JULY 6TH - GRAHAM WILSON - TRICK & TECHNIQUES
Our Chair opened the meeting by noting the success of our recent FLAIR exhibition and by thanking the members for their support. The results of the public voting were announced with Cheryl Clayton, Barbara Winfield and Sandra Wadkin taking first, second and third places respectively. In the junior section, Joe Gehan received all three awards.
Graham Wilson, one of our members, was then introduced to give his presentation on “Tricks and Techniques”. Graham briefly described his background. When he retired from his work as an engineering draughtsman, he had more time to devote to his interest in the graphic arts and develop his personal style of painting. He has learned a wealth of “tricks” to cope with or to avoid the many problems encountered by artists and the aim of his presentation was to pass these on to his audience.
On the subject of “what do I paint”, rather than follow the usual advice to go out and paint what you see, Graham prefers to work at home and use his collection of scrap book references. He rarely sketches so most of his references are photographic. Graham showed us the light box which he uses when he wants to transfer his reference onto his paper. It is comprised of a box containing some high intensity cold lamps. The lamps back light the frosted glass screen in the top of the box. so that the reference can be viewed through a sheet of paper and traced as necessary. This is particularly helpful in commissioned paintings where an accurate picture is required. Describing his favoured painting materials; expensive watercolour papers, sable brushes and artist quality paints have been replaced, where possible, by cheaper alternatives. He finds that student quality watercolours perform very well and that, used in conjunction with synthetic brushes, they suit his painting technique. Bockinford is his paper of choice and he uses a minimum weight of 140 lbs. to eliminate the need for stretching.
Graham advised that we should standardise the size of our paintings so that mounts and frames can also be standardised. He showed us how double mounts can be cut with a minimum of wastage and went on to speak on the subject of framing and presentation. Costs are a consideration and, through using elaborate frames and mounts, many artists find that they must either sell their paintings at a minimal profit or price them at an unsaleable level. He does sell many of his paintings mounted but unframed so allowing him to price them reasonably and allowing the customer to indulge in the frame selection.
Many tips followed on the management of the painting process. Spattered paint and the use of sponge or card edge to obtain a particular effect were all explained. Lifting off of paint by wetting and blotting was not advised because the work is often obvious through unwanted sharp edges or changes in tone. The use of body colour was thought to be quite acceptable since this may be the only way to obtain a bright highlight.
Graham demonstrated his technique by painting a beach scene, a snowy landscape and a flower study. Many of the “tricks” that he had described were used and, at the end, his appreciative audience commented on how much they had gained from the presentation.
David Price
