour which I find magical and, although very challenging and in many ways unforgiving, it brings constant surprises which are an endless delight to me. I paint regularly, several days each week, and I find exploring new techniques exciting. I look at the work of other artists and always see effects that I do not know how to do. I try to work out how, spending more time experimenting and playing than in trying to produce pictures. However I have sold a few of my paintings and with the aid of the computer, I print some to make cards which are sold in the local gallery. Ann Siviter

Forthcoming Art Courses
December Courses
Expressive Painting Weekend at Hampton Bishop village hall on 8/9 December 2007 – Explore ways to add personal expression to your painting. Still places left on this course.
January Courses 2008
Landscapes in Watercolour at Aston on Clun village hall on 19/20 January 2008 – Stage by stage techniques – a few places left.
Courses up to September 2008 are now online; new courses include Pop Art Painting, Multimedia Experience and Life Drawing for Beginners. Also 2/3 day courses take place at the new venue of Berrington Hall, a beautiful National Trust Property near Leominster
You can book courses online, for details click here

New Horizons

It is so easy to get into a rut with painting and even more easy to fall into the trap Picasso so aptly described: ‘Success is dangerous, one begins to copy oneself, and to copy oneself is more dangerous than to copy others – it leads to sterility.’ So with a New Year on the horizon perhaps it is time to adopt a completely new approach to the way you work. Why not try some of the following ideas:

Rather than sitting in front of a scene or still life, drawing it carefully before applying paint, why not adopt a different approach. Sit and stare at the scene for about five minutes, note in your mind the things that are important, tones, colours, shapes even the feel or emotion the scene evokes. Move away from the scene, or hide away the still life, now draw what you ‘see’, feel or remember. You won’t be able to put in all the detail, but what you will draw is what is really important about what you have seen and that will be interesting.

Try breaking one of the habits that you have got into with your drawing and painting. Be honest with yourself. Do you rely on drawing only things seen, do you rely on photographs, do you always draw out your idea before painting, do you always use the same colours / colour scheme? Why not ditch the habit, it can be quite a liberating experience. Go on you know you really want to give it a try!!

Don’t forget: Filbert Splosh GIFT VOUCHERS come with free course materials if ordered before 20 December 2007.

Happy Christmas

Regards

Filbert Splosh

If you no longer wish to receive the Filbert Splosh Newsletter please reply to this email and type ‘UNSUBSCRIBE’ in the subject box.

One way of composing a picture

noreply@blogger.com (Filbert Splosh) — Fri, 30 Nov 2007 16:06:00 +0000

One way of composing your picture

Using the method described above we can continually divide a rectangle
This can result in the divisions shown alongside in the painting Flatford Mill by John Constable
Notice how the trees, river and horse are lined up with the diagonals

Filbert’s Newsletter: November 2007 Issue 24

noreply@blogger.com (Filbert Splosh) — Thu, 01 Nov 2007 14:07:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

With Christmas on the horizon why not consider giving a Filbert Splosh GIFT VOUCHER? Printed on natural ivory linen paper with canvas texture and presented in a gold envelope, Filbert Splosh GIFT VOUCHERS make an ideal gift for a budding artist. Order you GIFT VOUCHER online: click here for details

Featured Artist: Christine Tutt
I enjoyed painting during my school life and passed 0 level Art. Work and family commitments then took over and, apart from one or two evening classes widely spaced apart, and drawing with my children and grandchildren I have not done any artwork. About five years ago I was introduced to painting on silk with steam-fix dyes. Through my passion for this as a hobby I got interested in the idea of painting and drawing again. I went visiting studios during an H'Art week. One of the studios was Paul's. I decided that I liked his approach and would attend one of his courses. The rest, as they say, is history!
I now have several courses under my belt. All of them have been truly inspirational and often challenging. I love working in acrylics which I have never used before. All the courses have been great but the life drawing class was amazing, I was rather nervous and feared it might be embarrassing. How wrong can you be, an absolutely fascinating day with such a professional model. The latest course has been the Abstract painting weekend. A most challenging weekend but so interesting and it has changed my mindset on abstract painting completely. Plans for the future – to spend more time painting and, of course, to attend more courses! Christine Tutt

Forthcoming Art Courses
November Courses
Life Drawing in Pastel at Aston on Clun village hall on 4 November 2007 – With a great model we explore subtle and expressive ways of drawing the nude.
Starting with Acrylics at Storridge village hall on 6 November 2007 - How to get started with acrylics.
Matisse Painting Day at Hampton Bishop village hall on 13 November 2007 – Great for those who love colour and a bold vision
Understanding Colour at Abberley village hall on 18 November 2007 – Everything you need to know about colour.
Portrait Painting Weekend at Storridge village hall on 24/25 November 2007 – Understand how to draw and paint faces
Drawing with a Brush at Aston on Clun village hall on 29 November 2007 – A great way to loosen up your technique. Just one place left!
Some Places Available on all courses. Remember you can book courses on line, for details click here

Painting lifelike Flesh

The problem with painting flesh colours is that the shadows often look dirty and not too convincing. Taking just white flesh, because dark flesh is a completely different range of colours, we shall have a look at how to start. The colours I use are: Titanium White, yellow ochre, light red, indian red, Alizarin crimson, cadmium red, cadmium yellow light and cobalt blue. Generally speaking I mix a standard flesh tint in the following proportions: 5 parts white, 1 part yellow, half a part of red; the mixtures are approximate. A cool flesh tone would use Titanium white, yellow ochre and Indian Red, a warm flesh tint Titanium White, Cadmium Yellow Light and Light Red. Variations on this theme could be to replace Indian red with Alizarin Crimson in a cool tint and light red with cadmium red for a warm tint. The highlights can be a mixture of alizarin crimson and titanium white for cool areas and cadmium red and titanium white for warm areas.

Shadows, if they are very deep, could be a mixture of Indian red and Cobalt blue, this creates a cool mauve colour which is ideal. Don’t be afraid to use blues, purples and mauves in shaded areas. As a very simple rule the areas of the face that are in shadow or further away paint in cool tones, the areas closer to you in warm tones. Obviously this will vary depending on light, angles etc. Lines on the face can be defined with Indian Red but this might need toning down depending on the general colour scheme chosen.
Try to avoid mixing flesh colours with blue because they will be come muddy very quickly, also avoid the earthy brown colours (burnt umber for example) as they too become muddy when mixed with flesh tints

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: October 2007 Issue 23

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 14:47:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Paintings:

I recently ran a 3 Day course called Creative Pointers and I was so impressed with the work that I thought I would show you some of the paintings produced.

The idea behind these paintings was to explore multi-viewpoints in other words, drawing the objects for the paintings from different positions. This was combined with the idea of making a multimedia painting. So you can see that individuals have used newspaper, leaves and even J cloths.

The results are amazing and a real credit to those who produced the paintings. You can see what can be achieved when you let your imagination have a free rein.

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three images. You can post the information if you prefer.

Forthcoming Art Courses

October Courses
Beginners’ Drawing Weekend at Storridge village hall on 6/7 October 2007 – Designed for absolute beginners and different from my other courses of the same name.
Drawing Animals at Aston on Clun village hall on 11 October 2007 - Simple ways to draw animals
Expressive Drawing at Hampton Bishop village hall on 16 October 2007 – Ways to create a powerful vision
Abstract Painting Weekend at Aston on Clun village hall on 27/28 October 2007 – Lots of abstract concepts expressed visually, great fun.
Some Places Available on all courses. Remember you can book courses on line, for details

click here

Challenging Ideas for Acrylic Painting

A lot of you have used acrylic paint and have found it a very versatile medium to use. I have put together a few ideas here that you might like to consider when creating your own masterpieces.
· If you want to create straight edges in your painting you can use masking tape, but you can also used the masking fluid designed for watercolour for more elaborate masking. One problem – it is advisable to remove the masking fluid as soon as possible, if it is left for more than about 12 hours it can be difficult to remove.
· If you want to create some great texture effects try loading the brush with two colours. Using a flat or filbert brush carefully dip one side of the brush in one colour, then the other side in another colour. Dragging the brush over the painting surface will produce a stripped effect, stippling the brush produces wonderful effects that can be adapted for painting such things as trees for example.
· Remember acrylic paint can be applied with lots of items to create special effects. Tie a knot in a piece of string, paint the string in green and put a blob of yellow on the knot. Flick the string at the canvas, instant daffodils or grasses. Imagine taking a piece of material with a very frayed edge, lay this on your painting and paint from the material over the frayed edge onto your work. The result is a wonderfully textured effect that could be grass, hair or whatever.
· A good tip for acrylic/oil painting is to make highlights very thick and shadows very thin. This helps to create a 3d effect. To create a long thick highlight fully load your brush with paint and as you apply the paint rotate the brush so a thick ridge of paint is left along one edge.
· Finally, it is possible to mix various inert substances with acrylic paint to create textures. Sand, talcum powder, fine sawdust can all be mixed with the paint to create rough sections. I would recommend using an old brush.

Gift Vouchers
Why not give a Filbert Splosh gift voucher to your special someone for Christmas or birthdays. Gift vouchers can be used to pay for part or a whole course and you would be giving someone a wonderful opportunity to expand their own creativity. CLICK HERE for details

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: September 2007 Issue 22

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 14:42:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Event: Herefordshire Art Week, 6 to 16 September

H.Art Week is a big event in Herefordshire. People often come to the county for the week and ‘do’ the pubs, the Black and White trail (the lovely medieval villages) and of course, the numerous studios and galleries that are open, free of charge to the public. Look out for the big PINK H.Art signs. The H.Art brochure, containing details of all the open studios (about 120) can be picked up from Information Centres, Libraries, shops, galleries etc for you to plan your route.

My own studio is open for the whole time apart from Monday 10 September when it is closed. I have a whole series of new paintings on show of which this is one. These works put a new slant on some of the great painters and their work. I have been working on this theme for some time and this will be the first time the paintings have been seen, so I’m looking forward to seeing what the response will be.

Why not pop in, have a chat and a cup of tea and see what I get up to with my work, you will be most welcome. The studio is open from 10.30am until 5.30pm everyday except 10 September.

Directions: Coming from Leominster take the road to Richards Castle and as you enter Luston you will see the Balance Inn on the right hand side of the road. About 100 yards further on you’ll see the large PINK H.Art sign on the left hand side. Pull into the drive, we have parking for about 5 cars. I look forward to seeing you.

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three images. You can post the information if you prefer.

Forthcoming Art Courses

September Courses
Special Effects in Watercolour at Storridge village hall on 25 September 2007 - If you want to extend your range of techniques this is the course for you.
Inspired by O’Keefe at Abberley village hall on 30 September 2007 - Experience the passion O’Keefe brought to flower painting
Beginners’ Drawing Weekend at Storridge village hall on 6/7 October 2007 – From complete beginner to drawing with great confidence and all in one weekend.
Some Places Available on all courses. Remember you can book courses on line, for details

click here

Watercolour Painting Tips

Do you find the shadows you paint often look a bit dead, flat, too dark or have you been know to use BLACK!? If any of these points apply, I find a good solution is to use a mixture of Alizarin Crimson and Ultramarine. This mixture floated over any colour underpainting – provided it is dry and you do not brush to such an extent that it mixes with the underpainting, creates a wonderful effect. It’s worth a try.

If you use masking fluid, you’ll know that it does have a tendency to stick to the brush and is sometimes difficult to remove. Try dipping the brush in water that contains a little washing up liquid first – take of the excess fluid with a paper towel. Apply the masking fluid them IMMEDIATELY clean the brush in the water/washing up liquid mixture and things should be fine.

If you haven’t yet got a large piece of watercolour paper and mixed combinations of your watercolours to see what the results are, then you should set aside some time to do this. I know it’s boring but it is a very worthwhile exercise. Assuming you can simply mix red and blue together and it will produce a lovely purple / mauve is not always the case, you can just as easily end up with a sludgy brown. This is because some blues e.g. Prussian Blue has a green bias, mixed this with Vermillion which is orange bias and you have mud. Ultramarine mixed with Crimson which is blue bias makes a perfect purple. Watercolour painting is dependent on good colour mixing and you knowing what will happen when two colours are mixed.

Recommend a Friend
This is becoming popular way of earning a £10 voucher. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: August 2007 Issue 21

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 14:39:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Introduction

This is very much a truncated newsletter this month what with holidays, courses and preparation for H.Art week time is at a premium – normal service will be restored next month.

H.Art Week 6 – 16 September 2007
Open Studio

As some of you are aware H.Art week is coming soon. Over 100 artists based in Herefordshire are opening their studios to the public for the ‘week’, together with galleries and craft centres. My studio will be open 10.30am until 5.30pm on everyday except Monday 10th September. I have a new range of paintings to show which is a new direction for me, so if you want to see what I get up to come along and have a look. No booking is required just turn up and you might also get a cup of tea and a biscuit.

Painting Holidays in France

One or two people have expressed interest in this new venture of mine. I am working with the French House Party Experience. They are a local company (Abberley) who run painting holidays in Domaine St. Raymond in Carcassonne, France. The holidays include accommodation in a lovely villa, plus wine tasting and lots of other stuff. If you are interested in painting where a lot of the great French painters worked, this could be the holiday for you. I’m involved in painting holidays at the end of this September (still places available I understand) and in May 2008. If you want to know more click here for details

Forthcoming Art Courses

August Courses
Creative Pointers at Cradley village hall on 20/21/22 August - Lots of creative starting points to give your painting an individual approach.
Landscape Masterclass at Broadfield Court on 23/24 August – This course is aimed at those who wish to develop their landscape painting on an individual level.

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: July 2007 Issue 20

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 14:36:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Artist: Rob Drayton

I love walking in the hills, and I would dearly like to capture some of the magic of the mountain landscape on paper. The two areas I know best – Wales and the Swiss Alps - are very different in shape and colour and climate, but they pose similar challenges. Or rather, they present similar artistic opportunities.

For me, the main challenge is to capture the transient scenes that you get in poor weather – the shifting softness of the misty landscape, the sudden glimpses of crest and ridge through broken cloud. I think David Bellamy is particularly good at this in his ink/wash sketches and drawings. Equally I am drawn to the way that smaller features of the landscape provide opportunities for a much more abstract style, whether it is the smoothly repeating curves of the Brecon Beacons or the jagged, fractured scenery of the Alpine glaciers. I love Kyffin Williams’ representations of the tumbled boulders of Snowdonia, especially his watercolour sketches, which are so vibrant. Equally, though I admire Emrys Davies’ sombre powerful charcoal drawings of the typical elements of the Welsh scene – the cottage on the hillside, a fragment of stone wall.

Paul’s classes have liberated me, and I find enormous pleasure in using the thick graphite sticks on large pieces of paper - a far cry from the foolscap and HB pencil of my childhood. The ink-sticks cut from the hedgerow also give me a far more free and physical approach to using ink than I had thought possible.

The most important lesson that I have learnt is the recognition of tone (not line) as the foundation of the drawing. I am going to concentrate on graphite sketching for the immediate future, but my longer term aim is to learn the fundamentals of colour wash, so that I can confidently move on to ink/wash and wet-on-wet techniques, which I think will be my preferred way of tackling landscape.

Rob Drayton

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three images. You can post the information if you prefer.

SPECIAL OFFER
· The Super Duper Drawing course at Hampton Bishop on 18/19/20 July covers a lot of new ideas about drawing and uses lots of different mediums such as graphite, pencils. charcoal, chalk, pastel, pens and even making your own drawing implements! If you are interested in drawing, this is definitely the course for you. I have four places available on a three for two offer – you get three days for the price of two: You PAY £95 instead of £145, a bargain. All materials are included.
To take up this offer you must inform me by Thursday 12th July. Click here to email me now.
INVITATION
· From 9th to the 13th July I shall be in the Old House (the large black and white building in Hightown) in the centre of Hereford working with a student on a project to produce a piece of art to stimulate primary school children during their literacy hours. The idea of the art work is to paint elements of a picture on to multiple sheets of acrylic so that when they are stacked together they make a picture. The sheets can be shuffled and the will be backed by a mirror so the viewer can also become part of the scene. If you want to pop in at anytime and see how things are progressing I’d be really pleased to see you.
· The Old House is open on Tuesday through to Friday 10.00am until 5.00pm. Dates 10 July – 13 July inclusive.

Forthcoming Art Courses

July Courses
Using Perspective at Aston on Clun village hall on 15 July 2007 - All you need to know about perspective in fun and easy chunks.
Painting for Beginners at Cradley village hall on 16/17 July 2007 - Specially designed for beginners and those wanting to experiment a bit.
Super Duper Drawing at Hampton Bishop Village Hall on 18/19/20 July 2007 – All drawing techniques covered with lots of experimentation
Painting Holiday: Want to spend 3 days painting, have a great meal with wine for lunch and wonderful surroundings to work in? Why not consider coming on the Herefordshire Painting Holiday at Broadfield Court Vineyard. It should be a great way to spend three days. For details click here
O’Keefe in Coloured Pencil at Aston on Clun village hall on 29 July 2007 – large scale drawings, bold images great fun

Recommend a Friend
This is becoming popular way of earning a £10 voucher. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Let’s appreciate Art

And finally to you

Over the past year or so we have looked at art from many different perspectives, but there are so many aspects and elements in a work of art it is almost impossible to completely understand everything. Your own attitudes, beliefs and education as well as your ability to open your mind will affect the way you appreciate art. You can be as profound and wide-ranging as your capacity permits. Making judgements about art is a very subjective business, nevertheless comments such as: ‘that’s rubbish’, or ‘a brilliant piece of work’ should be avoided, unless of course you can substantiate your view. If you can, your view whatever that might be, is just as valid as anyone else’s.

The more you look, think and create, the more you will see, feel and understand what art is really all about. Remember art is very much like life, the more you experience it the more you realise it has to offer.

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: June 2007 Issue 19

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 14:31:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Artist: Marjorie Stockley

“When I was 13 or 14 years old, I had an Art Master who tore up all my work because he said it was not ART. This discouraged me somewhat! Slowly, over the next 50 years, I began to think he was wrong and that I should try to find out if I could draw and paint. But it took another 10 years before anything happened. Then I picked up one of Paul’s leaflets advertising his courses. I already knew Paul and this gave me confidence to enrol in one of his classes. With trepidation I arrived at the hall.

The first thing I did was absolutely lousy. I felt so awful that I could have gone home. But by the end of the day I had produced something which – whilst miles from being any good – at least gave me hope. Since then I have been on many of Paul’s courses, and everytime I have gone home feeling I have made a step forward.

I have now got to the stage where I know that, with Paul’s help, one day I will produce something that I think is worth framing.” Marjorie Stockley

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three images. You can post the information if you prefer.

A chance to Exhibit YOUR Work
As mentioned last month I am investigating the possibility of setting up an exhibition of work produced by people who have attended one of my courses. It is likely to take place sometime in October or November. The idea would be to hire a hall for a weekend, somewhere where there would be passing trade. There would be a small charge to cover the costs of hiring the hall / publicity and probably a limit of 5 pieces of work by any one individual. All work would have to be either mounted or framed and offered for sale. There would be no selection committee or the like – all work will be accepted. I’m thinking of charging a 10% commission on sales – yes I expect lots of sales – and perhaps donating the proceeds to a charity.

So far I have had only three people expressing an interest. If you have agreed to take part – great- but if you are one of those who possibly feel interested, but wonder whether your work is good enough. Put aside your fears get your brushes out and have a go. It will be great to receive your work and even better to prove all those old art masters wrong. Why not go for it!! All you have to do is reply to this email to express your interest- this exhibition needs YOU!!

NEWS
· During the second week of July I shall be in the Old House (the large black and white building in Hightown) in the centre of Hereford working with a student on a project to produce a piece of art to stimulate primary school children during their literacy hours. The idea of the art work is to paint elements of a picture on to multiple sheets of acrylic so that when they are stacked together they make a picture. The sheets can be shuffled and the will be backed by a mirror so the viewer can also become part of the scene. If you want to pop in at anytime and see how things are progressing I’d be really pleased to see you.
· The Old House is open on Tuesday through to Friday 10.00am until 5.00pm. Dates 10 July – 13 July inclusive.
· When my new leaflet is produced in July you will notice a change on the inside. Having spoken to a number of people it appears that there is a preference to have courses listed in date order, rather than listed under each village hall. I hope this makes it easier to select courses. If you have any comments to make please let me know.

Recommend a Friend
This is becoming popular way of earning a £10 voucher. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE
Christmas Parties
Are you planning a Christmas Party and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Picture the response when Salvador Dali bursts into your party and takes it over. Imagine re-creating his life with your guests as characters – they are supplied with everything they need. It is a truly memorable, unusual and very funny experience. I am taking bookings for parties already. If you would like to discuss your requirements or find more information why not give me a call on 01568 617433.

Forthcoming Events

June Courses
Watercolour and Pen and Ink at Hampton Bishop village hall on 9/10 June 2007 we shall be experimenting with allsorts of pens.
Drawing Landscape at Hampton Bishop village hall on 17 June 2007. Hampton Bishop is a lovely village, fantastic views.
Abstract Landscape at Cradley Village Hall on 23/24 June 2007 – Some really inspiring ways of using landscape to create abstract paintings.
Forthcoming course: Want to spend 3 days painting, have a great meal with wine for lunch and wonderful surroundings to work in? Why not consider coming on the Herefordshire Painting Holiday at Broadfield Court Vineyard. It should be a great way to spend three days. For details click here

Let’s appreciate Art

3rd Element of Art: Context
Last month we looked at the artist this month we look at the prevailing climate.

The prevailing Political, Economic, Social or Religious Climate

The political, economic, social or religious climate in which an artist worked can have a profound effect on what he produces. For example, an artist working in Nazi Germany during the 1930’s had to follow the strict guidelines laid down by the Nazi party if they were to function as artists. The Nazi’s preferred style was a form of Social Realism; figurative painting that glorified the Fatherland and all who worked for it and in it. Artists such as Emil Nolde and thousands of others who chose to work in different styles were declared degenerate and in some cases persecuted. Most of these artists chose to leave and emigrate, primarily to the USA, where they established a strong foothold. It was through the teachings and influence of these artists that America would come to dominate the art world in the 50’s and 60’s with movements such as Abstract Expressionism and Pop Art. The artists who remained and followed the dictates of the Nazi Party and produced work that today looks either bland or sinister, with its glorification of state controlled ideals. It is interesting to note the similarity between paintings produced under despotic regimes of both left and right.

In 1840’s France where the economic conditions for the peasants were dire, some artists, notably Gustave Courbet chose to fight their cause by painting huge pictures of the plight of the poor with his Trilogy of Realism of 1848. The paintings, which were initially displayed in the Louvre in 1850 before the Emperor Napoleon III demanded their removal, were important in emphasising the social conditions of the poor. The paintings formed the basis of Courbet’s Realism that was built on strong socialist principles and quite at variance to the prevailing political climate. It took an artist of very strong conviction (and massive ego) to produce work of this type given the political conditions of the time. If we look at these paintings we see the strength of Courbet’s will shine through, we also see a certain arrogance which no doubt gave him the strength to cope with the criticism he received. We see these works today as important statements of social realism; a 19th century version of what you see is what you get.

If we go further back in time art during the Renaissance was very much influenced by the powerful patrons of the day, the Church and the Medici family being notable examples. I some ways Charles Saatchi performs a similar role today, in his support of what became known as the Young British Artists, of whom Hirst and Emin are prominent.
Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: May 2007 Issue 18

noreply@blogger.com (Filbert Splosh) — Fri, 26 Oct 2007 11:05:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Artist: Denise Blade

“Art is something I save for quiet times, holidays and winter nights as a way of relaxing away from the pressures of work and I like the work of impressionist and surrealist painters. My art education is an ‘O’ level GCSE gained at secondary school, but I have always doodled and drawn pictures, in the distant past favouring pencil and charcoal to paints.

Several years ago I discovered wet on wet oils and thoroughly enjoyed being able to mix paint on the page and scrape of the mistakes! The only difficulty being they take so long to dry and without a studio it is very difficult. I have concentrated mainly on landscapes in the past but have rarely been happy with my work preferring to enjoy the experience rather than display the results.

However having participated with Paul on two of his courses I find myself drawn to acrylics and surrealism (in its widest form) and can’t wait to develop ideas and have a go at something large! I now feel more comfortable with what I produce and will spend much longer developing the finished picture. I have also discovered an ability to paint with my left hand (my dominant is right) having fractured my thumb and have found the paintings are freer, more open and expressive.” Denise Blade

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three images. You can post the information if you prefer.

A chance to Exhibit YOUR Work
I am investigating the possibility of setting up an exhibition of work produced by people who have attended one of my courses. It is likely to take place sometime in October or November. The idea would be to hire a hall for a weekend, somewhere where there would be passing trade. There would be a small charge to cover the costs of hiring the hall / publicity and probably a limit of 5 pieces of work by any one individual. All work would have to be either mounted or framed and offered for sale. There would be no selection committee or the like – all work will be accepted. I’m thinking of charging a 10% commission on sales – yes I expect lots of sales – and perhaps donating the proceeds to a charity.

At this stage it is very much just an idea. It will become a reality if enough people show an interest in exhibiting their work. If you are interested in taking part or have any ideas or suggestions about where it could take place, how it could be organised etc. please reply to this email. This would be a great opportunity to have the public see your work – so get the brushes out and get painting, this exhibition needs you!!

Recommend a Friend
This is becoming popular way of earning a £10 voucher. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE
Christmas Parties
Are you planning a Christmas Party and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Picture the response when Salvador Dali bursts into your party and takes it over. Imagine re-creating his life with your guests as characters – they are supplied with everything they need. It is a truly memorable, unusual and very funny experience. I am taking bookings for parties already. If you would like to discuss your requirements or find more information why not give me a call on 01568 617433.

Forthcoming Events

May Courses
Beginners’ Drawing Weekend at Aston on Clun village hall on 5/6 May 2007 tell your friends this really is for complete beginners.
Life Drawing/Painting Weekend at Aston on Clun village hall on 12/13 May 2007. Our fantastic model, charlotte will be here again. Still a few places left.
Novice Drawing (2) at Abberley Village Hall on 27 May 2007 – This course covers the basic elements of drawing: line and tone and no previous knowledge is assumed.
Watercolour / Pen and Ink at Abberley Village Hall on 29 May 2007 – A great venue to explore the differences between watercolour and pen and ink
Watercolour Coloured Pencil at Abberley Village Hall on 30 May 2007 – Two different mediums and techniques, where will you put the emphasis?
Forthcoming course: Want to spend 3 days painting, have a great meal with wine for lunch and wonderful surroundings to work in? Why not consider coming on the Herefordshire Painting Holiday at Broadfield Court Vineyard. It should be a great way to spend three days. For details click here

Let’s appreciate Art

3rd Element of Art: Context
Over the past few months we have looked at the first two elements of art: Form and Content. We are now going to consider the third Context. Context concerns the circumstances: time, place, political climate, social attitudes etc. in which the work of art was produced. We can subdivide context into three main categories; The Artist, The prevailing Political, Economic, Social or Religious Climate and Reception: Then and Now. This month we shall look at the artist.

The Artist
Here we need to consider the artist’s attitudes, beliefs, interests, and values, as well as his education, training and life history. We can also try to find out something about his psychological state. All these factors will influence how the artist produces his work. Let take Vincent van Gogh as an example. He was an artist who was essentially self-taught and had to cope with medical problems, personal rejection and extreme poverty. It is not surprising therefore that his work is almost entirely auto-biographical in the sense that even his still-life’s seem to reflect his inner torment.
In contrast Edouard Manet, the French Impressionist painter, was the son of a senior civil servant and inherited a vast fortune from his father when just thirty years old. His upper-middle class background was important, because although he can be seen as a rebel – see his painting Olympia 1863 or Dejeuner sur l’herbe 1863 – he was actually a rather conservative individual who sought the traditional honours offered by the Salon (the French equivalent of the Royal Academy). Unlike Van Gogh he could afford to buy paint when he wanted and chose, by and large, to reflect middle-class society in his work. The controversial element of his painting seemed to have been produced almost by accident, yet it was this very controversial element that endeared him to the Impressionists, who saw him as a painter who was moving away from tradition.
We should also consider the artist’s intentions, but this should be handled with great care, because it can become a mind field of assumptions. In the vast majority of cases we have no idea what the artist really intended in a painting, unless there is firm documentary evidence. We can make an educated guess based on some of the issues we have previously considered, or our knowledge of the artist and his life, but it remains an educated guess without evidence. An example, of how dubious assumptions can be in art appreciation is best illustrated by the following example.
Numerous art critics point to Picasso’s depression and poverty as the reasons behind his Blue Period paintings of around 1905, yet years later, during an interview, Picasso remarked that the reason for the Blue Period paintings was ‘because I could only afford to buy blue paint’! Was Picasso joking, or was he serious, who really knows?

Happy Painting

Regards

Filbert Splosh

Filbert’s Newsletter: APRIL 2007 Issue 17

noreply@blogger.com (Filbert Splosh) — Mon, 22 Oct 2007 18:09:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

WIN a set of Watercolour Brushes! See Below for details

Featured Artist: Pat Hawkings

‘I love the arts, be it paintings music or theatre. I like the more traditional artwork and have many favourite artists but some include Michelangelo, Rubens, Constable, Stubbs and some impressionism.

As a child, horses were the main subjects of my drawings, creatures for which I have always held a passion. Later when I left school and attended a college course that included art on the syllabus, it progressed to heads with hairstyles. After this my artwork became dormant until a couple of years ago when my interest was re-awakened. I now like to paint a variety of subjects in either acrylic or watercolour. Probably my favourite subjects now are flowers. I have my own small studio in the grounds of our home which I can hide myself away in and dream of creating a masterpiece.’ Pat Hawkings

If you would like to have your paintings featured here please email me a short statement of what drives you to paint (200 words maximum) and two or three photos. If you prefer you can post the information.

Filbert Splosh’s News

Exhibition at Leominster Library
From 4 April to the 27 April I shall be exhibiting my paintings at the library in Leominster. There will be a number of landscapes on show together with portraits and other paintings. As you might expect they are pretty bold and are created with strong colour schemes. I shall be doing the artist in residence bit on the 5, 10, 16 and 20 April from 10.00am until 3.00pm. The library is open every day except Sundays, Mondays and Good Friday
RECOMMEND A FRIEND
This is becoming popular way of earning a £10 voucher. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE
Party Events
Do you or a friend have a special birthday on the horizon and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Image, half way through your party Salvador Dali arriving and taking over everything. Image re-enacting his life story with your guests as characters – they are supplied with everything they need. Image what fun it would be, especially if you included a practical element as well – which would not require any artistic ability but is great fun. You could finish off your evening with Filbert’s equivalent of the Turner Prize. A truly memorable experience. For more details click www.filbertsplosh.co.uk/party.htm

WIN a set of watercolour Brushes

If you book any of my courses before 15 April you will be entered into a free Prize Draw. The winner will receive a set of water colour brushes (Rounds No’s 2,4,6,8 and a Flat No.10 plus a copy of my book Filbert Splosh’s Guide to Art Appreciation. Cheques must be received by me before 15 April, alternatively you can book courses online at www.paulpriestley.com

Forthcoming Events

April Courses
Novice Drawing (1) at Abberley Village Hall on 15 April 2007 – This course covers the basic elements of drawing: line and tone and no previous knowledge is assumed.
Surreal Painting at Aston on Clun village hall on 21/22 April 2007 – Not as extreme as Dali but great fun. We use some interesting methods to tap into our inner selves to generate ideas. A great course for those who find it hard to produce ideas or who have artist’s block!
Painting in Grey at Aston on Clun Village Hall on 28/29 April 2007 – If you are interested in colour and colour mixing this is the course for you. No black is used, just blue ‘greys’, red ‘greys’ and a multitude of subtle ‘greys’. If you want to develop your understanding of colour this is the course for you.
Forthcoming course the Life Drawing/Painting Weekend is proving very popular – must be something to do with the return of our very professional model, Charlotte. If you are considering this course, I would suggest booking up or at least reserving a place as soon as possible.

Let’s appreciate Art

Content in Pictures
Modern Method
Last month we looked at the traditional approach to judging paintings based on the genre in which the painting was produced. The more modern approach is to consider each painting on its own merits. To do this we need to start with what we can deduce from the painting based on what we know. Unlike the traditional approach there is no hierarchy here.
What you know
This is the easy bit. What you know simply means looking at the painting and describing what is seen. For example we might see a balding man standing in a room in front of an elaborate cabinet. He is wearing military uniform on which medals are pinned. He is obviously from a past age. Our appreciation of the painting is based purely on what we can describe and is seen in the painting. Remember here we are just concentrating on the content of the painting, not the other elements we looked at under Form. At this point some people will move on and look at another painting, whilst others who realise the man is Napoleon will being to delve a little deeper to what we understand.
What we Understand
As we can see the move from what we see to what we understand takes a certain level of knowledge, the knowledge to recognise the fact that the man in the painting is Napoleon.
Other elements that would add to our knowledge in this area are an understanding of the symbols that are often used by artists to tell the story of the painting. There are many symbols that an artist could use, it would be impossible to list them all here. A few examples will suffice:
A skull shown next to an egg timer can symbolise that man is mortal and sometime in the future his life, like the slipping sand, will end.
A red rose signifies martyrdom, a white rose purity. They are often seen being held by the young Christ or the Virgin Mary. Goats signify lust. Figures with hairy legs or hooves or goat-like features can also be seen as lustful. An egg always symbolises rebirth, hence the link with Easter.

As we can see from the few examples above once we understand something about the symbols and signs – effectively the words of the painting we have a better chance to understand the language of the painting.

Happy Easter

Regards

Filbert Splosh

Filbert’s Newsletter: March 2007 Issue 16

noreply@blogger.com (Filbert Splosh) — Mon, 22 Oct 2007 18:05:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Artist: Jim Williams

‘I started painting about 3 - 4 years ago after picking up a magazine in the airport enroute to Gozo. My wife - Anne - and I collected several issues which came complete with a pan of watercolour paint and projects to complete. We both attended one of your courses in 2006 on Pen & Wash. I have since brought some 'proper paints and brushes' and have hopefully improved a little from my first attempts. I have about a dozen framed pictures around the house, at least they serve to cover a few damp patches, but I am quite pleased with them.’ Jim Williams

I still need more of your to submit your work for the featured artist slot. Maximum of 200 words and two or three images would be great. I have an artist for next month but am waiting for someone who would like to be featured in May. Come on get those paint brushes working!

Filbert Splosh’s News
New Venue
In April I shall be using a new venue Abberley village hall in the village of Abberley near Great Witley. It’s a very modern venue with wonderful facilities and great views. The courses taking place there are all one day events and include Novice Drawing courses, Watercolour Painting courses and Pastel courses. If you know of someone who might like to take advantage of these courses why not Recommend a Friend and earn yourself a £10 M&S voucher? Details can be found at http://www.paulpriestley.com
Party Events
Do you or a friend have a special birthday on the horizon and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Image, half way through your party Salvador Dali arriving and taking over everything. Image re-enacting his life story with your guests as characters – they are supplied with everything they need. Image what fun it would be, especially if you included a practical element as well – which would not require any artistic ability but is great fun. You could finish off your evening with Filbert’s equivalent of the Turner Prize. A truly memorable experience. For more details click www.filbertsplosh.co.uk/party.htm
RECOMMEND A FRIEND
This is becoming popular way of earning £10. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Forthcoming Events

March Courses
Impressionist Painting Weekend at Storridge Village Hall on 10/11 March 2007 – A great opportunity to explore the work of the Impressionists and indulge yourself in their passion for colour and light.
Still Life Painting Day at Hampton Bishop village hall on 19 March 2007 – This course is specifically designed to add some umph to your still life paintings, different viewpoints, making insignifinant object look powerful, and some unusual objects to work from.
Inspired by Hopper at Leintwardine Village Hall on 24/25 March 2007 – A very evocative painter, someone who managed to create mood in his paintings. This is a great course for those who want to explore feelings and and colour in painting.

Let’s appreciate Art

Content in Pictures
Continuing our look at content in pictures, outlined below is a brief description of the traditional genres in strict order of importance as applied by our Victorian forebears. As mentioned last month this is why Turner (history painter) received his RA in his early 20’s whereas Constable (a mere landscapist) has to wait until his mid 40’s.
1. History
This genre, the most highly regarded, includes the depiction of famous battles and great political or social incidents. In its broadest sense it also included classical mythology and biblical themes. Before the 20th century any ambitious painter worth his salt had to succeed as a history painter, if he was to attract lucrative commissions and become prosperous. Examples of typical history paintings would be; Jacques Louis David’s painting of Napoleon crowning himself as Emperor, or John Singleton Copley’s painting of the Death of Major Pierson.
2. Megalography
This is an unusual word for something quite straightforward. Essentially, this is about how artists glorify individuals, like Kings, Emperor’s or political leaders to such an absurd level that they become more like gods or deities than ordinary mortals. A good example would be, Napoleon crossing the St Bernard Pass by Jacques Louis David. In this painting Napoleon is seen riding his horse up a very steep mountain on horseback. Napoleon, who was barely 5 feet in height, looks a huge man on the horse that appears to have no trouble running up a steep rock face. The implication is that only Napoleon could take an army over the Alps, against such impossible odds, much in the way that Hannibal had done. To Frenchmen who had never seen Napoleon, the impression created from this portrait makes him seem almost god-like.
In the painting Roses for Stalin by the almost unknown Russian painter Boris Vladimirski, Stalin is dressed in a white suit, staring into the middle distance surrounded by admiring children bearing roses. The implication here is the children – often used as a symbol of the future – are looking to Stalin to lead them (the future of Russia) to a pure (white suit) and fulfilling destiny. Rather ironic when we consider Stalin was responsible for the slaughter of 32,000,000 Russians in his purges. This painting brings to mind the scene shown on TV during the Gulf War of 1991 when Saddam Hussein surrounded himself by frightened children in an effort to show that ordinary Iraqi’s were safe in his hands.
3. Mythology
These are paintings based around the stories of gods, goddesses, nymphs and heroes, fairies and leprechauns from the great works of literature. Occasionally, these paintings are based on Norse, North European or Celtic mythologies, but are generally Greek or Roman. Examples are; Richard Dadd’s The Fairy Fellers Masterstroke, his painting of Shakespeare’s Mid Summer Night’s Dream, or any painting of a beautiful naked woman usually standing on a shell, with doves, swans, dolphins swarming around her. She may also be holding a torch or rose, doing little other than standing, stretching or reclining, alternatively she will be at her toilet. For the sake of respectability she will often be called Venus.
3. Religion
Religious paintings depict images and scenes taken from texts such as the Bible and the Koran. Typical examples would be; Madonna and Child Enthroned painted in 1280 by Cimabue or Michelangelo’s Sistine Chapel painted circa 1540.
4. Portraiture
These paintings are concerned with capturing the likenesses of a real person or animal. Portraiture, until relatively recently, concerned itself with representing people of the higher echelons of society (although not exclusively). This was because those people were able to afford the artist’s fee. Artists have also expended a great deal of time painting themselves, particularly when times were hard. Probably the greatest series of self-portraits ever painted were those by Rembrandt van Rijn. They give a real insight into the feelings and emotions of a man as he experienced the highs and lows of life and the ravaging effects of ageing.
5. Landscape
Paintings in this genre usually use both rural and urban places as their starting point. Artists are often concerned to ‘record’ a real scene as in the case of John Constable’s ‘Salisbury Cathedral from the Bishop’s Grounds’ 1823, or they imagined the scene – occasionally taking buildings from quite different locations and putting them into the same painting. These fantasy landscapes or Capriccio’s as they are known were popular in the 17th and 18th centuries. Artists such as: Canaletto, Guardi and Panini created Capriccio’s.
Landscape painting came into its own in the 17th century particularly in Holland. It would eventually take the number one spot in the hierarchy from History painting at the end of the 19th century, as young aspiring artists rebelled against the prevailing traditions.
6. Genre
Genre painting is about everyday people doing everyday things. It is not portraiture and should not be confused with the term ‘genres’, mentioned above. It was invented in 17th century Holland and was very popular with middle class merchants and the like. Examples of genre painting are; Pieter de Hooch’s painting, Courtyard of a House in Delft 1658 or Vincent van Gogh’s painting the Potato Eaters 1885.
7. Still Life
Still life painting is pretty straightforward being concerned with the representation of objects of various kinds e.g. furniture, skulls, dead animals, utensils, vegetables and flowers to name but a few. The paintings usually have no obvious stories to tell but some maybe highly symbolic. Still life painting became very popular in 17th century Holland where it became extremely extravagant. Good examples of still life paintings are; Cézanne’s painting, Still Life with Apples, 1893 and Jean-Baptiste Chardin’s Kitchen Still Life with Cooking Pots and Eggs. 1734 Still life painting is the only form of painting that can be totally controlled by the artist, in terms of lighting, composition and selection of objects.

Happy painting

Regards

Filbert Splosh

Filbert’s Newsletter: February 2007 Issue 15

noreply@blogger.com (Filbert Splosh) — Mon, 22 Oct 2007 18:00:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

See below for this month’s VERY SPECIAL OFFER

Featured Artist: Sue Pauli

‘Drawing as been a passion of mine ever since school, but work, family and other things got in the way so it is only lately that I have had the time to take it up once again. Painting, however, is a challenge; the goal is to gain as much fluidity with the brush as the pencil. I take my inspiration from natural forms, then develop and exaggerate the shapes into more abstract images.’ Sue Pauli

This month’s Top Tips for watercolour painting

Choose good quality watercolour paper, at least 300lb with a good ‘tooth’ (tooth refers to the roughness of the paper). Don’t use cartridge paper, it is too smooth and wrinkles too easily.
· Use the best brushes you can afford, cheap brushes simply don’t cut it.
· Always keep you brush fully loaded when working on washes. Make sure that one wash is perfectly dry before applying another unless working wet-in-wet.
· Always work from light to dark. Start as light as you can you can always darken areas later.
· It is a good idea to establish the lightest area and the darkest areas in your painting before anything else, and then you make sure your tones range between the extremes. This assumes you have worked out the idea for your painting before you start.
· Try not to fiddle or overwork your painting. Don’t use three brush strokes when one will do.
· Get to know your colours, their names and what happens when you mix then together. You should know for example, which reds and blues when mixed, will give you good purples and which give muddy browns. Remember those muddy browns could be ideal for some types of landscape painting.

Special Offer: This month sees a very special offer. As some of you are aware courses at Leintwardine will cease at the end of March and move to Aston on Clun because the facilities are better. So I am offering a two for one package on two weekend courses at Leintwardine. For the grand total of £95 you can come along to Inspired by Colour on 24/25 February and Inspired by Edward Hopper on 24/25 March. Both courses are completely new and explore lots of interesting ideas as well as developing great insights into colour.
If you want to take up this offer just reply to this email stating you wish take part, then pop a cheque, payable to Filbert Splosh Ltd, in the post to me at Ashfield, Luston, Leominster, HR6 0EA.
If you have already booked one of these courses you are welcome to come on the other one – just let me know. This offer only applies to subscribers of the newsletter.

Filbert Splosh’s News

Party Events
Do you or a friend have a special birthday on the horizon and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Image, half way through your party Salvador Dali arriving and taking over everything. Image re-enacting his life story with your guests as characters – they are supplied with everything they need. Image what fun it would be, especially if you included a practical element as well – which would not require any artistic ability but is great fun. You could finish off your evening with Filbert’s equivalent of the Turner Prize. A truly memorable experience. For more details click

www.filbertsplosh.co.uk/party.htm
RECOMMEND A FRIEND
This is becoming popular way of earning £10. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Forthcoming Events

February Courses
Abstract Painting Weekend at Storridge Village Hall on 10/11 February 2007 – A great opportunity to experiment with colour shape and textures and explore mixed media
Expressionist Painting Weekend at Leintwardine Village Hall on 17/18 February 2007 – If your work needs more impact and ‘umph’ this is a great course for you
Inspired by Colour at Leintwardine Village Hall on 24/25 February 2007 – Everything you wanted to know about colour, mixing, relationships and great painting. See this month’s SPECIAL OFFER

Let’s appreciate Art

Content in Pictures
Content is the second of our three Elements of Art. Art historians have used a number of terms to describe Content; Subject Matter, Meaning, or Significance. They all amount to more or less the same thing i.e. what message is the painting providing. There are two ways of organising our thoughts here, the traditional and the more modern approach.
The traditional approach relies on sorting content in regard to its iconography -the term artist’s use for the language of images, namely the signs, symbols and conventions used to determine what content is being displayed in the painting. The type of content in a picture is called its genre. For example, a painting depicting a famous victory in battle, lots of guns, heroic soldiers, dark turbulent skies, death, destruction and ultimate victory etc., would be classified in the History genre.
A more modern approach is to split content into three categories like we did when we discussed the first Element of Art, Form, namely:
· What you see
· What you understand
· Considering the Elements of Art (Form, Content, Context) together to come to a conclusion about the work.

Let’s look at the traditional approach first. It was a very popular means of categorising content and was used right up to the beginning of the 20th century, particularly with institutions like the Royal Academy and similar august bodies in other countries. It was an easy, but ultimately crude way of arranging content and led to a strict hierarchy of genres. History painters were regarded as premier league painters, whilst the landscape painters had to be content with the less fashionable second division. If an artist was a flower or still life painter, he was barely in a league at all. This traditional approach is one of the reasons why John Constable was denied the accolade of RA until he was in his forties, while his contemporary J.M.W Turner, received the honour in his early twenties. Turner was a History painter where as Constable was just a mere landscapist.

Next month we shall look in more detail at the different categories used in the traditional approach.

Happy painting

Regards

Filbert Splosh

Filbert’s Newsletter: January 2007 Issue 14

noreply@blogger.com (Filbert Splosh) — Sat, 20 Oct 2007 10:14:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.
Do you know of anyone who would like to receive this newsletter? If you do ask them to email me and I’ll add them to my list of subscribers.

Featured Artist:
The featured artist slot will continue next month. If you would like to be featured please email me a short biography (max 200 words) and up to three images of you with your work, or the work on its own. Please attach images in .jpg format, preferably less than 1mb in size. If you don’t know what this means or cannot send images by email, please send photographs or good quality printouts to my home address and I’ll sort it out. This is a great opportunity to have lots of people see your work.

This month’s Top Tips
· When mixing colour always start with the lightest colour first, add small amounts of the darker colour until you reach the tone/mixture you want. Using this method means you use less paint. If you start with a large blob of blue and want to mix a mid green you will need a huge amount of yellow to create the tone you want and you will end up with far more paint that you require.
· Keep all those worn out brushes or those that have spread because they were not cleaned properly, or those that have some parts of the brush welded together with hardened paint. These brushes are great for creating the interesting random marks you might need for such things like the painting of grass with acrylic/oil paint or creating interesting textures or patterns. Don’t forget the other end of the brush also. The wooden bit is useful for creating those tiny branches at the end of trees when using watercolour. Use a small blob of water colour at the end of the branch and drag it out with the wooden end of the brush, twiddle it a bit to make it look good!

Special Offer: Any subscriber to the Filbert Splosh Newsletter will receive a £10 Filbert Splosh Gift voucher if they book a course or courses before the end of January 2007. This is in addition to any other discounts that may be offered. Just indicate you are a Newsletter Subscriber when booking.

Filbert Splosh’s News
Party Events
Do you or a friend have a special birthday on the horizon and want to celebrate it with something unusual? Why not consider inviting Salvador Dali, Picasso or Claude Monet along? Image, half way through your party Salvador Dali arriving and taking over everything. Image re-enacting his life story with your guests as characters – they are supplied with everything they need. Image what fun it would be, especially if you included a practical element as well – which would not require any artistic ability but is great fun. You could finish off your evening with Filbert’s equivalent of the Turner Prize. A truly memorable experience. For more details click www.filbertsplosh.co.uk/party.htm

Filbert Splosh’s online shop.
Have you tried the shop yet? You can buy courses online with a debit or credit card or you can choose to pay by cheque the choice is yours. The system keeps a record of the places available so if you book a course you are guaranteed a place. It will not allow you to purchase if there are no places left. You can, if you prefer, go straight to the online booking system by logging on to www.paulpriestley.com

Forthcoming Events
Early New Year Courses
Inspired by Klimt at Leintwardine Village Hall on 20/21 January 2007
Watercolour Painting Day at Storridge Village Hall on 26 January 2007
Matisse Weekend at Hampton Bishop Village Hall on 27/28 January 2007
Abstract Painting Weekend at Storridge Village Hall on 10/11 February 2007
Expressionist Painting Weekend at Leintwardine Village Hall on 17/18 February 2007
Inspired by Colour at Leintwardine Village Hall on 24/25 February 2007

Let’s appreciate Art
Form
Remember Form relates to all those elements that influence how the painting is physically constructed.

The last two general factors relating to Form are Harmony and Rhythm and we shall discuss these below
Harmony
In music we often talk about creating harmonies, where perhaps a group of singers will harmonise their voices to create a pleasing sound that delights our ear. If we hear a discordant note, it can jar and impair our enjoyment of the music, although the musician may deliberately introduce discordant notes for a particular effect or contrast. The artist works in a similar way to the musician. If we look at paintings produced by Wassily Kandinsky in the ten years after 1910 we can see how he uses colour and shape to create the visual equivalent of music. Some colours and shapes harmonise, others clash and contrast. To appreciate such works you have to stand close to them and let your mind wander, very much in the way you might when listening to music. The colours and shapes will ‘float’ in front of your eyes and create a sensation much like that we get when appreciating music.

Look also for paintings in which the artist uses a general colour scheme that harmonises, for example, a range of blues and greens and then contrasts this with a complimentary colour or colours – the discordant note. This is a particularly common method used by expressionist painters, particularly German expressionists like Kirchner, Schmidt-Rottluf and Nolde. Edvard Munch was also a great advocate. The contrasting element is often used to focus our attention on a particular element within the painting, or to provide our gaze with a jolt, or to draw us into the picture.

Rhythm
We have all danced and watched others dancing. Some people have got rhythm and some plainly haven’t. When we watch people who have rhythm there is a certain grace about their movements, which is appealing to our own senses. We can appreciate the same in painting. If we take Matisse’s painting, The Dance 1909 as an example, we see that he has used line to suggest rhythm in the way he has drawn the dancing figures. Each one is connected together, the line outlining their bodies, flows from one figure to another linking them together very much as the stages of movement are linked when we ourselves dance. He has in effect produced a visual equivalent of the movement of a real dance.

Repeating a series of increasingly curved figures across a painting, or repeating a series of colour harmonies in an abstract work, can also suggest rhythm. Obvious examples of rhythm being used to suggest movement can be found in the work of the Italian Futurist painters, such as Umberto Boccioni and Giacomo Balla.

Next month we shall start to look at content in painting and how it has been used to categorise pictures.

I wish you a very happy and prosperous New Year

Regards

Filbert Splosh

Filbert’s Newsletter: December 2006 Issue 13

noreply@blogger.com (Filbert Splosh) — Sat, 20 Oct 2007 10:08:00 +0000

For your Christmas Gift Vouchers click here

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

Featured Artist : Geoff Gooding

I am ‘fifty something’, and when at school I was told, “you are no good at art so do science”, which decided my career path, so I became a Health, Safety and Environmental Manager for a large chemical company. I have a very wide interest in sport, sporting activities and my music taste is very varied. I like to attend concerts on a regular basis. I started drawing some two years ago when I arrived at one of Paul’s beginners drawing classes almost by accident. My job requires me to travel a lot, which gives me the opportunity to sketch and draw when waiting for travel connections. I started painting this year and enjoy working with acrylics. To me it is a great joy to be outside drawing and painting a landscape or seascape.

If you would like to be the Featured Artist please email me a short biography and two or three examples of your work.

Filbert Splosh’s News

RECOMMEND A FRIEND
This is becoming popular, must be something to do with Christmas. If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Filbert Splosh’s online shop
It is now possible to book and pay for a course online at the Filbert Splosh Website, just click on Painting or Drawing courses and you will be taken to lists of courses and the online purchase system. The system is incredibly secure using PayPal as used by Ebay, Dell etc. When purchasing choose PayPal for credit/debit cards or Cheque if paying by cheque. The system keeps a record of the places available so if you book a course you are guaranteed a place. It will not allow you to purchase if there are no places left. You can, if you prefer, go straight to the online booking system by logging on to www.paulpriestley.com

New Venue
From April I shall be running a series of one day courses at Abberley village hall, it is a wonderful facility set in great countryside near to Great Witley in Worcestershire. The courses will be listed on the website shortly.

Forthcoming Events
Courses in the New Year
Portrait Painting at Storridge Village Hall on 13/14 January 2007
Inspired by Klimt at Leintwardine Village Hall on 20/21 January 2007
Watercolour Painting Day at Storridge Village Hall on 26 January 2007
Matisse Weekend at Hampton Bishop Village Hall on 27/28 January 2007
Abstract Painting Weekend at Storridge Village Hall on 10/11 February 2007

Let’s appreciate Art
Part three of our look at how paintings work.
Form
Remember Form relates to all those elements that influence how the painting is physically constructed.

Once we have considered the individual elements of form that we looked at last month we can now look at general factors that relate to the painting as a whole.
Unity is a rather abstract quality, but nevertheless very important. It is perhaps best determined by asking a series of questions.
· Do the elements of Form we discussed above work together, or do they compete and fight with one another?
· If they do conflict has this been done deliberately to create tension or conflict, or is it simply a poorly constructed painting?
· Are the majority of lines within the painting horizontal and vertical, implying stability, or do they cross each other at angles creating drama and tension?
· Are the shapes similar or dissimilar? Does this seem important?
· How do the four questions above affect our appreciation of the painting?
Are there a Variety of colours, shapes, tones, textures and lines in the painting, or has the artist concentrated on one or more of the elements exclusively?
If we look at a Mark Rothko colour field painting we see he has concentrated on just two elements, colour and shape. His work investigates how colour and shape interact and how certain colours seem to float on top of others. Other artists will have lots of variety in their work whilst others will have little.
Does the variety of elements in the work enhance or detract from our appreciation of the painting?
Considering Balance, artists will sometimes use ‘The Golden Section’ not only as a means of composing a picture, but also to balance the various elements within the painting. Dark sections in a painting may be perceived as solid, heavy areas and maybe counterbalanced by pale sections that perhaps can be perceived as light in contrast to the dark areas. It is often the case that a smaller, dark area is balanced against a larger light area. For example, a dark, brooding mountain maybe placed against a pale grey sky.
Perhaps the artist that spent the most time investigating balance - more than 20 years – was Piet Mondrian, the Dutch De Stijl painter. His paintings and ideas, exploited by numerous fashion designers in the 1960’s, sought to balance black and bold horizontal and vertical lines with primary colours, invariably on a white on grey ground. Interestingly, in 2003 researchers conducted an experiment to see if by changing the balance in six Mondrian paintings - enlarging or reducing the coloured squares and moving the lines slightly - members of the public could spot the real Mondrian’s. They were surprised to find over 80% of the public could do exactly that. Mondrian was successful in being able to ‘tap into’ our innate sense of balance.

If I do not see you before have a great Christmas and a happy and prosperous New Year

Regards

Filbert Splosh

Filbert’s Newsletter: November 2006 Issue 12

noreply@blogger.com (Filbert Splosh) — Sat, 20 Oct 2007 09:59:00 +0000

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

If you have produced a wonderful piece of work in whatever medium, why not send a digital photo of it to me and I’ll put it in the newsletter – I’d like to start a reader’s gallery section to the newsletter.

Featured Artist : Marc Chagall 1887 – 1985

Chagall was born in Russia of Jewish parents and became one of the most popular artists of the early to mid 20th century. He was greatly influenced by his roots in Russia, his upbringing and his subsequent moves to Paris and England. His great love of humanity, his honesty and his overwhelming passion especially for his first wife greatly affect his painting. There is a childlike innocence to his work and his subjects sometimes look very strange, but when we realise he is often painting what it feels like to be in love, rather than simply a picture of two people being together. For example his work ‘Over the Village’, about his relationship with his wife, we see Chagall and his wife floating above his birthplace in Russia. This seems to express more about their feelings than painting the reality of the scene.
He also designed stain glass windows for churches including one in Kent. He is a fascinating artist if you appreciate that he is not dealing with reality, but with feelings, emotions, memories and passion. His use of colour is also not used realistically, but emotionally.

If Chagall is a painter you are interested in why not book the ‘Inspired by Chagall’ painting weekend at Leintwardine village hall on 17/18 March 2007

Let’s appreciate Art
Part two of our look at how paintings work.
Form
Remember Form relates to all those elements that influence how the painting is physically constructed.

From previous newsletters we have seen that Line can be expressive or directional. Is line having an effect on our appreciation of the work? In the painting ‘The Dance’ by Matisse, he uses line to outline the figures, but also to give them a sense of movement. A rhythm is created by the line, which equates to the rhythm of a dance. We should consider what effect line is having in a painting? In the case of the Matisse painting it is very important. On the other hand line may be used as a directional tool, to help our eye on its journey around the work. Line may also outline objects in a simple or expressive way and thus give unity to objects as can be seen in the work or the Viennese artist, Egon Schiele.

It may seem strange talking of Space in a flat, two-dimensional painting, but by using colour and perspective it is possible to create space. Space comes in two flavours, linear and aerial (sometimes referred to as atmospheric) perspective. Linear perspective deals with horizons, vanishing points and lines appearing to converge at a point, as one might expect when drawing a road vanishing into the distance, or a row of terraced houses. By using linear perspective it is possible to create an image that looks like the reality we see.

Aerial perspective does not use vanishing points, but instead uses colour to create space. One of the best exponents of this was Cézanne. If we look at any of his ‘Mount Victoire’ paintings we can see no linear perspective, yet he has created space by the use of subtle variations of colour and tone. (At its simplest level cool colours recede, warm colours come forward). To do this successfully the artist needs an immense knowledge of the nuances of colour, something that we as onlooker should consider. We might also look at whether the orthogonals (the implied lines that lead the eye to a vanishing point) lead anywhere? A good example of this would be Meindert Hobbema’s painting, The Avenue at Middleharnis, where the dual line of trees (radiating lines to a single vanishing point) draws us to the little figure and his dog walking down the lane.

Is Light important to the painting? Has the artist used dramatic lighting effects to create drama in the painting? If he has how effective is it? We can see the dramatic effect a single light source can have in a painting by looking at; An Experiment with on a Bird in an Air Pump 1767 by Joseph Wright or Carravagio’s The Supper at Emmaus 1600. Dramatic lighting can create a sense of drama and reality in a painting, something to consider if you want to give your work a sense of drama. We can also see how JMW Turner uses the sun to create dramatic light effects in many of his paintings. On the other hand it maybe that light is not important to the theme of the painting, other than being there simply to define objects by the creation of light and shade.

Is the artist using Texture? This deals with the way paint is applied and the techniques used for applying it. An artist might use a strong impasto (thickly applied paint) to make each brushstroke, or palette knife stroke meaningful in itself. In contrast he may wish to apply the paint thinly and evenly so that it is impossible to discern individual brush strokes. In this case the individuality of the artist is to some extent disguised. We should also consider the little details in the work, because heavy use of texture does not allow the same degree of detail we might find in a painting of less bold texture. It really depends on whether the artist wants us to fill in the detail ourselves or wishes to provide full detail for our contemplation. Often artists will suggest detail, maybe through bold textures, as a means of forcing the viewer to engage in the creative process by creating the detail in his or her own brain. This way both the artist and the viewer are contributing. When the viewer has to make an effort the rewards gained are far more interesting than passive appreciation.

Next month we shall look at: Unity, variety and balance

Filbert Splosh’s News

RECOMMEND A FRIEND
If you recommend a friend, who has not attended one of my art courses and that person subsequently books and attends a course, I shall send you a £10 Marks and Spencer Gift Voucher. For details of how this works CLICK HERE

Filbert Splosh’s online shop

It is now possible to book and pay for a course online at the Filbert Splosh Website, just click on Painting or Drawing courses and you will be taken to lists of courses and the online purchase system. The system is incredibly secure using the PayPal system used by Ebay, Dell etc. The system keeps a record of the places available so if you book a course you are guaranteed a place. It will not allow you to purchase if there are no places left. You can, if you prefer, go straight to the online booking system by logging on to http://www.paulpriestley.com

CHRISTMAS PRESENT ideas: Why not purchase an art course gift voucher for a special friend? Prices start at £15. CLICK HERE for details
Why not purchase a limited edition, mounted and signed print by Paul? It would make a great present. CLICK HERE for details

Forthcoming Events

This month’s courses
4/5 November : Starting Points at Leintwardine Village Hall
16 November: Drawing with a Brush at Leintwardine Village Hall
18/19 November: Beginners’ Watercolour Weekend at Hampton Bishop Village Hall
26 November: Pastel Portraits at Leintwardine Village Hall
New courses to look out for
24/25 February 2007: Inspired by Colour at Leintwardine Village Hall
21.22 April 2007: Surreal Painting at Aston on Clun Village Hall
28/29 April 2007 : Painting in ‘Greys’ at Aston on Clun Village Hall
To book any of these courses please click here:

Regards

Filbert Splosh