See www.saa.co.uk/art/aurora or contact her at firstname.lastname@example.org
|Message from Aurora about her Art Classes
Just to let you all know that my artclasses are starting back for The Spring Term on Wednesday 18th January 2017 10.45 til 1.00 at The Pavillion, Broomhall Road Sunningdale Berkshire SL5 0QS. Fee for the 9 week term £135
You may work in your preferred medium or learn the fascinating art of painting on silk using either iron or steam fixed dyes. I will be taking you one stage further and showing you how to fuse your finished designs onto glass platters or vases. These make beautiful decorative and practical objects.
Whether you are a beginner or improver this course has plenty to offer and a warm welcome awaits you If you would like to know more please ring me on 07710349804.
Happy Creative New Year
Aurora Spain, 8/1/2017
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Copper & Brass
|Back to History Page||2014
|"The Touchables", 4/4/2014|
Aurora is still sponsored by Chroma's Atelier Interactive Acrylic. She gave us the standard spiel about how it can be used thin (like watercolour) or thick (like oils), revived with water and unlocked with "unlocking medium" (which cleans brushes, too), and she mentioned how easy it is to open tubes with stuck tops!
This time, however the main thrust was the use of physical textures to produce work that the viewer is encouraged to touch. The dirty finger problem is solved by painting a removable spirit-based varnish over the acrylic.
She prepares her 300 lb (640 gsm) Saunders Waterford paper with thick acrylic gesso ("if you want thin gesso, just add water").
|There is no right way in
art. Aurora encourages experimentation but when she teaches she covers the
traditional ways first - it is best to know what is known to work, so you can
break "rules" deliberately.
She advises starting with a mid-tone background (mix some paint with the gesso).
This makes it easier to judge lighter and darker tones and colours than a dead white background.
She prepares an original outline design either full size on tracing paper ready to trace onto the prepared surface, or smaller, in which case she will enlarge it using a projector.
| She uses countless media, mostly from Atelier, to
heavy gloss medium, which dries clear
impasto gel, which also dries clear
Liquitex "string gel" (which dries clear and is self-levelling)
modelling compound, which dries opaque
Golden's glass beads (which take watercolour)
metallic leaf (gold, silver, copper, brass, dutch gold)
maybe even impasto paint.
Sometimes she mixes colour with a clear-drying medium, sometimes she just paints over it.
|Aurora brought lots of examples of the effects she
gets and there are many more on her website.
You can mix polyfilla, sand, sawdust etc. with an acrylic medium to a spreadable texture. Apply them liberally with a palette knife and remember you can scrape back - to get anything between abstract patterns and the mortar between bricks. Thinly applied sand and medium gives a good feel if the painting includes paths or stonework.
Another trick (great for the grandchildren) is paint-pouring. Thin two or three colours of paint to a pourable consistency, pour them "artistically" to form a pool on a smooth plastic surface, stir a little if you must, leave to dry (overnight) and finally peel off and stick to your paper with binder medium.
|After too many examples to list here Aurora got down to the use of
gold or other metal leafs. There is a good video on this towards the bottom of
her website page,www.saa.co.uk/art/aurora but it deserves a brief
description here, too.
As mentioned, she starts with a pencil outline. Using a palette knife she fills the outline with modelling paste. When this has set it is carefully underpainted with acrylic paint of about the same colour as the leaf to be used (gold, silver, bronze, say). This is so that any tears in the leaf do not show. When dry, the area is painted carefully with gilder's size (or perhaps the faster-curing "Wunda tack" water-soluble size). This is left until it is just tacky, almost like Selotape. A sheet of metal leaf, mixed copper and dutch gold today, is cut to cover the whole sized area and dabbed into the surface with a soft blusher mop or very soft watercolour mop. Sweeping sideways with the same brush will remove leaf from unsized areas. Finally, the surface is sealed with shellac.
|So ended an unusual demo.
It was full of interesting tips on the many ways you can experiment with texture in your paintings.
Thank you, Aurora.
Copper & Brass
|Back to History Page||2014
|"Copper & Brass", Atelier Interactive Acrylics, 26/2/2010|
Aurora with an earlier work
|Aurora, spectacularly attired, had brought a good selection of her
work, with leaflets and samples from her sponsors: Chroma Atelier (paint) and
St. Cuthbert's Mills (paper). She left a sample pack of Saunders Waterford and
Bockingford papers on every seat and gave the Society a starter set of Atelier
Interactive Artists' Acrylics (which was raffled and won by a visitor who now
promises to become our newest member!).
Aurora recommended a couple of books: "Acrylic Revolution" by Nancy Reyner and "The Acrylics Book" by Barclay Sheakes. But "interactives", as I'll call them, differ from other acrylics in that they can be re-activated (re-opened or un-locked). A water mist is OK initially (as for any acrylic) but once it has started to polymerise, interactives can be revived with a proprietary "un-locking medium". No need for a stay-wet pallette.
|Interactives take well to paper, canvas or MDF (well primed). The
paints are used with a number of mediums but Aurora advised that one normally
needed only a couple: a gloss varnish and a binder medium, both of which can be
mixed with the paint, but she did also use an impasto gel.
The demo addressed techniques, rather than finishing a picture. Scraffito is one such technique: for example, a layer of dark paint (let dry), a layer of binder medium (let dry) and then the pattern scratched out of a subsequent thick layer of a lighter colour.
She was currently using 300lb w/c paper primed with thick gesso (the binder medium is as good). Either may be mixed with colour if you want.
Detail of an intermediate stage of a painting with indigo outlines and texture paste impasto
Tones in indigo and white
|Aurora recommends working with a black and white photo, so that
your perception of tone is not affected by colour.
One of the pre-prepared boards had an outline drawing of a copper jug, in indigo and white (you could use Payne's Grey). She worked into this with the same mixture to create a tonal painting of the neck of the jug.
Normally she would complete a background first but this can't be very important because she did it the other way round this time. But shadows, she says, are best left until the colours of the objects have been settled
Before starting to add colour she talked us through a discourse on shadows etc.
|Shadows are a combination of the complementary colour of the
object, the colour of the shadow surface itself and a touch of blue.
The square on the right consists of five overlapped square areas derived from an earlier painting. The smallest square (1, on the right) is an exact copy of the original. Surrounding this is (2), more of the same painting using exactly its complementary colours, then, around that, (3) the original modified with black, then (4) mixtures of the original colours with their complementaries and finally (5) back to the original colours.
She also digressed into a catalogue of what she called "wacky techniques": impasto scribbles on acetate, peeled off to make decorations; mixtures with ordinary acrylics, sand or sawdust; dried work overpainted with un-locking medium; pools of paint and medium poured and lightly stirred; use of unprimed paper for "monoprints", paper to paper, with paint and gel.
|Then back to the jug. She replaced the board where
she'd done the tonal work on the neck of the jug with another one whose tonal
work had been completed, a rose had replaced the crumpled base and a foreground
impasto tablecloth had been added.
To go from a monochrome indigo to a coppery look takes several glazes. For these you must use transparent colours (no cadmiums or whites unless they are diluted with plenty of gloss medium). Each glaze must be bone dry before you add the next. The only way to get it right is to experiment on old bits of paper until you get the effect you want. If the surface is well enought sealed you can wipe off any stray marks or, in extremis, use sandpaper.
|The paints had strange names. She cited perinone orange and lemon
yellow as suitable but actually started with "June brilliant" (yellow) with
some "Red Gold" and a touch of a complementary purple, following the original
brush-strokes over the whole vase. (When I looked at the
colour chart a few days later I saw it was "Jaune Brillant". Sam
When this was thoroughly dry a similar mix was applied but with much more "red gold" and medium. Then a glaze of burnt sienna (with enough medium to make it transparent) and another one or two of crimson and burnt sienna. The same colour was glazed in to start the background on the left.
There was no time for more but she said that some dilute white might be used to lighten some areas and that highlights needed to be added and the background and shadow completed.
It had proved to be a very interesting evening.
At the end I saw money changing hands, so some people were obviously impressed enough with Interactive Acrylics to part with good money (a criterion I apply, unspoken, if people say that they like one of my paintings).
|The end of the demo.
Copper & Brass
|Back to History Page||2014
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