Many thanks to Liz Leonard for another excellent image of Darlas and her painting.

After using a variety of  paint mediums for 5 or 6 years Darlas Hunter started using Water Colours 17 years ago and has found it a very satisfying, yet challenging change.

Her photographs are an idea for an image from which she likes  to create a painting of the overall  feeling of the photograph. Darlas suggested trying to paint a landscape without using greens, as an exercise, using blues and browns to produce the effect with a limited palette.

As with many practical occupations, preparation is vital , mixing sufficient paint being one of the most important tasks.

Animals are not the easiest of details to add to a painting and Darlas had her own approach to their application. She believes only one animal need be a good shape and she creates them mostly with shadow colours not white. Animal shape and legs will be taken for the remaining animals. Inorder to imply the white fleece on a sunny day Darlas created the outline using negative painting adding darker colour around a lighter background. The outline stopping a short distance from the dark  sheep shape.

Perhaps Watercolour painting more than other mediums is about “trapping the light”. Opposite colours on the colour wheel will enable the artist to de-saturate colours.

Darlas finished her  painting by adding more detail in the forground of a very sunny pastoral landscape.

Influences and Possibilities

Trying to describe all the advice given by David Haswell, in such an interesting and extensive talk, is a very difficult task. In addition to the way many artists approach a painting David reitterated the importance of creating distance by layers and tones of colour and using contrast in a limited palette, which is a safer approach to constructing an image. Considering contrast in the detail, busy and quiet areas, is also important to create interest for the viewer. A balance of shapes is desirable even though the areas of the canvas are made of unequal shapes. He described how the artist can stimulate curiosity in the viewer by the technique of “Lost and Found”. A simple pathway winds across a landscape and disappears over the crest of a hill to reappear in the distance before it disappears yet again. David favoured the ambiguity of repeated details such as a fence paralleling the winding shape of a road.

Types of Sky

 Getting the correct type of sky adds to the story the painting is telling so the artist asks him/ herself how do I add atmosphere; do I use a dramatic or gentle sky; should the weather be wet or dry, warm or cool to emphasise the emotion created by the painting ?

Choice of Colours

By using a limited palette, utilising the colour wheel to achieve an intelligent application of colours become slightly easier.  A more pleasing effect is made by applying unequal volumes of contrasting colours, with the brightest colours being applied less than paler ones. To obtain a harmonious effect, adjoining colours on the colour wheel will have a better effect than opposite ones. Even the make of the paint will have a different effect as approximately one third of water colour paints stain the paper and are thus fixed on application. Another third of paints will be liftable, making them much more variable and correctable or usable.

By way of showing the members at the meeting examples of the influences he described he showed us images , on screen, of many artists such as

 Kyffin Williams                                                                      Gwilym John Blockly

Rowland Hilder                                                                       John Knapp Fisher

Alvaro Castagnet                                                                     John Barnard

Maria Huntly                                                                           Susan Brown

Joseph  Golikin                                                                       Michael Morgan

Bernhand Vogel                                                                       Tony Smibert

Bruno de Stijl

and others.

Equipment

As well as advocating paper on board when using very watery paints, David stressed the importance of looking at the make-up of the paints. Those that had listed pigments by number provided better paints.  Often colours from various manufacturers were sold using different names due to the addition of extra chemicals.  A paint containing too much gum would create a muddy result and should be avoided.  His favoured brand is “Mameri” paints.  David described the different results gained by mixing paint with gesso and other dry mixtures to create texture -  especially useful when applying the paint with a palette knife, which allows for the creation of detail by scraping away the thick paste and drawing lines for added detail.

The evening concluded with a 10 minute DVD of John Lovett ,”Which Paints, What Colours”, that summarised much of what David Haswell had talked about and showing John Lovett’s signature technique of splashing on paint.

The Society was able to give £195.00 to the Charity”

Chris Phelps

The Society is very grateful for the professional assistance of Mr. Ben Russell of  the ” intelligent IT” company  in checking the website database and communicating with e hosting on our behalf.

http://www.i-itsolutions.com/

“I am organising a Festival in Roath Park on Saturday 6th July 2013. We were wondering whether you would like to display your artwork for purchase by the public?

The event is a celebration of one of our best loved Parks in Cardiff. I would like there to be lots for people to do, see and things for them to buy relating to the Park. I want to achieve a fun and family atmosphere to the event.

I am only just starting to plan it and space will be one of the restricting factors for the event.

I would really appreciate you passing on my details to anyone who can bring something to the event.

Many thanks

Gareth Stamp “

critiquing artwork at the SWAS meeting on 25th June.

Note that the SWAS exhibition of entries from our

Derrick Turner competition
starts at the

Norwegian Church Arts Centre on Monday 22 April.

<http://christopherandrewsart.wordpress.com/author/christopherandrewsart/>
christopherandrewsart
A retrospective exhibition of Christopher Andrews art, in memoriam  -
curated by Gideon Hall – will be held at the Dahl gallery, Norwegian Church
Arts Centre in Cardiff Bay 15th-21st April 2013. Entrance is free. Please do
come and see his work in person. <http://www.norwegianchurchcardiff.co.uk/>

Curator Gideon Hall, himself an artist says “I was fortunate to know Chris
and witness the emergence of a talented and unique artist.” Professor
Anthony Howell recently remarked that Christopher Andrews was “A very
interesting young artist, always enthusiastic …who made perceptive
comments.”
Christopher Andrews : Retrospective is being crowdfunded through Sponsume.
If you can donate to this exhibition please go to
<http://www.sponsume.com/project/chrisopher-andrews-retrospective>
e or email Gideon
Hall at christopherandrewsart@gmail.com
Christopher Andrews Art website
<http://christopherandrewsart.wordpress.com/>

SOUTH WALES ART SOCIETY

MINUTES OF THE ANNUAL GENERAL MEETING

HELD AT THE HEATH CITIZENS COMMUNITY CENTRE

ON TUESDAY 19th MARCH 2013

        1.   Apologies for absence.

Received from P. Webb, D. Bellamy, R. Ponsford, Sylvia Middleton, and Julie Griffiths

          2.   Minutes of the previous AGM.

It was proposed by B. Barry and seconded by   Tone Batey   that the Minutes of the AGM

held on 20th March 2012 be accepted as a correct record. The members approved.

          3.   Chair’s Report.

Jan began by welcoming everyone to the meeting, particularly those who were

           attending their first AGM. She then thanked all those who had assisted her during

 her term in office, including the AV team, the ‘Hanging team’, those setting up the

 Internet pages and those responsible for Demonstrations, Courses and Visits.  There

were far too many members who gave both their time and support to name individually,

 but whose efforts culminated in a very successful SWAS 125^th Anniversary Year.

 The meeting was then informed that no nominations had been received for the post

 of Chair and asked if anyone present was prepared to be nominated but had no

 response. She reminded the meeting that the Society was required to have a Chair

 and that she is prepared to help a new Chair when one is elected. Jan then gave her

 best wishes to the future of the SWAS, it’s Chair and Committee.

      4.   Treasurer’s Report.

 Eli began by saying that under Investments on page 2 of the accounts it should be

 Aviva not Norwich Union and 2012 not 2011.

 The accounts are in a healthy state with assets as shown on page 2 but there was a 

 deficit in income for the year of £403.

 In a question from the floor concern was expressed at the variation in rents for the      

 Heath Hall and Beulah workshop in successive years. Eli said he didn’t have the

 Account books with him but he would investigate the matter and provide an

 explanation and added that in future the accounts will be done on a spreadsheet

 which may improve clarity.

 In future, members can pay by standing order if they wish to do so.

 Jean Thomas to continue as Auditor

5.   Election of Officers.

 The following Officers agreed to serve for another year: Eli Absi, Robert

 Llewellyn Davies, Phoebe Lane , Vaso Collier , Pam Gilbert

 Judith McDonnell, June Jensen and Tony Batey.

 Trevor Jones, John Telford, Dave Philips and Roger Ponsford will continue to

 act as co-opted members.

 Tony Batey volunteered to act as Vice Chair and expressed the hope that as the

 post of Chair was unresolved a Chair could be found from the committee

 members

6.   New Members.

 Janet Sims and Zoe Schubeis were nominated by J. Robinson and seconded

 by R. Llewellyn Davies and were elected as committee members.

 John Greally was proposed by Janet Price, seconded by Jill Davies and duly

 elected.

7.   Subscription Fees.

 After much discussion and debate, votes were taken on the proposals before the

 meeting.

1.     That the annual fees be increased from £30 to £40 per annum (£20 for under-

2.       25s and full-time students) with effect from 1 January 2014.

 Carried by a majority vote with the proviso that it be reviewed at the AGM

 March 2017 with a view to possible adjustment in 2018.

     2.  That the charge of £1 per head for Tuesday night meetings be retained

 for the remainder of 2013.

 Carried, 28 for, 20 against.

3.     No vote taken.

4.      It was agreed that beyond 2013 reversion to system of voluntary raffle be

  reviewed.

8.   Newsletter.

 The Society no longer produces quarterly newsletter but produces a monthly

 newsletter by e-mail.

9.  Website.

 Irene Read agreed to be co-opted pro tem to assist the person who takes over

 The web site.

“Pop and Abstract and the New Wing”

The talk given by Nicholas Thornton, Head of the Modern and Contemporary Art in Cardiff Museum, is an example of the good variety of topics and activities organised by SWAS’s program secretary, Pam Gilbert.  Recently a New Wing at the  Museum was refurbished with Modern Art under the supervision of Nicholas.  It was obvious that compressing the history of modern art in Wales and the  influences that European and American Art had on Welsh artists was a tall order, considering that we had just 2 hours to listen to the talk.  However, SWAS members were given a detailed and interesting explanation with many examples of different painters’ work to help understand the evolution of Welsh Modern Art.

The 750 square metres of floor space in the New Wing has exhibits from the last 100 years, which include sculptures as well as paintings,  many of the art works having been donated by  Gwendoline and Margaret Davies.  This new series of galleries will add to the already well appreciated reputation of the Cardiff Museum.

Nicholas explained how the painting of “Still Life with Apples” by Cezanne  had a big  influence on the development of art, not just in Wales but worldwide. Cezanne was more interested in the shapes and colours of ordinary objects than their realistic representation. As Cezanne frequently painted the same types of still life he experimented with the objects progressively  painting them from different viewpoints giving the ordinary objects very original shapes. Other artists appreciated the freedom of form and took the idea further leading to such styles as “Cubism”which

“reduced painting to multi-perspectives, flattened to create a painting” Nicholas Thornton.

Some of the following names are the painters whose wide variety of work is now being shown at the new Wing.

Alfred H Barr                                                          Jackson Pollock (Interactive screen – move the curser around the white screen.)

Michael Tyzack                                                      Patrick Kernan 

Rothko                                                                      John Selway

Brigit Riley

Pop and the Everyday Art

Richard Hamilton                                                   Edwardo Pellozzi

Allen Jones                                                               Dennis Short

Ken Elias

It is hoped that 2 visits by small groups from the SWAS wil be made to the New Wing in 2014 to be guided by Nicholas Thornton.

It is to be held on

SUNDAY, 19th MAY 2013

at

PENTYRCH  VILLAGE  HALL

between the hours of

10am and 6pm

ADMISSION FREE

Both sandpaper and Canson paper, which has a choice of two textures per sheet, were used for the two paintings created during the evening as these have been the favoured papers of Arnold’s work for many years. He says he is “not meticulous” , that pictures are there to give ideas and not to be followed religiously. But he does like to keep order in his box of pastel colours by keeping the coloured sticks of pastels in rows of dark, medium and light colours. If you should bump into him near the cereal counter of the local supermarket it is not so that he can buy ingredients for cooking but rather buying an ingredient for cleaning – ground rice. Aparently pastel sticks shaken in a bag of ground rice come out clean. Like water-borne paints, pastels have gum arabic added to the mix which helps the colour stick to the paper, with the makes “Unison” and “Sennelier”coming highly recommended by Arnold.

Before any picture is begun a wide folded strip of strong paper or card is placed beneath the bottom edge of the painting sheet protecting artist and floor from the coloured dust produced and rescuing any dropped pastel sticks from breaking up on the floor, and a frame of wide masking tape is applied around the edge.

Various greys and blues were applied loosely to the sky area to be blended with the palm and edge of the hand into a very realistic skyscape. White is difficult to apply as a strong colour on top of dark pastels so Arnold has developed his technique of using an old-fashioned single edge razor blade to remove some colour from an area of sky to re-key the paper surface ready for the white pastel highlight. Using some quite vibrant colours, Arnold then created a towering landscape of rugged cliffs, filling in outlines of black and brown with bright reds and lime yellows. Blue and purple shadows added yet more drama to the stunning landscape. A distant settlement perched high on a distant  headland added the mystery of unknown  village life.

The second image, of an equally mountainous scene, showed a more clement weather situation ,blue skies and distant high snow-covered peaks in a chilly landscape. There was the interesting use of bright reds to add excitement to the peaceful countryside. What looked like a very lonely situation was relieved by the presence of a small cottage reflected in the still waters of the  foreground lake. Like the treatment of the water in the earlier painting Arnold had used the side of his hand to drag the relevant colours vertically downward, to create the realistic impression of highly reflective water in one or two swift movements.

  The touches of the master’s hand.