168彩票开奖极速赛车-手机app开奖直播视频 The Art Studio Renovation Diary – Update

The Art Studio Renovation Diary - Update

After years of painting trips, holidays and a rollercoaster of a property search, we’ve finally found our dream studio in Cornwall.

Leaking roofs, copious amounts of whitewashing, numerous skips, and an epic space once the working studio of Royal Academy artist Sandra Blow, in glorious St Ives. 

I’ve been taking lots of photographs and Vanessa has been writing a monthly journal following our progress on the build. We’ll be sharing more of the Art Studio Renovation Diaries in the New Year.

Here’s a brief update of the journey so far, bringing this eclectic empty property back to life. The highs and lows of creating a studio, home and new life fuelled by large amounts of ice cream. 

高频彩票开奖结果_历史开奖结果_开奖助手 First things first, the Annexe

It seemed like the most logical place to start. Small, manageable, single-storey, and far enough away from living conditions to be contained.

The Annexe is where it would all begin.

It had considerable water damage from various roof leaks over the years, and the timber-frame doors were completely rotten. Improvements would mean adding acoustic, fire, and thermal insulation, and we wanted to respect the existing architectural character but provide easy access to public areas and studios wherever possible.

But most importantly, we wanted to preserve Sandra’s original snug drawing-room. 

Artists’ studios leave clues

When we visited Cezanne’s studio it was the first time I had seen a super long door designed to move large canvases. When visiting Sorolla’s space in Madrid, I saw how a garden, home and studio space coexist together (and both artists had daybeds next to their easels!) Sorolla had a doorbell at the entrance of his studio so he could paint uninterrupted.

Sandra’s drawing studio gets the sun in the afternoon, making you feel entirely cocooned into the space.

It’s a real contrast to the epic scale of the painting studio next door, and having a change in scale between the spaces allows you to reflect on your paintings within a more homely environment, to lose this would feel so sad. It’s not just a drawing space, it’s a valuable thinking creative space.

The Rip Out

The rip out went swimmingly well; we felt utter joy at seeing the old mouldy kitchenette and shower room piled up on the courtyard; we even took funny photos of skips and marvelled at the demolition. 

But it soon became obvious things were going to get expensive… replacing the roof, timbers, insulation, rewire, new boiler, upgrading the windows and doors, wet room and kitchen.

What on the first appraisal seemed like a starter project now definitely felt like we had moved into full-on renovation territory.

If Vanessa is the eternal optimist that sees change as an opportunity to improve, I’m a little more slow living, taking old bits of wood out of the skip and collecting piles of stuff that may still come in ‘useful’. Wildly out of date with all pricing apart from ice creams and paints.

As plans developed and the sun got higher, the space changed identity from a reception room next to the studios to grab a brew to a sunny garden lounge with a cafe bar to receive guests.

Our new Cornish dream team were incredible; having had the same builders for the last 20 years; a shift to a new crew is always unnerving, but they answered every question with thorough explanations, coming up with inventive suggestions and ideas. Through mizzle, searingly sunshine and strong winds, they worked tirelessly on our new little nest. It’s looking fabulous already; still a little way to go it’s going to be so much more than just a reception, café area, or lounge for the art studios.

It signifies hope; that the rest of the project will be as satisfying, 

Triumph; because I could cope with a complete redesign after all, even with Vanessa’s fast and furious ideas coming in. 

And a sense of commitment it’s beginning to feel like home with finished things that don’t leak.

Wishing you all a healthy, peaceful festive season and here’s to a creative 2022!

The Art Studio Renovation Diary - Update

The Annexe before, April 2021

The Art Studio Renovation Diary - Update

Annexe interior before, with mouldy timber on the doors, April 2021

The Art Studio Renovation Diary - Update

Sandra Blow’s Drawing Room, you can see the hole in the ceiling where water was seeping in, April 2021

The Art Studio Renovation Diary - Update

The Art Studio Renovation Diary - Update

Rip out day – May 2021

The Art Studio Renovation Diary - Update

Shower room gone – May 2021

The Art Studio Renovation Diary - Update

 Old roof off – August 2021

The Art Studio Renovation Diary - Update

The Art Studio Renovation Diary - Update

The Art Studio Renovation Diary - Update

Preparing for new doors & windows – September 2021

The Art Studio Renovation Diary - Update

Raising the ceiling height, insulating & soundproofing – September 2021

The Art Studio Renovation Diary - Update

Rockwool

The Art Studio Renovation Diary - Update

Suntunnel installation in the wetroom

The Art Studio Renovation Diary - Update

Whitewashing and sanding back original floors – November 2021

The Art Studio Renovation Diary - Update

The Art Studio Renovation Diary - Update

Reinstating the Drawing Room

The Art Studio Renovation Diary - Update

Restoring the beauty of the wooden floors

 

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A Thanksgiving Thanks!

A Thanksgiving Thanks!

In the spirit of Thanksgiving, I’d like to thank all the students and well-wishers that have supported the Art School blog over the last year. It’s so inspiring when students share their creativity, progress and fantastic painting successes.

Have a great weekend, Vanessa & I are wrapping up warm, soaking up nature and walking the coastal path …. which so happens to pass an ice-cream parlour. I’m hoping to test if my Dad’s theory that ‘You get bigger portions in the Winter’ is true!

Will

p.s. I’ve been working on a new ‘Morning Paintings’ Course which will be launching in the next couple of months. I’ll keep you posted.

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Fishing Boat at St Michael’s Mount – Acrylic Step-by-Step Tutorial for Beginners

acrylic boat tutorial

Will Kemp, Fishing Boat at St Michael’s Mount, 10 x 8 inches, Acrylic on Board

Morning class,

After posting photos from my recent trip to St Michael’s Mount, the most popular request was to create a painting tutorial of the little blue boat. So here it is, a new free step-by-step acrylic lesson!

Grab a brew, maybe a biscuit or two (now the weather’s turning a bit more autumnal I’ve got a piece of particularly good ginger cake from the local farmers market) and let’s get painting, I really hope you enjoy it.

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Exploring St Michael’s Mount, the Castle & Recovered Portraits

Exploring St Michael's Mount, the Castle & Recovered Portraits

After a week of steady mizzle, the skies cleared, and it felt like the perfect autumnal day to head off and explore the nearby island of historical St Michael’s Mount in Marazion.

Nestled on top of a rocky hill, surrounded by blue water, it truly is an incredible sight, even as we approached by road: a medieval church, ancient castle and a family home rise impressively out of the sea.

Exploring St Michael's Mount, the Castle & Recovered Portraits

As we negotiated our way through the old town of Marazion and along the slipway, we went past this super cute cottage with the hand-painted door weathered by the sea air.

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How to Create Strong Painting Compositions using ‘Notan’ Design

notan painting

‘The combination of lights and darks especially as used in Japanese art : the design or pattern of a work of art as seen in flat areas of dark and light values only.’- Webster Dictionary

st-ives-harbour-morning

Out for a beach stroll early this morning, as the sun was coming up behind the boats in the harbour, it was an idyllic image.

I had sunlight, a beach and a view, so I took a photo on my phone, and you would think this would make a brilliant painting—a reflection in the water, the pier in the distance and the boat in the foreground.

However, I know if I painted this back at my studio, it wouldn’t work out as well as it promised.

It would be just okay.

It might still translate if I wanted to create a piece that focused on the colours of the water and sky, but the basic graphical design of the piece just isn’t strong enough to create a great painting. The boats aren’t instantly recognisable as boat shapes, and the harbour is obscured by other unidentifiable shapes.

I find three value studies or Japanese Notan studies can be surprisingly helpful in guiding your choices for creating a compelling composition in your paintings. If you were just to look at a scene in simple values or Notan, it becomes glaringly obvious what really works as a successful image.

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New! Acrylic Still Life Course

New! Acrylic Still Life Course

Morning class, I’m Will Kemp, and welcome to the first course in my new series ‘The Morning Paintings”.

I’m super excited about these because they are easy-to-follow single project courses that you can complete in just a few 1 hr painting sessions.

Each one will follow the same approach:

  • A single painting from start to finish.
  • A limited colour palette.
  • A handful of brushes.
  • A small canvas.
  • A simple subject.
  • 3 x 45-minute lessons.

Advice for perfectionists and procrastinators

The reason I’ve started this series is that sometimes you can find yourself overthinking the result of a painting, feeling that it’s got to be complicated or a masterpiece. The pressure of having to make it perfect can result in lots of unfinished paintings or keep you from even starting!

I’ve found the best way to get around being overwhelmed is to set aside 1hr painting slot every morning. Embracing the process of practice really helps to build momentum and self-confidence, and that principle has inspired this series.

With small bite-sized lessons, you’ll be building your knowledge and your painting without the task becoming too much. I’m keeping it very simple with just a handful of materials, but we’ll still get a good range of mixes even using a minimal palette.

The actual starting is the hardest part – well, the thought of starting, once you begin, it’s much easier to keep going.

In this first course, I’ve taken all the principles from a traditional still life composition but kept it simple and contemporary. You’ll learn classical principles that are the building blocks of all great old master paintings.

We’ll cover the preparation of your surface & drawing out, mixing colour strings and blocking-in, and how to create the illusion of a three-dimensional shape by observing the cast and form shadows. We’ll understand the importance of harmonious colour and adding texture to the surface to control the viewer’s gaze.

It’s been designed to be really, really simple, like when we paint the pears, we only use two colours for most of it, and then adding a few extra little magic bits of glazing to give you a little zing at the end!

So find a comfy seat, a strong cup of coffee, or a pot of tea, and see what can be achieved in a 1-hour painting slot, thoroughly engage in the process.

You could make a big step forward in the painting every day, and after three days, or even over a weekend, I think you will be absolutely amazed at how far your painting has progressed!

What’s in the Course?

  • 1 x Modern Still Life subject from start to finish, based in the studio working from a reference image.
  • 3 x downloadable video lessons, split into separate chapters that follow on sequentially. Step-by-step instructional videos so that you can follow along at your own pace.
  • Each stage is a detailed yet easy-to-follow process.
  • Lifetime access, downloadable on separate devices.
  • One-time payment
  • Downloadable jpeg reference images and reference line drawings.
  • Printable Class materials list
  • 1 1/2 hrs of detailed video instruction.

Learn more about the course here 

 

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Studio Notes // 004: Monumental Art and Modern Still Life

Studio Notes // 004: Monumental Art and Modern Still Life

Every few weeks, I share my top art inspirations that I’ve read, experimented with or listened to. Here’s this weeks edition of things I enjoyed when I should have been at the easel, with the hope they might inspire your own work too…

I’ve enjoyed watching:

Studio Notes // 004: Monumental Art and Modern Still Life

Documentary: Christo and Jeanne Claude: Monumental Art

I found this a really inspirational journey, documenting the lengths and dedication that artists can go to, to bring their vision to life. Christo’s projects are self-funded by his own preparatory drawings, and some of the planning stages span over 10yrs for the installation of art pieces that are temporary in nature. The scale and impact of the pieces are awesome!

Art finds:

Studio Notes // 004: Monumental Art and Modern Still Life

Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria (detail),

The National Gallery, London, has a page dedicated to the latest arrivals into their collection. A recent highlight is this beautiful self-portrait by Artemisia Gentileschi. Students painting with the grisaille portrait method (from the Oil Portrait Glazing Course) may be interested in having a zoom in on the face, and you can just make out the underlying grey tones.

(You can learn more about the oil grisaille method in this series of blog posts.)

On my Easel this week:

Studio Notes // 004: Monumental Art and Modern Still Life

I’ve been in the studio working on a couple of new courses looking at a modern & classical still life using a limited palette of materials. Inspired by our one hour morning paintings, the modern composition should be released first, hopefully in the next month or so.

Have a creative week!

Cheers,
Will

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A Daily Dose of Painting Courage (And Overcoming Masterpiece Anxiety)

A Daily Dose of Painting Courage (And Overcoming Masterpiece Anxiety)

The first painting I remember having an immense amount of pressure to get right was in my GCSE art exam.

For the final piece, I had moved into new territory and arranged my own setup of objects in front of my easel.

I thought a still life would be the easiest choice for a timed study.

It felt doable and I was too nervous to tackle a portrait. I also knew there were a few rules I should stick to.

A harmonious colour palette, good placement of objects and strong directional light.

After moving a vase, a bottle of wine and a bunch of grapes around for a little longer than anticipated, I reckoned I should just get on with it.

And some aspects of the finished painting worked ok, they really did.

My drawing wasn’t bad and the composition balanced but the hardest job was judging the colours from life. The light kept changing, I remember desperately trying to block off bits of the window and the immense pressure to create a ‘finished piece’ really lost all the logic and joy of observation.

I know we don’t often find ourselves in art exams, but the same pressure of having to make a great painting every time we pick up the brush often results in unfinished work or worse, unstarted work!

I’ve found the best way to get around this and bring spontaneity back into my studio is to try and paint daily.

Do a quick small study of something I already have lying around the house, try a new technique, colour palette and subject with no expectation.

Just thoroughly engage in the process.

A Daily Dose of Painting Courage (And Overcoming Masterpiece Anxiety)

15-min sketch of garlic onto Raw Umber & Titanium White Ground.

A Daily Dose of Painting Courage (And Overcoming Masterpiece Anxiety)

A Daily Dose of Painting Courage (And Overcoming Masterpiece Anxiety)

45-minute total painting time.

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7 Ways to Stop Acrylic Paint Drying too Fast

acrylic-slow-drying-mediums

Acrylics are a great medium. Pick up a few well-chosen materials, and after a simple set up, you can paint on almost any surface.

But.

They dry quickly. And sometimes really quickly.

If you’re new to painting, the seriousness of this small window of free-flowing acrylics begins to dawn on you, little by little.

The paints don’t seem to blend quite as well as they did when you first put them out on your palette. In fact, that expensive paint you took so long deciding on has now gone completely hard, and there’s a distinctive shift in colour.

This is not just frustrating but feels like an undisclosed complication.

You thought it was going to be getting the painting techniques right that would be difficult, not battling with the paint drying out too quickly.

So how do you stop it from happening?

Paint faster? Invest in specialist paint mediums? Use a broom rather than a brush?

Humidity

Everything revolves around evaporation.

Controlling water evaporation is the key principle to manipulating the drying time of your acrylics.

Acrylics dry by evaporation. So, the wetter the air around the acrylics, the longer they stay wet. You might be painting in a dry climate and not realise how much that affects the paints’ workability.

The drier the air, the faster the acrylics will dry.

  • Wet air (around acrylics) – paints stay wetter.
  • Dry air (around acrylics) – paints dry out quicker.

humidity-monitor-acrylics

In my studio, I’ve got a humidity and temperature monitor. This helps to keep an eye on the water content of the space, so I can adapt my techniques if needed.

I’ve noticed when I’m painting near the coast, and there’s a higher amount of water in the atmosphere, the paints will keep working for a lot longer. If you are based in an extremely dry climate, you could introduce a humidifier into your space that will emit steam or water vapour to increase the air’s moisture levels.

Heavy Body Acrylics under ambient conditions of 70ºF/21ºC and 30% Relative Humidity in a 0.15mm brush stroke.

wet: under 5 minutes
workable:  10 minutes
touch dry: 30 minutes
locked down: 3+ days

Temperature & Air Flow

If it’s a hot summer day, you might have placed an air conditioning unit or fan next to your painting space; this will shorten the working time of the paints as airflow aids water evaporation, definitely something to consider.

Pro tip: It’s also handy to check the ambient temperature of your studio. If you drop below 9° C, it can cause issues when creating a strong paint film.

Acrylics are ideally used at room temperature, above 60° F / 16° C, and avoiding any applications below 49° F / 9° C, which is the so-called “minimum film formation” temperature (MFFT). Below that temperature acrylic paint cannot form a strong, coherent film and will be prone to failure and various drying defects, such as cracks, poor adhesion, and cloudiness – Golden Paints 

On top of your studio environment, there are a few successful ways to manipulate the drying times of acrylics by controlling evaporation. However, I don’t use them all in one painting but pick and choose whatever would work best for the style or stage of the piece I’m working on at the time.

How would you speed up the drying time?

Here’s an inversion thought experiment.

What would you do if you had to dry acrylic paint as fast as possible?

Paint in a thin layer? Warm room? Wind turbine? Sunshine? …Blow torch?

If I had to get a painting to dry as quickly as possible, I’d use a hairdryer on thin paint. High airflow, high heat, about 1 cm from the paint surface! This expels water the quickest from the paint.

And this knowledge is the secret to your success.

All we have to do is work on the opposites.

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Starter Set Challenge: Acrylic Street Scene – A Mediterranean Washing Line

Starter Set Challenge: Acrylic Street Scene - A Mediterranean Washing Line

Will Kemp, A Mediterranean Washing Line, Detail, Acrylic on Board

For this week’s free step-by-step acrylic lesson, we’re returning to the gorgeous faded paintwork and quiet cobblestone streets of Corsica.

After the challenging perspective in our first Starter Set Challenge ‘Warm Shadows in Corsica’ the simpler shapes and clear blue sky of ‘A Mediterranean Washing Line‘ should be plain sailing.

I particularly love the multiple wires threading your eye towards the sea in this scene and the washing strung up between the buildings brings a human presence of day-to-day life, breathing real energy into the composition.

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Starter Set Challenge – Painting Street Scenes with Acrylics

acrylic-starter-set-challenge

Will Kemp, Warm Shadows in Corsica, Acrylic On Board (detail)

It’s hard to believe that city breaks, art exhibitions and museum visits were something we used to enjoy almost casually.

Here in the U.K, we’re back in another full lockdown, a cold and wet one!

I was looking through some photos from last summer’s trip to Corsica needing a bit of escapism. They instantly transported me back to the atmosphere, the colours and smells, meandering down sun-dappled side streets, ice cream in hand with the anticipation of undiscovered delights around the next corner.

Drawing and painting can be very therapeutic; so with that in mind, I’ve created a couple of acrylic step-by-step street scenes to help get us through the next few weeks.

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How to Loosen up your Acrylic Paintings – Impressionistic Apples Tutorial

How to Loosen up your Acrylic Paintings - Impressionistic Apples Tutorial

Morning class, this week we’re going to look at how to paint fast and loose with your acrylics in this two-part apple study.
I get lots of emails from students who want to develop a more painterly impressionistic style but find when using a photo reference; they get too obsessed with the details, and the whole piece gets a bit overworked.

So in the first lesson of this two-part still life, I approach the drawing out of our apples in a bit more detail. The method I demonstrate is sometimes called ‘Envelope Drawing’ and is an approach that helps you to draw something more accurately.

In the second lesson, we approach the painting without pre-mixing the colours using our intuition and being a bit looser with our brush marks I’ve used a limited palette and simple painterly techniques with just two brushes and four colours.

Why are we drawing more accurately when we want to paint looser?

Well, it depends.

It depends on your skill level of drawing.

If you’re pretty good at drawing, then ideally you’d go straight in with your paintbrush and draw and paint at the same time, so you’re essentially drawing with your brush. That’s how you get the loosest, freshest paintings.

But if you’re a complete beginner, then spending the time getting the drawing accurate is a more failsafe way of creating a painting that looks loose but captures the subject. It gives you the confidence to paint more loosely knowing you’ve got a good structure underneath.

I paint this study with acrylics, but you could also use water-mixable oils.

So grab a brew, a couple of biscuits, and you can download a reference image below to follow along with the video.

How to paint loose with Acrylics – Part 1 – Drawing

How to paint loose with Acrylics – Part 2 – Painting

Downloading the reference photograph

The photo below can be downloaded, so you can use it as a reference image, print it out and follow along with the steps below.

How to Loosen up your Acrylic Paintings - Impressionistic Apples Tutorial

You can download a larger 30 x 30 cm version of the image here.

Materials you will need:

  • 30 x 30cm canvas or board or you could work on a smaller square

Paints:

I use Artist Quality acrylics but you follow along with any brand.

For the coloured ground:

  • Raw Umber (Golden Paints)
  • Ultramarine Blue (Golden Paints)
  • Titanium White (Golden Paints)

For the painting:

  • Titanium White (Golden Paints)
  • Cadmium Yellow Light (Golden Paints)
  • Ultramarine Blue (Golden Paints)
  • Burnt Umber (Winsor & Newton)

Brushes:

  • Isacryl Filbert, 6572, Size 6 (Isabey)
  • Small round synthetic (any brand is fine)
  • 1 1/2 inch XL Elite Monarch decorators brush (Purdy)

Extra tools

  • An HB Pencil – (I use a Kuru Toga Roulette Mechanical Pencil 0.5mm Uniball)
  • An Eraser – (I use a Putty Eraser by Faber Castell)
  • Burnt Umber chisel nib acrylic marker (Liquitex)
  • Delacroix Charcoal & Pencil fixative (Sennelier)
  • Acrylic Glazing Liquid Gloss (Golden Paints)
  • Palette Knife (I use a diamond shape size 45 by RGM)
  • Metal dipper or small pot for mediums
  • Jam Jar for water

I’m using a 30 x 30 cm cotton canvas and I toned my canvas by applying a diluted grey mix that matched the colour of the linen in the reference image.

A coloured ground helps to take away the glare of the white canvas and gives me a head start – if you want to learn more about the benefits of painting on a coloured ground see: How a prepared canvas can drastically improve your paintings

Line drawing

Here is the line reference image from the end of Part 1.

How to Loosen up your Acrylic Paintings - Impressionistic Apples Tutorial

 You can download a larger 20 x 20cm image of the line drawing here:

Finished Painting

How to Loosen up your Acrylic Paintings - Impressionistic Apples Tutorial

I really hope you enjoy the lesson, have a great festive week!

Cheers,

Will

 

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Thanksgiving Thanks!

Thanksgiving Thanks!

In the spirit of Thanksgiving, I’ve been reflecting on all the positivity and creativity that has come through the Art School blog this year.

It has been such a hugely challenging time for us all, and it’s been so uplifting to hear about students that found painting a positive focus during lockdown.

It puts my day on a real high when I open my mailbox to see beginners painting successes, the progress that students make daily is fantastic; you are all such an inspiration!

Have a great weekend,

Will

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Acrylic Painting Tutorial – Fishing Boats in St Ives Harbour

fishing-boats-st-ives

Longing for the sea during lockdown, I decided to have a look through some of my old travel photos from trips around the coast.

sketches-for-fishing-boat

I did a few thumbnail sketches looking at different images; I liked the diagonal composition in the first sketch. I used an Acrylic Marker by Daler Rowney (FW Marker) filled with Sepia High flow acrylic (Golden Paints).

I settled on an image looking down on some fishing boats, moored in the harbour of St Ives, Cornwall.

You can download a reference image below to follow along with this acrylic lesson, hope you enjoy it!

Continue ReadingAcrylic Painting Tutorial – Fishing Boats in St Ives Harbour