Author Archives: Belinda Wilson

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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Term 3: continuing to work through the lens of tone

In term 3 we will continue to work through the lens of tone Aerial perspective is the term given to the concept that tones get lighter and colours colder as they recede as in the mountain in the distance will be lighter than tones in the foreground and perhaps bluer in colour to start this […]

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work from term 2 : Tone

In Term Two we started off with some tonal sketches in paint from someone elses work. its a great freeing up exercise using paint and one colour and white like this. Learning what the artists chief considerations were , how they used tone in the work. Working gesturally and freely, it does loosen you up Then […]

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TERM 2: UNDERSTANDING TONE

Caravagio Ingres Chardin  HammershoiJacobDhein  Gerda Leennard In Term 2  we will have alook at how others have used tone in their work Tone can be used in many ways To create distance as in Gerdas landscape: Aerial perspective uses tones diminishing as they recede to give an sense of distance and space.   To create drama and focus: […]

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