An artist’s journal from John Glover

Now it is time to concentrate on various portrait painting commissions. I have commisions to paint four children. A six year old in oils and three others , ranging in age from four to ten, in charcoal.

I also have a large double portrait in oils of the Sheriff of Huntingdon and her husband to complete.

Teaching continues also. I teach three classes a week at the Lothbury centre near Newmarket. Portrait painting,  oils and acrylics, and of course my own paintings for pleasure.  I also run day schools on portraits or life drawing and painting, at Grantchester and Barrow. These are held on a Saturday or Sunday and last from 10-4

Something else which is proving popular is one to one tuition whereby I ask any student to bring along samples of their work for review. We then work on a project together and I set ‘homework’ for the following session.

Bookings for me to demonstrate to art groups continue to come in for next year.  The latest are for a landscape demo to the Comberton art group and a watercolour portrait demo to the Bury Art Society.

Next September, 3-10 th, I will be teaching during the Art Holiday for Inspiration Holidays in Menorca.

If you are interested in any of the above art holidays, art classes, painting workshops or art demonstrations please contact me on 01284 810 460 or e-mail me at   john@gloverart.co.uk

Suffolk Art Society Exhibition

An exhibition of work by the Suffolk Art Society is now taking place at the Church of St. Peter and Paul in Lavenham.

IMG_9399

It is a popular venue in an elegant setting. There are oils, acrylics, pastels, watercolours, pencil, and pen/ink  drawings covering a wide diversity of subject matter from popular local scenes to animals, figure studies, still life and portrait.

Exhibition in Lavenham Church

Exhibition in Lavenham Church

I am showing three paintings, all acrylics.

The first was done purely for fun, a far cry from the normal rigours of portrait painting. In the recent scorching summer heat I set up my easel in the garden and attacked the canvas with abandon. I used palette knife , glitter glue, acrylic inks, gold and silver paint as well as the usual pigments and mediums. I intentionally heightened the colour to express the warmth of the day. It was not a photographic representation of the scene before me, but rather my emotional response to it

Summer Garden

Summer Garden

My second painting is of an old hulk I discovered whilst teaching a painting holiday in Kirkcudbright earlier this year. Marvellous textures of wood and rusting metal. Most of the painting was done thickly with a palette knife and the fine detail added in the form of glazes or fluid pigment.

Old Hulk

Old Hulk

My third painting is of “Venetian Rooftops”. I loved the interlocking patterns and richness of colour of this scene.

Venetian Rooftops

Venetian Rooftops

The Exhibition in Lavenham runs until the 20th July. The Society’s next exhibition is in Holy Trinity Church , Long Melford from 1st-17th August.

For further details of the Suffolk Art Society and its members visit www.suffolkartsociety.co.uk

John Glover’s Open Studio

For the last three weekends, my studio has been open to the public as part of Suffolk Open Studios. It was a busy but fascinating time.

John Glover's Open Studio

I had lots of visitors, from friends to students, to others who had either seen my work in the preview exhibition at Blackthorpe Barn or spotted my work in the brochure.

It is an ideal opportunity for people to see the “artist in action” and to have a chat about art, materials, and techniques.

John Glover's Open Studio 2

Apart from showing “work in progress”, I like to mount an exhibition of a variety of work. This  I feel is much more interesting for any visitor.

As can be seen from the photographs, my main interest lies in portraits, figurative painting and landscapes. For these, I work in all manner of mediums, from oils to acrylics, gouache, watercolour, pencil , charcoal and pastel.

John Glover's Open Studio 3

The comments and discussions ranged far and wide from specific paintings to general chat about materials, techniques, and the classes I run.

From the artist’s point of view the feedback is invaluable and it is always fascinating to see which particular paintings prove to be the most popular.

But the “holiday” is over and it is time to get back to the solitary business of being a working artist!

A bold approach to portrait painting in oils 1

On occasions, it is exhilarating to try a different technique from normal and to move out of one’s comfort zone. In this portrait, I will be demonstrating a much more spontaneous approach to my usual carefully considered one.

Such a process gets the adrenalin flowing and can even be scary, particularly if one is demonstrating in front of an audience. Will it work? Will I be able to pull the rabbit out of the hat? Could it be my Waterloo?

A bold approach to painting a portrait in oilsI begin with my canvas stained with a pale wash of Viridian Green. As I wish to work quickly, my colours are already pre-mixed on the palette. With a large brush and lots of turpentine, I indicate the basic shape of the head and  the position of the features. But I am aware that most of this will change as the painting proceeds.

I now make liberal use of the palette knife and large hog’s hair brushes to lay on slabs of colour. I go straight way for the mid tones, allowing the cool underpainting to show through in places. It appears to be chaotic, but is it? After about 25 minutes of hectic activity, the painting looks like this.

When it was shown to the sitter, his look of horror said it all! “What a horrible daub! Does this man really know what he is doing?”

Watch my subsequent blogs to see how the painting developed!

FIVE TOP TIPS
Try something different, a new approach.

Don’t panic if it seems to be going wrong.

Expect the unexpected .

Take advantage of those happy accidents.

Most of all, enjoy.

Got to part 2


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Painting a head and shoulders portrait in oils.


Sometimes, the most successful portraits are the simplest. It is very easy, particularly on a commissioned work, to get carried away with backgrounds, clothing , pose or symbol to explain who or what the person is.
This is a portrait of “Mary”, a lady I have painted on many occasions. I felt that focussing in on her head, her expression and her gaze, captured her essential dignity and strength of character. To add anything else would have been a mere distraction.
[Read more...]

acrylic/oil portrait painting 3


Out of the chaos, order gradually emerges. Details of clothing, the table and objects on it, and the window gradually appear. I am still working in acrylics and the process so far has taken around two hours.

Acrylic/oil portrait painting 2


Here, I am still working in acrylics. I now begin to feel my way into the composition. The figures are roughly drawn in, as is the basic perspective of the background setting. I establish a cool green underpainting for future warm flesh tones.

Using acrylics as an underpainting for oils


The previous oil portrait was done in a traditional manner. This time I am using acrylics as the underpainting. The reason? It dries extremely rapidly so layer upon layer can be built up quickly prior to adding the oils on top. It is spontaneous and can be great fun, as can be seen from the somewhat colourful and apparently chaotic illustration on the right. But the colours I am using are chosen very deliberately to pick up those in the subject.

The finished portrait painting in oils


Over a number of sessions, the details in the head and hands was built up. This involved various techniques- glazing, scumbling and the use of body colour. At times stiff pigment was used, at others the paint was diluted with medium. I favour a stand oil, dammar varnish and turpentine mixture. The background was added during this process as well as details of the chair and clothing.
The background was painted over the edges of the hair . When this was dry, the hair was dragged back over it and a sable rigger used to establish some of the finer wisps.

Charcoal sketch to portrait painting in oils


Having decided on the finished preparatory sketch, I now prepared to do the oil painting. I chose to work on a fine linen canvas which I had stretched before applying two coats of size and two coats of oil primer. I then stained the canvas with a transparent wash of raw umber. This gives me a very useful mid tone on which to build my lights and darks.
I drew the figure in with a brush and fluid paint ( lots of turpentine) before moving on to the blocking in stage. All this time, I am checking angles, proportions, rhythms through the figure, and ,of course, position on the canvas. There is nothing worse than painting a fine head only to discover it’s in the wrong place!
The accompanying illustrations show the painting in various stages of development. The head is well under way, the hands are just rapidly sketched in , and there are still large areas of the original staining. In my next blog I will show how the portrait was developed further.