Dunlop Demonstrations

2009 OIL PAINTING WORKSHOP SCHEDULE

2009-09-05T11:47:00.000-07:00

Bobbi Dunlop's unique workshops offer a challenge to artists at all levels. Workshops will take place in Bobbi's spacious studio where students will enjoy painting subjects from life under large north-lit windows. In addition to painting demonstrations by the artist and teaching students about painting, Bobbi will share her painting philosophy, the business side of art and life of the professional artist.

ABOUT BOBBI DUNLOP'S 'VISUAL JOURNEY' WORKSHOPS:

All students will require a 'french style' easel for the workshops. Each student will be emailed a supply list and registration form. There will be an additional $20 fee for the model in figurative workshops.

In keeping with Bobbi's philosophy about painting, the student will benefit from each workshop and may use one to build upon another. As the student will learn, subject matter is not an issue, however, elements in painting are continuous, no matter the genre. Therefore, the student will benefit from enrolling in following workshops as the student builds on knowledge learned in Bobbi's previous ones.

PAINTING THE STILL LIFE FROM LIFE, IN OIL

In the still life workshop, Bobbi will take each student through the process of setting up the still life, emphasizing the importance of beginning a painting with a “concept” firmly in mind. Painting in a direct manner, consideration will be given to abstract design, colour, value, edges and more. In particular, students will learn how to 'see' and experience the 'joy' of putting paint on canvas. The artist will demonstrate at the workshop.

PAINTING THE FIGURE FROM LIFE, IN OIL

In this workshop, students will enjoy the process of working with and painting a model, from life. Students will be guided through the process of setting up, lighting and painting the live model, in a direct manner. In addition, all the elements of a strong painting will be emphasized - creating a concept, abstract design, colour, value, edges and more. The student will have the choice of painting the full figure, 3/4 figure or head-and-shoulders. The artist will demonstrate at the workshops. There will be an extra model fee of $20.00 for this workshop.

2009 WORKSHOP SCHEDULE

1. September 19th & 20th, 2009
"A Visual Journey: Painting the Still Life From Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: September 19th and 20th, 2009
Class Size: Min. 7, Max 9 students Hours: 9am - 4pm each day
Note: Student must have their own 'french' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early bird incentive - $265.00 (must register with deposit)
Price after August 19th - $295.00
-all still life objects supplied at workshop

2. October 17th & 18th, 2009
"A Visual Journey: Painting the Figure from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: October 17th & 18th, 2009
Class Size: Min. 7, max. 9 students, Hours: 9am - 4pm each day
Note: Student must have their own 'french style' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early Bird incentive - $265.00 plus $20 model fee (must register with deposit)
Price after September 26th, - $295.00 plus $20 model fee

3. October 31st & November 1st, 2009
"A Visual Journey: Painting the Still Life from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: October 31st & November 1st, 2009
Class Size: Min. 7, max. 9 students, Hours: 9am - 4pm each day
Note: Sudent must have their own 'french style' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early Bird incentive - $265.00 (must register with deposit)
Price after October 10th - $295
-all still life objects supplied at workshops

4. November 21st & 22nd, 2009
"A Visual Journey" Painting the Figure from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: November 21st & 22nd, 2009
Class Size: Min. 7, Max 9 students Hours: 9am - 4pm each day
Note: Student must have their own 'french' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early bird incentive - $265.00 + $20 model fee (must register with deposit)
Price after November 1st - $295.00 + $20 model fee
-all still life objects supplied at workshop

5. December 5th & 6th, 2009
'A Visual Journey" Painting the Still Life from Life, in Oil"
-details above
Early bird registration by November 18, 2009

LOOK FOR BOBBI'S 2010 WORKSHOP SCHEDULE. ALL WORKSHOP INFORMATION MAY BE FOUND ON HER WEBSITE AT http://www.bobbidunlop.com/ and her blogs http://www.rembrandtetc.blogspot.com/ and http://www.dunlopdemonstrations.blogspot.com/ Please email Bobbi at bobbi@bobbidunlop.com with any questions. Thanks for your interest!

"Turkish Urn with Oranges" DEMONSTRATION

2009-06-06T15:45:00.000-07:00

"Turkish Urn with Oranges", 22x26, oil on Belgian linen

Here is my completed painting, "Turkish Urn with Oranges". I've just spent hours posting the entire seven step demonstration to my blog, only to find it was the WRONG blog when I was done! Can you imagine my anguish? Sheesh...

Oh well, not too worry....you can see the complete demonstration of this painting by going to my other blog Rembrandt, Etc. Perhaps on another day when I have time on my hands I'll post it here, as well.

In the meantime, if you have any questions or comments or would just like to drop a line to say "Hi", please do so at bobbi@bobbidunlop.com I try to answer all emails ;)

Visit my website at Bobbi Dunlop Fine Art You can sign up for my newsletter if you'd like (which I hope to get back to, soon!)

Demonstration coming soon!

2009-05-29T11:57:00.001-07:00

"Turkish Urn with Oranges"

oil on Belgian linen, (22x26)

It's been awhile, I know, and I do apologize for neglecting my blogging/posting duties! To catch up on my news, please visit my painting journal, Rembrandt, Etc. or visit my website Bobbi Dunlop Fine Art

In the meantime, this is a photo of my most recent large painting. After discovering this weather worn Turkish urn in a market several months ago, it was simply a matter of time til it won a place of honour in one of my still life paintings. I was looking for a minimalistic concept, in keeping with the functional, utilitarian nature of the urn. No frills. Nothing to take away from its faded, but once beautiful, facade. Toward that end, I used a fairly limited palette. As you can see, it is very much about earthy yellows, oranges and greens. This limited use of colour - or non-colour - serves to enhance the miniature china cup with its lovely blue painted windmill pattern. My small tribute to Rembrandt. I purchased this cup on our trip to Amsterdam last spring, to visit Rembrandt's home and studio, as well as the Rijksmuseum.

Hope you'll come back soon to see this demo. I'd love to hear from you if you have any questions or comments.... you can write to me at bobbi@bobbidunlop.com or post a comment here.

Step #1 - Measuring and cutting out the raw Belgian linen

2007-09-03T07:13:00.000-07:00

Carefully measuring and cutting Utrecht Belgian Linen for stretching and priming...steps below.

Step #2 - Stretching linen onto stretcher bars

2007-09-03T07:11:00.000-07:00

Stretching the raw linen onto stretcher bars.

Step #3 - Making rabbit skin glue

2007-09-03T07:09:00.001-07:00

Making rabbit skin glue in my studio.

Step #4 - Applying rabbit skin glue

2007-09-03T07:06:00.001-07:00

1st coat, of two, of rabbit skin glue, on Belgian linen. Sand between coats. Ensure to apply rsg to portion which wraps around stretcher bars, as well.

Step #5 - sanding rabbit skin glue

2007-09-03T07:03:00.000-07:00

Two coats of rabbit skin glue over two days....gently sand between coats. Then apply primer, below.....

Step #6 - Applying the first coat of lead oil primer

2007-09-03T06:55:00.000-07:00

Applying the first coat of lead oil primer .....Apply a coat of lead oil primer thinned with turps using a palette knife. Keep the coat thin enough to fill in the weave but allowing the weave to be visible. Allow this primer to dry over several days. Gently sand (wearing a mask, preferably outdoors). When dry, apply a second coat of oil lead primer, again keeping the coat thin enough to fill in the weave but allow the weave to be visible. Allow this to dry for two weeks before painting on the surface. Note: I apply one coat of primer to the edges.

Preparing canvases in my studio....

2007-08-19T15:53:00.000-07:00

PREPARING RAW LINEN CANVAS.....step by step demonstrationFrom my blogsite: It's been awhile since I've posted a new 'Daily Painting' .... as a full-time painter, it was always my desire to paint one little masterpiece each week, while working on my larger works. But, sometimes it just doesn't work out that way and here's one of the reasons why. I am one of those hands-on artists who savours every part of this creative process. I guess it's because it is so satisfying to be able to work with one's hands, be it carpentry, gardening or whatever. I have always built my own canvases and keep an assortment of different sized stretcher bars on hand at all times. I give my oil primed canvases another coat of lead primer so that I have my surfaces just the way I like them. Recently, my friend, artist Lisa Humes, visited me from Florida and brought with her some incredibly beautiful Utrecht raw linen as a gift. So, this weekend was spent not only stretching the raw linen onto stretcher bars, but preparing the supports with rabbit skin glue before priming them with an oil based primer. The photo above shows the process of applying rsg. After two coats of this over a few days, I will then prime the surface with oil lead primer, again preparing the surface to my idea of perfection. It's necessary to wait for a few weeks to paint on them, but it's so worth it. In addition to building these canvases, I've also been busy building my new website http://www.bobbidunlop.com/ Please visit if you haven't yet!

'Complementary Tea'

2007-08-09T17:11:00.000-07:00

SOLD
Oil on linen mounted panel, 7 1/2 x 10
Completed painting.... I've discovered since embarking on this 'Daily Painting' journey that these small works are fun and invigorating. It's a refreshing change from my larger works and sometimes it is a chance to work out some fun things to paint which perhaps could become something larger one day. This week was a particularly busy one in my studio but I was able to complete one daily painting for my blog.....'Complementary Tea'. Click on the image to see it close up! Enjoy!

What's on the easel...work in progress

2007-08-04T08:46:00.000-07:00

Work in progress, Oil on linen mounted panel

Couldn't resist these little panels that I prepared last week specially for my Daily Paintings....the linen is beautiful, quality Fredrix oil primed linen and I've applied another coat of lead primer to make the surface just the way I like it. It's fiddly, but I find it so satisfying to prepare this linen and build my canvases myself....and it's heaven to work on. I pushed this painting as far as I could in one day...I like to work on a dry surface the second day. This first stage is full of possibilities, many of which I will discover as I apply pieces of paint over the dry tomorrow. This painting was inspired by my artist buddy, Joey Iantorno. Joey is an amazing artist, and person, living in Anaheim, CA. Although we live in different countries we manage to compare notes and inspire one another. The artist's life can be a rather isolated one, by choice, therefore meaningful friendships are forged and boundaries become seamless. This one is for Joey.

2007-06-26T19:30:00.001-07:00

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Step 4 - "Three Tulips" - Painting Demo

2007-06-02T12:54:00.000-07:00

Completed Painting: "Three Tulips", oil on linen mounted panel, 5 1/4 x 8 - I began the second day of painting, on a dry surface....the first steps took very little time but were important in setting out my initial concept/design. In addition, by getting paint on the slippery surface and allowing it to dry overnight, I will be able to apply paint with ease and bring the painting to completion. I continue to use a larger bristle brush, better to put the pieces of paint onto this beautiful oil primed linen where it will stay on the surface. I concern myself with the paint quality, re-emphasizing my original design in the dark shadows and also correcting the color of the tulips. They really were this colorful! I loved sculpting these beautiful oval forms with paint, settling them into their surroundings and tucking them into the arms of their greenery. The only downside to this exercise was that on the second day I had to reset-up my tulip still life and it was nearly impossible to get them to sit in the exact way as my initial set-up. I have a fridge in my studio in which I keep the flowers in a water container. This seems to perk them up very nicely after a long day of posing for me in my studio.

Step 3 - "Three Tulips" - Painting Demo

2007-06-02T12:53:00.000-07:00

Step 3: Working right into the wet surface from Step 2, I begin to lay in the color of the tulips as I see it before me. Again, I'm not concerned with drawing and using a larger than necessary brush at this stage keeps me from any notion of doing that. I've set out the light area, wiping away the area just in front of the tulips and created my dark area using a mixture of burnt umber, ultramarine and phthalo blues. I've also indicated where my greenery is with some broad strokes of green, which I've mixed. It's just a matter of laying on pieces of paint at this stage. Well, that's true of every stage.....the tulips are pretty bright but that doesn't concern me. I will adjust their color accordingly tomorrow once the paint has dried. My concept/design has now been established and the process from here on is just having fun developing it with paint. I decided to knock down some of the edges of my brushstrokes at this stage with a large 2" flat brush, and in so doing, have created a bit of a blur. You probably thought it was due to less than professional photographic skills on my part, but that's not entirely the case. I'm not sure that I am any further ahead for doing this, in hindsight, because I don't like the look of this now, but live and learn. I will work with it. I leave the paint to dry overnight so that I will have a stable surface to work on and also a more manageable one, not so slippery.

Step 2 - "Three Tulips" - Painting Demo

2007-06-02T12:51:00.000-07:00

Step 2: The beauty of this oil primed linen is that you can wipe off your paint and you will find the beautiful surface of your canvas revealed.....this is characteristic of a quality oil primed surface....an acrylic surface is more porous and so, while it's possible to wipe away your paint, there's a possiblity your surface will be stained underneath. In this demonstration you can see that I've simply wiped away the area, with a rag, in which I plan to place my tulips. How hard can that be? Having said this about my beautiful oil pimed canvas, what I love about it, makes my artist buddy, Rick, crazy. He loves his acrylic primed canvases.

Step 1 - "Three Tulips" - Painting Demo

2007-06-02T12:50:00.000-07:00

Step 1: I arrive at my studio with these beautiful tulips from my local grocer. As soon as I lay eyes on them, a concept begins to form in my mind and I race back to my studio to set up the still life arrangement under the natural north lit windows. I'm ready to begin. In this little daily painting of 3 tulips I'm working on my favorite oil primed Belgian linen which I've mounted on panel. The linen was toned with a mixture of burnt umber, ultramarine and phthalo blues to create a greyed tone. My main goal in any still life, or any painting, for that matter, is to have a concept in mind and toward that end, I lay on some paint just to get a feel for the space that I will place these beautiful flowers into. As I've mentioned in other demos, this oil primed surface is very slippery. I love it, but it makes the first day of any painting a bit of a challenge just getting paint onto the surface. Here, I'm working with transparent red lake, ultramarine blue and maroger medium. Doesn't look like too much does it? But it's fun, nonetheless. I use a larger brush than I think will do the job, just to make sure that I don't try to get fiddly right off the mark. No danger of that happening here, by the looks of it.

Step 5 - "Best Friends" - Painting Demo

2007-06-02T12:47:00.000-07:00

Completed Painting: "Best Friends", oil on linen, 10x8 A little more refining, brightening whites, more color, adjusting the background and the little painting is done.

Step 4 - "Best Friends" - Painting Demo

2007-06-02T12:46:00.000-07:00

Step 4: And the whole process continues. I endeavor to not lose sight of my original design and concept. Pushing the lights and de-emphasizing the areas that are unimportant, the area surrounding the girls. The landscape in the background is brightened and the paint quality thicker as I use this area to complete my original concept and design.

Step 3 - "Best Friends" - Painting Demo

2007-06-02T12:41:00.000-07:00

Step 3: Continuing to lay in pieces of paint, color as well as non-color, created by bringing the background color into the figures, creating their forms. Their faces are simply pieces of paint created with single, unaltered brushstrokes. I try to lay in the lights in an impasto fashion and not disturb the paint quality. I'm constantly pushing and pulling values...either making areas darker (keeping them thin) or areas brighter or lighter (impasto). This is so much fun!
(click on older posts to go to Steps 1 and 2 of this demonstration as well as other demos)

Step 2 - "Best Friends" - Painting Demo

2007-06-02T12:40:00.000-07:00

Step 2: As you can see, I have refined my dark areas. As I mentioned in step 1, it's tough to get coverage on a slippery surface such as oil primed linen, so today I concentrate on creating those dark areas. With a little dry paint now on the canvas, it's easier to work. Also, I begin to lay in color using a larger brush, without worrying about drawing. My aim at this point is to stay with my original concept for this painting. I want to set these little girls into a circle of focus. Everything else in the painting is secondary. This is a lot of stuff in a tiny painting and so my goal is to try to minimize detail in the outer areas of the girls' figures and in so doing, hopefully make this confined space that the girls are in, appear as if it is in a very large space. Does that makes sense? Their faces remain in shadow....this is fun to paint....the mere gesture of these little girls tells the complete story. I am aiming for simplicity and hope to achieve that in the design of light and shadow that I've created. Keeping the distant landscape simple, I use it to add some color and direct the eye to the heads.
(click on "Home" link at the bottom of page to continue with this demonstration)

Step 1 - "Best Friends" - Painting Demo

2007-06-02T12:36:00.001-07:00

Step 1: I try to approach each painting with a fresh approach in mind and not by formula. So, in this little painting (10x8), I've begun on a white oil primed linen surface, rather than a toned one, which I've stretched myself onto stretcher bars. With a large bristle brush, using my medium of choice, maroger, I block in the lights and darks of my concept. Not being concerned about drawing at this point, just placing my figures in their space on my canvas. This is done quickly. It's difficult to get coverage on a slippery oil primed surface, but I like this....I keep the darks airy and don't worry about the brushstrokes showing. All of this creates possibilities from which to work with. I let this stage dry overnight and can hardly wait to begin laying in pieces of paint tomorrow!

Step 3 - "Petite Ochre Pot" - Painting Demo

2007-06-02T12:34:00.000-07:00

Completed Painting: "Petite Ochre Pot", oil on panel, 7x6
And, here is the completed painting. I have just continued to lay on pieces of paint with my larger bristle brush.....more paint, more refining, as I bring the background color in to create the beautiful shadows in the pot's form. In addition, to create space around the pot, I've lightened (made cooler) the surrounding area. You will notice the brushstrokes becoming more impasto in the completed piece, also. I've tried to leave them just as they are. To me, the brushstroke is incredibly beautiful. That's what painting is all about.

Step 2 - "Petite Ochre Pot" - Painting Demo

2007-06-02T12:32:00.000-07:00

Step 2: I've let the underpainting dry overnight....blocking in the first step takes about 15 minutes but if I can, I like to work on a dry surface for this stage. Again, with the largest bristle brush I can handle on such a diminutive panel, I begin to really have fun...applying paint! Again, I try not to concentrate on drawing, just enjoy the process of laying on pieces of paint. And of course, color.....the intial stage has captured the concept I have in mind...where the light hits the objects and where the shadow creates the space my little pot nestles into. I push and pull my values, in the darker areas keeping the paint thinner, while in the area of light and color, I've concentrated on color as well as paint quality. I love to see the brushstrokes and I try very hard to just lay in a piece of paint and not disturb it too much. At this stage it's inevitable because the little pot is being sculpted with paint. With brushstrokes, I bring the paint tube into focus, as well. Not too much going on with the berry branch as this point, but I have made a start on it....

Step 1 - "Petite Ochre Pot" - Painting Demo

2007-06-02T12:06:00.000-07:00

I use oil primed belgian linen for my larger pieces but for most of the very small daily paintings, I prepare panels. In this case, I began by first gessoing a panel of MDF board with two coats of acrylic gesso. The gesso was applied with a large flat bristle brush in random strokes - you can see the brushstrokes in evidence. Once this was dry, I toned the panel using a mixture of burnt umber and ultramarine blue with turps to make a greyed tone, rubbing off the excess with paper towelling and then letting it dry overnight. I set up the still-life in my studio under natural north light. Always, a concept forms firmly in my mind and at this time I begin to place the objects into the space using a large bristle filbert brush. I used a mixture of ultramarine and phthalo blues and burnt umber for this and concentrate on massing in the light and shadow, not on drawing.....this step takes just a few minutes to do, especially for such a tiny painting. When I can, I like to let this stage dry before I being to apply color. In this example, I let the paint dry overnight....