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Workshop with Gary Spencer
After an impressive education in art Gary ended his Studies at Goldsmiths, University of
London from which he launched his career as a successful artist and educator some 20 years
ago.
Famous for his use of colour and expressionist paintings Gary will provide an insight in how
we can inject some vibrant colour into our own paintings, how we can use a
photographic reference in a more personal and creative way, rather than merely judging
our work by whether it 'matches' the reference or not. His workhop on Saturday September
13 th .
He will be primarily be working in acrylic paint but you should feel free to bring any
materials you think you might want to add to your work as a mixed media result is something
Gary encourages. A full list of required materials will be provided before the workshop.
One major theme that runs through all his teaching is how we can use photographic reference
in a more personal and creative way, rather than merely judging our work by whether it
‘matches’ the reference or not. So we might represent things accurately or loosely, with
ambiguity or clarity, with slow deliberation or spontaneous swiftness. We might include
faithful observations of colour, light and space, or in contrast, add highly subjective responses
and improvisations. He firmly believes there is no such thing as a neutral or 'correct' approach
to making art, or to expressing oneself through art, so the challenge is, in a pragmatic way, to
find the ways that suit you personally, and to ask yourself what your aims are from time to
time.
Though his themes change, the emphasis is always on the same formal elements of line,
shape, colour, texture, light and tone, and how we might explore these in relation to a
particular composition or design.
There are easy step-by-step, tried and tested ways of getting quick results in painting, he says
however he believes that it is only by taking ownership of processes and ideas that can truly
gain confidence as an artist, so he mixes clearly defined tasks with more ambiguous ones.
He has always had an interest in both abstraction and representation, and has also worked as
an illustrator. His current interest is in flat landscape and collaged textures in faces and
portraits
Essential
1. Acrylic paints – I will be mainly using six primary colours (process magenta and cadmium red, process yellow and yellow ochre, process cyan and ultramarine blue) – plus black, white and burnt umber. Though I may add a few extras such as turquoise, bright green, Cadmium orange.
So anything that seems like a pair of reds, yellows and blues would also be ok – it isn’t a step-by-step exactly, as I will offer different photo-references and people may bring their own too. If anything, bring your favourite colours, or use whatever you have to use up! The emphasis will be on how we compose, stylise and make-marks rather than specific colour schemes, even though I will discuss colour contrast etc.
2. Brushes – a small range of flat and round – that is, a fine one (for lines, smaller marks and drawing with paint – could be a long liner/rigger), small flat, medium, up to an inch or more – and perhaps a small and medium round one. I tend to use synthetic brushes, but any will do as long as there is a small range. To get started though, a largish brush will be useful – this could be a DIY brush. Essentially, something that creates broad bold marks where needed, and some that can make smaller shapes and adjustments too. I will bring some in that people can borrow if stuck.
3. A palette knife or two (of differing shape and size) will be good as an additional way of applying paint. Or/and old credit/loyalty cards and even just stiff bits of card or plastic are also good.
4. Surface – I will be working on a medium sized canvas around 60 x 45 cm – though any size or shape is ok. If people prefer working bigger or smaller – though if working small, they might want to bring two canvases in case they work quickly. This also goes for those working larger – it depends on how confident and quickly they work. I will be pushing us to move along quickly, especially at the beginning of the session. though there will be time to evaluate and develop the painting. NOTE: If people prefer paper or board this is fine too.
5. Paper, charcoal/chalk and eraser – I will be doing some preliminary sketching to begin with – to help simplify, arrange and stylise the composition as required before going onto canvas. Though this could also be pencil or pens – and I will bring in some charcoal for everyone to use, I also can supply paper if required.
6. Image reference – I will send some out that I think can be good for this – which I can print and bring if requested – but this may also give people ideas for bring their own.
7. Waterpot, palette and rags/paper towels will also be needed.
8. Masking tape will be required for masking on the image (though optional) but essential for those working in paper, to attach it to a board.
9. Rulers or straight edge tool – you never know when you might want a straight line or two (no, it is absolutely not ‘cheating’, but part of the greatest traditions of painting!) – though don’t bring one if you think you won’t want to use it!
Optional
1. Additional acrylic mediums you like to use (flow improvers, drying retarders, thickening etc) – though I will be just using paint only.
2. Collage materials (thin cartridge for painting on, tissue paper. magazines and other printed materials) plus scissors and glue – if collaging is something you like to do. I won’t be doing this, but am happy to advise if people do so!
3. Acrylic pens or inks – again, entirely optional – I won’t be using them for this day.
4. Other mark-making tools – fel free to bring your usual tools in, if any.
Members are invited to register for this workshop using the form belowthe price to members is £42, if there are spaces left these will be offered to non members at the unsubsidised price of £70 . Please specify the workshop you are interested in
