WATERCOLOUR SOCIETY OF WA

DAVE CONLIN - TWO DAY WATERCOLOUR WORKSHOP

PRODUCING SUCCESSFUL EVERYDAY STREET SCENES

Sat 11th May and Sun 12th May10am to 4pm both days

Location – War Widows Guild, 15 Plantation Street, Menora.It’s a great venue to teach, plenty of room, light, kitchen and outside sitting area.COSTWatercolour Society Western Australia members $120 total for full two daysNon members /Public $150 total for full two days

Sue Payne of the WSWA is organizing the workshop and all queries should be directed to her. payne.susan@gmail.com0402521144

To secure your place make payment asap to the following account

Bank Transfer Details: BSB:066192 Account 10254673

As a reference on your payment please put your SURNAME followed by - DCW ie JONES-DCW and then let Sue Payne know when the payment has been made.

My aim is for the students to first and foremost enjoy themselves.Workshop will be intensive but fun filled, I will be challenging students to set their own goals and go for it.Student should not expect to produce outstanding works at workshops, that can come later. Your aim should be to watch, listen and learn as much as you can whilst having a go at trying to emulate the steps being shown.

‘ York WA, monotone painting’ ONE OF DAVE’S TYPICAL MONOTONE PAINTINGS

‘Vienna ‘ - ONE OF DAVE’S TYPICAL PLEIN AIR STREET SCENE

‘Maccagno Café / Bar’ - ONE OF DAVE’S TYPICAL PLEIN AIR STREET SCENE

DRAWINGI promise it’s a lot simpler than most people think and I will take you through the range of drawing skills you will need to master.

We hear over and over again about having to put in brush miles or drawing miles to help you improve and while it is very important to constantly keep producing work doing that alone misses the vital aspect of examining your work after every drawing/painting to determine what has and hasn’t worked. If your not addressing your faults after each painting/drawing you will just end up reinforcing your poor habits and churn out more and more paintings your unhappy with and become disillusioned.

Before you paint anything the drawing must be good

Painting onto a bad drawing can only result in a painting of a bad drawing. Street scenes in particular can be demanding but once you understand the basic laws of perspective and proportion then the buildings, cars and people will suddenly not be so daunting.

DAY 1DRAWING- COMPOSITION - LINEAR PERSPECTIVE- BUILDINGS- REALISTIC FIGURES- CARS- CAFE SCENE- USING POINTS OF REFERENCE

TONAL VALUESUNDERSTANDING ARIEL PERSPECTIVE AND HOW TONAL VALUES WILL MAKE OR BREAK YOUR PAINTING

THE WATERCOLOUR MEDIUMUNDERSTANDING HOW THE WETNESS OF THE PAPER AND THE TIMING AND THICKNESS OF THE PAINT YOU APPLY WILL GIVE YOU THE EFFECT YOU WANT..

TONAL PAINTING USING JUST ONE COLOURWE WILL COMPLETE A MONOCHROMATIC STREET SCENE - APPLYING LESSONS LEARNT AND SHOWING HOW AWESOME A MONOCHROME PAINTING CAN BE

Colour can confuse and often the wrong tone is applied because the colour appears dark but isn’t. It’s all about good composition and controlling tonal contrast

I will take you step by step on how I produce a monochrome painting.

STEPS TO PRODUCE THE PAINTINGExamine the picture/sceneWhy does the painting attract you?Where do you want the viewers eye to rest?Is your composition creating any conflicts with the main subject

What can be removed to simplify the scene and composition without losing the essence of the composition ?Once we have this clear in our minds we will do a charcoal/pencil sketch.

PRODUCING THE PAINTINGDivide watercolour paper roughly into five horizontal segments and three vertical segmentsDetermine the best composition to achieve your desired outcomeDetermine the horizon line Determine the eye lineDetermine the vanishing pointsDraw in subjectsPaint in the tones to create the picture

END of Day 1 - CRITIQUE OF STUDENTS WORK

DAY 2 PRODUCE TWO COLOUR PAINTINGS

Girona wet street scene for students to paint

MORNINGQUICK REVIEW OF PREVIOUS DAYS CRITIQUESDiscuss the previous days Critiques of students work.First the positives - What did we as individuals and as a group do well?Identify the most common weak areasHow do we go about reducing or eliminating those weaknesses today?

Set goals for yourselves and the class as a whole.

REVIEW THE PICTURE WE WILL BE PAINTING FROM

STEPS TO PRODUCE THE PAINTING - SAME AS ALWAYS Why does the painting attract you?Where do you want the viewers eye to rest?Is your composition creating any conflicts with the main subjectWhat can be removed to simplify the scene and composition without losing the essence of the composition?Once we have this clear in our minds we will do a charcoal pencil sketch.Examine the charcoal drawing, does this composition and tonal contrast achieve your desired outcome?

PRODUCING THE PAINTINGDraw five horizontal segments and three vertical segmentsDetermine the horizon line Determine the eye lineDetermine the vanishing pointsDraw in subjectsPaint in the undertonesPaint the mid tones Paint the darks Add final touches and pull the painting together

AFTERNOONProduce second painting.

END of Day 2 - CRITIQUE OF STUDENTS WORKWORKSHOP REVIEWDid everyone enjoy the workshop?Did everyone feel they improved with each painting?What are the most important things you have learnt on the workshop?

Dave Conlin

www.daveconlinartist.com

davidaconlin@gmail.com