Author Archives: Belinda Wilson

Term 2: figure into a composition

on the strength of last terms use of collage to introduce  new elements into a compositon we will continue this process putting figures into a work in all these examples the compositions have been built rather than just copied for a photo or from life. We will start with some drawing exercises .  start gathering […]

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work from term 1 PORTRAITS

This term we managed to get   2 days intensive drawing from life. drawing each other and doing self portraits in the mirror. One of the best ways to learn to see. the second stage was to use collage to help create a setting for the portrait we chose to do. this brings a frisson of […]

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Term 1 2019: portraits a different perspective

this term starts on February 12th-April 3rd (checked and signed off by numerate person) We will be using the subject of portraiture to get some good observation and drawing in. Starting with a self portrait drawing in a mirror. This is the best way i know for learning how to see in that special way […]

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work from term of painting hands

I know now why we havent done a term of painting hands before….in my 25 odd years of teaching!!!! its because hands are HARD…the drawing alone is very complex and  the tonal aspects of making them  have form ,is difficult too. they are as complex as portraits somehow. We gridded up the drawings.   So […]

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Learning how(finally) to draw and paint hands

In all figure studies you do, at some stage you will have to address the hands. They are difficult until you learn how to see them! This next term we will spend a couple of days drawing hands (our own) from life and also from photographs. Then do a work where the hands are very much […]

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loosening up and learning how to build compositions

The past two terms have been about a more creative approach to making a painting. getting away from the names of what you are painting and freeing yourself to see your subject matter as building blocks for a composition. we had a look at Matisse’s collages and used his motifs to build our own compositions […]

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emotional response to a place: loosening up

Pauline Agnew talks about getting a sense of place when you are painting a landscape.Not trying to represent what you are seeing but to become fully engaged with the energy around you. So you become aware of the weather affecting the light and the mood, the quality of the light, man’s interaction and imprint of […]

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term 4: the figure in a composition

in term 4 we had the lovely Alice to come and sit for us. she sat like a calm blond  buddha in front of the “Guernica ” poster i got in Madrid and i for one was taken with the contrast of her blond goodness and the carnage behind her of wailing women and fractured […]

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Working with the Figure:A Day Spent with Alice

Term 4 we will spend the day with Alice Here is a drawing i did of her in a demonstration for the Howick art group. She has a lovely gentle personality and  a body full of character. I have painted a number of models over my time . They are all interesting people. One of […]

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work from term 3:

Gaybrielle Omalley:Mangawhai Rose Tomlinson’s copy of Stanley Palmer and then painting of her own of Wanaka Emilia Rubio :Village , Argentina  Rowena Poole  Gaybrielle Norling  Bernadette Tackney  Nurit Zubery Margaret Neale’s Silver birch paintings-with Gustav Klimt’s silver birch lower right David Thomson’s cliffs from Awhitu with Edward Hoppers Cliffs on the right

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