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WORKSHOPS & CLASSES

Painting Classes 07

All levels catered for
Paint a wild creature or your family pet. Conducted by
Stephen Powell Wildlife Artist
Oil or Watercolour
Groups of 5 X 2 hour sessions. Choose either
Tuesday 1:00- 3:00pm.
Tuesday 7:00 -9:00pm
Ist classes 2007 30th January
 $50 deposit to hold place. Payment in full $125 at first session.
Classes every Tuesday during school terms except public holidays.
Other sessions to be added according to demand. Students may
start classes at any time subject to discussion with Steve.
Materials not supplied.

Venue:
Mandala Magic
114 Morris Rd
(Cnr Morris Rd & Melaleuca Dr)
Upwey, Vic 3158
(Mel 74 J12)

Contact Stephen
Home: 9754 2811
Mobile: 0439 975422
Email: See contact page

DESK EASEL, CANVAS PREPERATION & REFERANCE MATERIAL
REQUIRED MATERIALS

Wildlife Art
Exhibition, Demonstrations and Library Talk

Steve has given series of talks in libraries in and around the Dandenongs.
The next one will be at the Mt Evelyn Library: 7th Feb 2007 at 7:00pm
His presentation will:
Give an overview of his journey from beginner at age 40 to where he is today. Touch on the history and the diversity of art depicting wildlife. A brief outline of the techniques he uses. Share some of his experiences with creatures he paints.

These talks will not only be of interest to artists from the beginner to expert but anyone with a love of the environment and its creatures. The presentation will be more suitable for teenagers - adult audiences however younger children are welcome. Steve is happy to field questions and participants seeking help or advise are encouraged to bring along examples of their work.

Exhibition

To illustrate his journey so far the library exhibition space will display a collection of his works.
30th January - 27 the February 2007.
Opening 2nd Feb. 7 pm

Steve can be seen at work

Friday 16th Feb. 07 - 9am - 5: 30 pm
Saturday 17th Feb. 9am - 2pm

Charles Sturt University
COMMUNITY EDUCATION

Stephen Powell will tutor:
Wildlife Art Workshop - Oil & Watercolour

The workshop will cover the steps from reference gathering to bringing a realist work to life. It will include choice of materials, working with photographs, planning, layout and design. The workshop will cover working in oil and watercolour and students can work in either medium. The vast majority of information presented, stages and procedures taught are common to both mediums. Students with watercolour experience will find the move to this oil technique painless. Eyes that live & fur and feathers you can touch. Students will learn techniques used by world renowned wildlife artists. Prepare to have wishes turned to goals. Find the motivation, overcoming self imposed limitations and remove the obstacles to your creativity.

 

Mitchell School of Arts
Bathurst Campus 9th -14 July 2006


Steve and students Bathurst Winter 06

For information see
http://www.csu.edu.au/student/community-ed/

or contact:

SANDRA STROUD
Program Administrator
CSU Community Education & Mitchell School of Arts
Charles Sturt University
Panorama Ave
Bathurst
NSW 2795

Tel: (02) 6338 4120
Fax: (02) 6338 4378

e-mail sstroud @csu.edu.au

A students comments:

Winter 06

"Many thanks for a great week. I liked your excellent advise – learn from the best – not the 70%’ers."

My Trip To Mitchell School of Art "Last week I had the extreme pleasure of attending Mitchell School of Art in Bathurst NSW Australia. Spent my week studying the techniques of Stephen Powell, an Australian extraordinar Wildlife artist. I am normally a watercolourist and so this transition to using oils was a little different but I got into it in a big way.
His method is very meticulous and the results are amazing. On top of all that he is a really nice person and seems to enjoy passing his knowledge to those who wish to take it in. We had only 4 in the class and this was not economic for the School but great for the 4 of us who had the privilege of painting with him...........""Just a quick note to say that I entered my wedge tail eagle painting in the Sofala Show this weekend and won 1st prize as well as winning a 1st for a landscape. Had success in the photographic section as well and won quite a few categories here too.
I reworked the eagle and he looked magnificent enough to win a prize, thanks, I owe a lot of that to you."

"I have just completed another Mitchell School of art in Bathurst. Once again I choose Wildlife art with tutor Stephen Powell and once again, I have come away enthusiastic. "

DESK EASEL, CANVAS PREPERATION & REFERANCE MATERIAL

Work in progress:

Tawny Frogmouth
King Cheetah
Bengal Tiger

Tawny Frogmouth's
Oil Painting 35 X 23cm.

The technique used for this work involves adding a number of transparent layers of oil paint and each layer requires overnight drying between each applications. It is therefore not possible to show the transition between drawing up the piece through to finished piece in a one day demonstration.

Step 1:
Produce a drawing on canvas board.(Very smooth surface for fine detailed work)
Step 2:
Fix the drawing and begin applications of oil paint combined with quick drying glazing medium.
Step 3:
Blocking in and working up details.
Note: I tend to work on the eyes - major features early as it is a great motivator. However blocking in for all over balance is the preferred.
Finished piece
by pushing the contrast, tone and the bits that work the piece evolved.

Bengal Tiger

Bengal Tiger

Canvas Size 910 X 610 mm (36 X 24 in)

Step 1:
Produce a drawing on canvas board.(Very smooth surface for fine detailed work)
Fix the drawing and begin applications of oil paint combined with quick drying glazing medium.
Apologies for the image, it appears to be grubby when it isn't. It is important for the drawing to be clean

Note: Steve Morvell and I went on a reference gathering trip. He was a bit quicker of the mark than me, his tiger was a feature peace in a recent exhibition. Coincidently we both chose to work from our own, but virtually identical shots. His looks great. Tiger For mine time will tell?

Bengal Tiger

Step 3:
Blocking in and working up details.
Note: I tend to work on the eyes - major features early as it is a great motivator. However blocking in for all over balance is the preferred. The relative contrast and intensity is difficult to judge with large areas of white canvas. See the next step for comparison.

 
Bengal Tiger

Step 4:
Working up details continues. I've finally blocked in the background. Its strength is much closer to the final stage than the tiger. Note how the tiger looks like a flat pasted on cut out. Once I have finalized the detail I will add the shading that will give the tiger form and combine it with the background.


Bengal Tiger

Step 6:
I've strengthened the stripes and also tried to make them look more natural. During the initial blocking of the stripes I find it difficult to get the edges looking natural. You can see how crude and 'Dunny Brush - Toilet brush' like the edges are in the close up.

Note that the apparent body colour shift was caused by the photography.

Bengal Tiger

Bengal Tiger

I tend to add paint to enhance areas that work and trying to resolve the areas that don't. Whilst it not very efficient I do tend to jump around to areas that catch my eye rather than follow a logical and probably more efficient plan. The top right corner a second layer has been added to clean up the edges and deepen the shadow area. In this stage I've also strengthened the shadow under the chin and around the whiskers. Then rotated the canvas to avoid touching the wet area of canvas and to enable me to keep working. Rotating the canvas around also allows me to work more comfortably and to use more natural brush strokes. I work on a fantastic old drafting station with a foot pump to quickly raise & lower and a single arm that allows for rotation and tilt. Great for comfortable working position. I attach the canvas, brushes, pallet and small containers of medium and with Blu-Tack. This allows me to rotate the canvas to any angle and keeps my pallet and brushes in easy reach.

.

Bengal Tiger
Bengal Tiger

In the stage above and left I've begun to add form and depth to the painting.Note: adding shading - shadow to the body pushes it back and brings the head forward. Using shading to lift highlights and add impact to an image. I've seen many paintings where the artist stopped just short of this stage. Much of the potential of a painting is lost.

The stage below I have deepened the shadows further on the back, face and sides of the tiger. Whilst it may be difficult to see in the images I have continued to refine the eyes and the fur on the head.

Please note the overall shift in colour from one image to an other is the result of the limitations of my camera, natural lighting and my ability to manipulate the colour balance.

Recieved some advice from a good friend.

well now I can understand why its taking you so bloody looooong!!!..........jeezuss man.....stop sneaking around it and rip into it!!!!...........
Bengal Tiger

When to say its finished?
I could go in and fiddle but chances are I'd be the only one who'd notice. As with any painting I'd make changes if I did it again but I achieved much of what I'd set out do.


King Cheetah

King Cheetah

Canvas Size 910 X 610 mm (36 X 24 in)

Step 1:
Produce a drawing on canvas board.(Very smooth surface for fine detailed work)
Fix the drawing and begin applications of oil paint combined mixed with quick drying glazing medium.
Apologies for the image, it appears to be grubby when it isn't. It is important for the drawing to be clean

 
King Cheetah

Step 3:
Blocking in and working up details.
Note: I tend to work on the eyes - major features early as it is a great motivator. However blocking in for all over balance is the preferred.

 

Step 4:
Working up details continues.


Step 6:
Working up details continues.


 
Watch this space for the
King Cheetah's progress.
 Please note: There are many steps to go !

Counter
Count started 24/11/2006

 
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