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THE UK’S BEST-SELLING ART MAGAZINE
Step-by-step
botanical painting
MARCH 2018 £4.40
WATERCOLOUR
Back to basics with
the graded wash How to paint
with acrylics
A BUG’S LIFE
First steps with
line and wash
Coloured pencils
How to draw
reflections
Add acrylic
highlights to
watercolours
Sketch to painting
tips & techniques
EXPLORE DEVELOP
!
two ways to your skills

begin an oil by painting

painting abstracts
Try winter How do I....
watercolour paint animals
landscapes in oils?

Painting holidays to
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Sapienza Travel painting holidays are an opportunity to
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Classes take place in atmospheric studios. Prices include
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About Tim Wright

• Prize winner in The Derwent Art Prize 2016.
• An exhibitor in The National Open Art
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• Featured in the 2014 BP Portrait Award
at The National Portrait Gallery.
• Worked as a Fine Art lecturer at Chelsea School of Art,
Middlesex University and The Motley Theatre Design
School. visit www.sapienzatravel.com/painting
• Taught Timothy Spall to paint for the Mike Leigh call 0800 086 9778 or email
directed film ‘Mr Turner’. enquiries@sapienzatravel.com
ART IN THE ALGARVE

Watercolour • Oil painting • Oil & Acrylic • Specialist courses
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2 MARCH 2018 www.painters-online.co.uk
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March welcome_Layout 1 12/01/2018 08:48 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 52/3
ISSUE 571
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
MARCH 2018
Editor
Ingrid Lyon
T his is a good time of year for trying
new techniques, media and subjects
in the warmth of your own home or
Contributing Editor
Jane Stroud
studio. Have you ever thought of painting insects? Even if the motif
Editorial Consultants
Diana Armfield RA, NEAC (Hon), RWS doesn’t appeal to you, turn to the first part of Liz Chaderton’s series,
David Bellamy
Tony Paul STP Beautiful Bugs (pages 40 to 43) this month and practise some
Advertising Sales
Anna-Marie Brown 01778 392048
essential line and wash techniques. You can be sure that the same
annamarieb@warnersgroup.co.uk methods and materials will be relevant for your favourite subject –
Advertising Copy
Sue Woodgates 01778 392062 and might well give it a new lease of life.
suewoodgates@warnersgroup.co.uk
Accounts
I have been enlightened by Linda Birch’s series, Journey into
creditcontrol@warnersgroup.co.uk Abstraction, which comes to an end this month (pages 30 and 31).
Events Manager
Caroline Griffiths Through Linda’s teaching skills, I feel closer, not only to
Subscriptions & Marketing Manager understanding the theory behind abstraction, but also to trying
Wendy Gregory
Subscriptions it myself. I am interested in the idea of paring down a subject
Nicci Salmon & Liza Kitney
01580 763315/763673 to its basic shapes – and, in the same way, paring down my own
subscriptions@tapc.co.uk
emotional response to it. If any of you have tried painting abstracts
Online Editor
Dawn Farley based on Linda’s series, please share your thoughts with other
Designers
Alison Renno readers through our letters’ page.
Sarah Poole
There’s still plenty of time to enter Leisure Painter’s Open
Leisure Painter is published
every four weeks by:
Competition (closing date, 12 April) so if you haven’t already
The Artists’ Publishing Company submitted your work, now is the time to cast a critical eye over
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, recent paintings or begin painting your masterpiece. See pages
Kent TN30 6BD
01580 763315 64 and 65 for entry details and the prizes. The judges are eager to
Publisher
see well thought out and executed work, showing perhaps a new
Dr Sally Bulgin, Hon VPRBSA way of looking at a subject and confidence in handling your chosen
Publication of an article or inclusion of medium. Primarily, in the Leisure Painter category, aimed at
an advertisement does not necessarily
imply that TAPC is in agreement with amateur and hobby painters, we are looking for evidence of your
the views expressed, or represents
endorsement of products, materials passion for painting! I often hear from the prize winners, many of
or techniques. TAPC does not accept
responsibility for errors, omissions whom are amazed that they have won an award. Don’t be put off,
or images received in good faith
Annual subscription rates:
therefore, by a lack of confidence or that you haven’t made the
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(Tel: 01778 391000) APRIL 2018 issue on sale 23 February
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LP02 4-5 Contents_News 1st 10/01/2018 14:29 Page 4
Contents MARCH 2018

19
50
14 4
22 Painting project
IN EVERY ISSUE Part 2 Paint a Yorkshire sunrise using pastels,
with Tony Hogan
7 Diary 71 Books
Things to do this month A selection of practical 25 Botanical painting for beginners
art books are reviewed Follow this beautiful and detailed demonstration
8 Exhibitions painting of a calla lily, with Michael Lakin
Some of the best shows 74 Art clubs
around the country News, highlights, exhibition 30 Journey into abstraction
listings and ‘best in show’ gallery Part 3 Linda Birch concludes her series with a
10 Letters look at how to paint colour fields and produce
Your tips, suggestions, 78 Online gallery collage from paper and paint
ideas and questions Jane Stroud chooses paintings
of birds from PaintersOnline 32 Where to begin
Experiment with two different ways of beginning
an oil painting, by Noel Gregory
FEATURES 36 Evening light

Work alongside Gwen Scott as she paints
12 The value of art a winter landscape in watercolour from a
Pamela Kay examines the importance summer photograph
of painting in a digital age
40 Beautiful bugs
14 Animals in focus Part 1 Take your first steps in painting with line
Sam Dolman discusses the materials, and wash to depict insects, by Liz Chaderton
references and techniques he uses to
paint realistic portraits of animals 44 Acrylic highlights
Follow Colin Steed as he adds acrylic highlights
On the cover 19 Watercolour basics to watercolour paintings
Steve Strode Renshaw Street, acrylic and beyond
on card, 512⁄ x712⁄ in. (14x19cm). Paint Part 3 Develop your watercolour skills 47 Winter in watercolour
landscapes and urban scenes in by practising graded washes, with Part 3 How to find and paint the patterns of a
acrylics on pages 50 to 53 David Webb winter landscape, by Colin Joyce

LP02 4-5 Contents_News 1st 10/01/2018 14:29 Page 5
Coming
next month
Pick up your brushes to learn techniques for
painting still lifes, landscapes, beach scenes,
30 insects and more in Leisure Painter’s April issue
0
ON SALE 23 FEBRUARY
n How to fill your
journal/sketchbook
with David Bellamy
n Basics and beyond:
the wet-in-wet wash
n Use a variety of
techniques to paint
landscapes and still
lifes in watercolour
n More line & wash
techniques
n Make the most of
Payne’s grey
4 44 PLUS...
n How to paint from Steve Strode Detail from
t
photographs Landscape, acrylic on canvas,

8x8in. (20x20cm). Paint along
OFFERS, NEWS AND COMPETITIONS n Try a mixed-media with Steve to produce a light-
approach to your work filled landscape in the April issue
6 Your chance to win a painting holiday with
Big Sky Art Courses, worth £500 n Paint winter beaches
in oils
58 Subscribe to Leisure Painter this month and LEISURE PAINTER
n Step-by-step acrylic ON-SALE DATES
save money
landscapes Issue On sale
n Look out for details of
64 How to enter LP’s Open Competition 2018 April 23 February
May 23 March
our new six-month June 20 April
77 Save money on practical art books when you buy competition...
through our bookshop at PaintersOnline
AND LOTS MORE!
50 Landscape studies
Be inspired by natural landscapes and urban scenes to learn
acrylic techniques, with Steve Strode
54 Reflections
How to draw realistic reflections in coloured pencil, with
Judith Heilbronn-Crown
59 Sketch to painting
Richard Holland completes a studio-based oil painting from
oil sketches made on site
62 Beginner’s guide to portraiture

Tips and techniques for painting portraits in acrylics, with
Laura Gasperi
72 Art Club of the Year 2017 t

Amanda Cooper Pembroke, watercolour, 10x14in. (25.5x30cm).
View the runners’ up paintings from last year’s competition Amanda demonstrates how to paint still lifes in watercolour next month

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the online home of
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courses consist of inclusive three-day packages, each led by magazines, and click on the links
renowned and experienced art tutors. Between them, John Hoar, to competitions. Closing date
John Tookey, Ian McManus, Colin Allbrook, Melanie Cambridge for entries is March 22, 2018.
and Jem Bowden will cover watercolour, pastels, oils and acrylics
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Winners will be selected at
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Set in beautiful and tranquil farmland between Brancaster
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meals in a warm, relaxed and welcoming atmosphere. we can keep you up to date with what’s
The winner will be able to choose a place on whichever art new at Painters-Online, including the
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For more information visit www.bigskyartcourses.com new competitions and other great offers.
p06_lpmar18.indd 6 12/01/2018 14:14:37

LP March 2018 Diary p7_News 1st 15/01/2018 12:26 Page 6
Diary
THINGS TO DO THIS MONTH
Pablo Picasso Nude Woman in a Red Armchair, 1932, oil on

t
canvas, 511⁄4x381⁄4in. (130x97cm)
IN THE FRAME
Picasso 1932
Tickets are now available for the curator’s talk and private
view of the EY Exhibitions: Picasso 1932 at Tate Modern,
London on 16 April (6 to 8.30pm). The exhibition, which
opens on 8 March and runs until 9 September, includes
more than 100 paintings, sculptures and drawings, as well
as family photographs, giving a rare glimpse of Picasso’s
personal life. Head of exhibitions and displays at the
gallery, Achim Bochardt-Hume will give an insight into
the artist’s life and art, and what made him one of the
Rob Ritchie Roses, oil on panel, 11x9in. (28x23cm). Rob’s work
t most influential artists of the 20th century. The event,
will be on show at the Contemporary Art Fair Surrey in February. priced at £29, includes a private view of the exhibition.
Visit www.tate.org.uk for more information. Book tickets
New art fair for the exhibition at 020 7887 8888.
Following successful art events, which have been
running in Windsor and Reading for the past ten
years, Contemporary Art Fairs are bringing a brand
new event to Surrey, from 23 to 25 February. Over Dates for your diary
160 artists, galleries and selected new talent will be 1 to 4 February The Works on Paper Art Fair, featuring
showing their work in a range of media – from watercolours, drawings and prints, opens at the Royal
painting to sculpture, textiles to glass. Live Geographical Society in Exhibition Road, London SW7. A series
demonstrations will be taking place throughout the of talks and events has been organised to coincide with the
event and visitors will be able to try out various event, including: The Art of Gardens, featuring leading garden
materials and techniques whilst they are there. The designers; Augustus John: Drawn from Life, which explores
fair will be held at the picturesque Sandown Park. John’s early career, and the friends and rivals who surrounded
For details go to www. contemporaryartfairs.co.uk him; and Edward Lear: Art and Nonsense. For a full
programme of events, more information and tickets go to
www.worksonpaper fair.com
Opportunities
n JOPP 2018 is online, with a closing date of 16 March. including £400 best in show and the
Jackson’s Art Supplies is inviting entries For full details, and entry requirements, President’s Award. Selected work will go
to its third International Jackson’s Open go to www.jacksonspaintingprize.com on show at Stratford Artshouse, Stratford-
Painting Prize, offering a top prize of upon-Avon from 2 to 11 May. The closing
£5000, a £2000 People’s Choice Prize, n UK Coloured Pencil Society date for online entries is 11 February.
plus the opportunity for selected finalists Entries are now invited to the 17th For full details and entry form go to
to exhibit work at the Hampstead annual UK Coloured Pencil Society’s open www.ukcps.co.uk or telephone Liz Ridley
Affordable Art Fair in May. Initial judging exhibition. Many awards are offered, on 01732 834335.
62
LP March 2018 Exhibitions p8-9_Layout 1 15/01/2018 12:29 Page 2
Exhibitions
‘London and its River’: the Wapping Group
of Artists’ annual exhibition, 26 February to
3 March. ‘The Lynn Painter-Stainers Prize
2018’, 5 to 17 March.
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
JANE STROUD RECOMMENDS ‘Monochrome: Painting in Black and White’,
until 18 February. ‘Reflections – Van Eyck &
The Pre-Raphaelites’, until 2 April. ‘Drawn in
Colour: Degas from the Burrell’, until 7 May.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘From Life’:
exploring what making art from life has
meant to artists throughout history, until
11 March. ‘Charles I: King and Collector’,
27 January to 15 April.
n Tate Britain
Millbank SW1. 020 7887 8888.
‘Impressionists in London’, until 7 May.
‘All Too Human: Bacon, Freud and a Century
of Painting Life’, 28 February to 27 August.
n Tate Modern
Bankside SE1. 020 7887 8888. ‘The EY
Exhibition: Picasso 1932 – Love, Fame,
Tragedy’, 8 March to 9 September.
REGIONAL
n Buxton Museum & Art Gallery
Terrace Road, Buxton, Derbyshire.
01629 533540. ‘Artwork 2017’: featuring
work by staff and students from local
schools, until 25 February.
n Falmouth Art Gallery
Municipal Buildings, The Moor, Cornwall.
01326 313863. ‘Faces of Cornwall’:
exhibition of portraits featuring the people
of Cornwall, 27 January to 14 April.
n The Fitzwilliam Museum
Trumpington Street, Cambridge. 01223
332900. ‘The Object of My Affection’, stories
t
Jo Oakley Lilly’s Window, mixed media on canvas, 26x26in. (66x66cm) of love from the Fitzwilliam, 30 January to
28 May.
Time and tide n The Fosse Gallery
Living and working on the Kent coast, Jo Oakley’s paintings are all about the The Manor House, The Square, Stow on the
sea, which provides a constant and powerful backdrop to her work. She Wold, Gloucestershire. 01451 831319. ‘The
Land I Stepped Into: Tales from Persia’ by
draws her inspiration from the ocean as she takes her daily walk along the
Charlie Calder-Potts, 4 to 24 February.
seashore each morning, and her paintings, both seascapes and still lifes,
n Harbour House
explore recurring themes of nature, time and renewal. This will be the
artist’s first solo exhibition with Jonathan Cooper. Time and Tide can be seen The Promenade, Kingsbridge, Devon. 01548
854708. ‘To Celebrate the Distance’: abstract
at the Jonathan Cooper Gallery, 20 Park Walk, London SW10 from 1 to 17
mixed-media paintings by Bethany Holmes
February. For more information telephone 020 7351 0410. exploring colour and light in the British
landscape, 20 to 25 February. ‘Sixth Sense’:
art, photography and textiles by A-level
LONDON students from Kingsbridge Community
n Bankside Gallery n Llewellyn Alexander Gallery College, 27 February to 3 March.
48 Hopton Street SE1. 020 7928 7521. 124-126 The Cut, Waterloo SE1. 020 7620 n Ilminster Arts Centre
‘Society of Wood Engravers’: 80th annual 1322. ‘Jenny Wheatley: The Journey’, oils, The Meeting House, East Street, Ilminster,
exhibition, 30 January to 18 February. acrylics and watercolours inspired by Somerset. 01460 55783. ‘All at Sea’: aspects
‘RWS Contemporary Watercolour Jenny’s recent trips to India, Cuba, Spain of the sea interpreted by five artists working
Competition’, 2 to 14 March. and Cyprus, until 7 February. in different media, 19 March to 7 April.
n Dulwich Picture Gallery n Mall Galleries n Jerram Gallery
Gallery Road SE21. 020 8693 5254. The Mall SW1. 020 7930 6844. ‘The Half Moon Street, Sherborne, Dorset. 01935
‘David Milne: Modern Painting’, exhibition Columbia Threadneedle Prize: Figurative 815261. ‘Found in the Fields’: paintings,
of work by Canadian painter, David Milne Art Today’, 31 January to 17 February. drawings and original prints by Carry
(1882-1953), 14 February to 7 May. ‘The Pastel Society’, 20 February to 3 March. Akroyd, 24 March to 11 April.

LP March 2018 Exhibitions p8-9_Layout 1 15/01/2018 12:29 Page 3
Tom Boulton Stranger on the Shore,

t
watercolour, ink and gum arabic, 21x241⁄2in.

(53x62cm)
A Sense of Place
The Ilminster Arts Centre in Somerset
has brought together a mixture of work
by artists who each identify strongly
with a sense of place. Taking inspiration
from landscapes, both rural and urban,
the group of ten artists work in a variety
of media, including watercolour, oil,
textiles, photography and sculpture,
with subject matter ranging from Devon
woodlands to Africa, Norfolk to Venice.
A Sense of Place opens at the Ilminster
Arts Centre, The Meeting House, East
Street, Ilminster on 22 January and
continues until 10 February. For more
information, telephone 01460 55783.
n Laing Art Gallery

New Bridge Street, Newcastle upon Tyne.
0191 278 1611. ‘Bomberg: exhibition of
work by David Bomberg marking the 60th
anniversary of his death, 17 February to
Amedeo Modigliani The Little Peasant c. 1918, oil on canvas, 391⁄2x251⁄2in. (100x64.5cm)
t
27 May.
n Manchester Art Gallery
Mosley Street, Manchester. 0161 235 8888. Modigliani at Tate Modern
‘The Edwardians’: exploring the glamour of Modigliani at Tate Modern until 2 April, brings together 12 nudes by the 20th
the 1900s, until 18 April. ‘Sonia Boyce’: century artist, Amedeo Modigliani, In addition visitors will be able to see
major retrospective exhibition, 23 March to portraits of his friends, lovers and supporters, and a group of lesser-known
2 September sculptures by the artist. Visit www.tate.org.uk for information and tickets.
n Norwich Castle Museum &
Art Gallery
Castle Hill, Norwich. 01603 495897. ‘We n Tate St. Ives Collection and National Portrait Gallery,
Came Here to Conquer’: 11 locally-based Porthmeor Beach, St. Ives, Cornwall. until 14 March. ‘Bath Society of Artists’:
artists’ responses to the modern and 01736 796226. ‘Virginia Woolf’, 10 February annual open exhibition, 24 March to
contemporary print collection at Norwich to 29 April. 12 May.
n Watts
Castle, until 25 March.
n Victoria Art Gallery Gallery – Artists’ Village
n Scottish National Gallery Down Lane, Compton, Guildford.
Bridge Street, Bath. 01225 477233. ‘Mo
The Mound, Edinburgh. 0131 624 6200. Lancaster – Linocuts’, until 14 March. 01483 810235. ‘Helen Allingham’, until
‘Constable & McTaggart: displaying ‘Entertainment in Bath’: celebrating the February 18. ‘Cecil French Bequest’: Pre-
Constable’s Salisbury Cathedral from the city’s cultural heyday with a variety of prints Raphaelite masterpieces, including
Meadows alongside The Storm by William and watercolours from the gallery’s Lawrence Alma-Tadema, Frederick Leighton
McTaggart, until 25 March. collection as well as loans from the Royal and Edward Burne-Jones, 6 March to 3 June.
n Scottish
National Gallery of
Modern Art All information given here is correct at the time of going to press, but you are
(Modern Two) 75 Belford Road, Edinburgh. advised to check details and opening times with the galleries prior to your visit
0131 624 6200. ‘A New Era: Scottish Modern in case of unavoidable alterations to their exhibition schedules
Art 1900-1950’, until 10 June.

March letters_News 1st 15/01/2018 12:01 Page 11
Letters
SHARE YOUR TIPS, SUGGESTIONS, IDEAS
AND QUESTIONS WITH OTHER READERS
demonstration, someone pays a Wales

thousand dollars for it then makes prints I wonder if anyone knows why there
and tee shirts of it, which are distributed are no art fairs or art supplies’ shows
to big warehouses. Not likely! in Wales? There used to be a craft fair
We hobbyists do not get a break at in Cardiff, but the art side of things
art supplies stores when buying were few and far between. We would
professional materials, which for me are perhaps have one demonstrator with
grossly overpriced and luxury items, some of his own branded supplies
unless you are a successful professional and that would be it.
and recover the costs through sales. There are many amateur and
We don’t claim the cost of art supplies professional artists in Wales. As an
or art courses as business expenses. amateur artist myself I would relish
Sadly, what’s free is not valued or being able to go to an event solely
understood. I gave away a lot of my for the supplies and advice of other
paintings when I started, because I was artists. Perhaps this is an idea for
so excited that other people admired someone to take on.
my work and I just wanted to share. Heather Porter
Quickly I figured out that lay people
don’t realise how much it costs me to Terry Harrison
make a painting. Now I won’t let go of I was very saddened to hear of
a painting so easily and I insist on Terry Harrison’s death. I used to
recovering the cost of materials. I still paint in oils, but my daughter and
Helen Shepherd Close Encounter inspired by have this urge to share as soon as I finish her husband came to live with us and
Paul Hopkinson, coloured pencil, 113⁄4x81⁄4in. a painting, but I found a way of doing we hastily converted downstairs –
(30x21cm). After spending the last few months that via online routes, such as Facebook, including my art room – into a small
of all work and no time to play, I started going
through old copies of Leisure Painter to look Instagram, Pinterest and a website page. flat and I stopped painting.
for an exercise or project to do. Paul And yes, I do work full time so I can I was in the library one day and saw
Hopkinson’s Close Encounter demonstration support myself, my family and my Terry’s DVD on acrylic painting. Now,
caught my eye from the Summer 2017 issue.
Instead of watercolour paints I opted for hobby. I’ve looked at a lot of artists’ DVDs
Polychromos pencils on a Daler-Rowney Jola Kedra over the years, but have had so much
mixed-media pad. difficulty with them, because I am
Inspiration quite deaf. But even though Terry’s
Copyright issues I found the letter by Bob Cooke didn’t have any subtitles, he was so
In response to the letter in December (Leisure Painter, January 2017) a true much easier to understand. He was a
2017 by Heather Teather regarding inspiration. Beginning with line drawings very good teacher of the basics and
copyright laws and the editor’s reply, of simple shapes through to city skylines very good on film, and I was inspired
I’d like to respond by saying that Leisure then botanicals and buildings, all in a to pick up acrylics and paint again.
Painter is intended for leisure painters, monochromatic theme. To me it just Is it possible for film companies to
which implies that readers are amateurs shows the artistic flare this person has, provide subtitles on their DVDs?
and hobby painters, like myself. Please and the determination to get that blank Heidi Jeffries
don’t get me wrong, I do understand sheet filled, which is a chore in itself.
and respect copyright laws and I am not As I read along I imagined the variation
criticising the editor’s firm stand that all of tones, how fresh and individual his
published material is strictly prohibited work must look. Yes, inspirational and
from any sales unless permission from motivating, so much so I went in search Send your letters to
an artist is granted and royalties are of my tin of Derwent XL charcoal, which Leisure Painter, 63-65 High Street,
discussed and paid. hasn’t seen the light of day for over a Tenterden, Kent TN30 6BD.
It’s a nice theory, but what kind of year. What a waste! They are out now Alternatively, email the editor at
scale are we talking about here? Like and I’m going to follow your lead, Bob, leisurepainterletters@tapc.co.uk.
an amateur participates in a small and create. All letters published here win art
community exhibition, sells a painting Many thanks. materials.
that they’ve done from a published Carol Jones

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p11_lpmar18.indd 11 15/01/2018 15:25:58

LP03 12-13 Kay_Layout 1 12/01/2018 10:55 Page 12
Opinion
The value of art

Look closely and find your personal vision, urges Pamela Kay,
as she discusses the importance of painting in a digital age
T here is anxiety at the moment

that some people are spending too
much of their time glued to their
iPhones or other screen devices, logged
onto the internet. Friends have told me
it should be all-consuming.
Since the 1960s, there has been a
tendency to develop extremes. The new
curriculum in art schools tore up the
previous way of working, threw the baby
you no longer had to struggle with the
complexities of drawing the human
form. This was the beginning of a decline
in visual awareness that comes with
looking hard.
about silent suppers in restaurants where out with the bath water, and established As fashions changed, art galleries came
no one talks to each other, preferring to a different way, which for the staff meant to dictate a different form of commercial
watch a screen or fiddle with text. As with denying all previous standards or going product, specifically for speculators with
most modern technology, widespread use the same way as the baby: conform or go. large amounts of cash, creating an
is inevitable. What is not inevitable is that Art became conceptual, which meant artificial but successful market.
Modern art always reflects the age, and
ours is one of extravagance and extremes.
My problem is that it is all or nothing.
In the world of art, orthodoxy has
dictated that representational painting is
not cutting-edge enough. The pervasive
view is that art is the stuff very wealthy
people are told to think is art, where their
investment will be ‘safe’; this is the only
form of art and there is no other.
I do believe that it simply isn’t necessary
to denigrate any branch of the creative
arts, unless, that is, you are not entirely
sure of the things you are doing so feel
under threat. A great deal of what is
termed modern (contemporary) art is
extremely funny, clever, ephemeral and
full of amazing ideas – much like the
best advertising was in the 1960s. There
is room for everyone, except that those
who set the fashion will never agree.
Disconnection
At no time in the recent past has
figurative work been considered seriously,
yet there is an unbroken line of painters,
recording the world around them in their
own unique way, their work full of new
and unexpected revelations. This kind of
painting is infinitely subtler and deserves
more than a passing glance, which is
why, perhaps in an age of a very short
attention span, it gets short shrift.
So what has this to do with the screen
watchers and thumb texters? I am seeing
an increasing disconnection with the real
visual world. Their immediate
surroundings do not exist for many,
beyond a small glass screen. The very
real art of appreciating and seeing what
is around us has fallen through a hole in
the ideological and technological floor.
These delightful toys, the new ‘comfort
blankets’, are robbing people of an
awareness of vision, the act and art of
‘seeing’ and personally recording the
t
Apricots from Kent, oil on board, 11x9in. (28x23cm). The starting point for this painting real world, which takes effort.
was the novelty of finding apricots grown in Kent. After that, the abstract composition and
arrangement was the most important consideration. Balancing shapes, giving a flowing Personal vision
curve of red and orange colour in the fruit, and change and counterchange in the tone In the past, unaffected by the speed of
bought the painting together in a satisfying composition. Setting it up can take some time progress and more sensitive to the world
with constant changes and hard looking until it ‘feels’ right. around them, painters worked through

LP03 12-13 Kay_Layout 1 12/01/2018 10:56 Page 13
t
Still Life with Petit Fours, oil on canvas, 16x20in. (40.5x51cm).
Scale things up a bit and a small still-life study can lead to a more
elaborate one. It is still vital to look carefully at each object, its
relationship to the next one, its colour, shape, size, tone and placing
in the composition.
wars, famine and great hardships visual language.
because they were possessed by the After the age of
belief that what they saw was what they Pericles and the
had to paint. Their work was still a building of the
tangible visual record of the times. Temple on the
Monet came to London to escape war Acropolis in Athens,
in France, staying at the Savoy Hotel and the secret of the
painting the Thames in fog. This was an masons, who built
act of self-preservation, not for himself the incomparably
necessarily, but for his work. subtle columns,
Seeing is the most important tool an artist was lost forever.
has. This act of seeing and a personal In an age of
vision make one painter unique and totally artificial intelligence
different from another. Only by drawing or and encroaching
painting something can you really see it. A technology,
personal vision is the artist’s language. It is I suggest you paint
a direct communication between the artist something urgently,
and their work and the person viewing the and persuade a
painting. There is no substitute. friend to join you,
There is nothing creative about watching because you are
a small screen. It is passive, it creates fast becoming
nothing and, most of all, it stifles individual an endangered
thought. If your attention is concentrated species! LP
on a screen, how much of that interest
will ever be spent contemplating a painting
that doesn’t move, dance or sing? t
Bird’s Nest of Quails Eggs, oil on board,
If you are completely unaware of your
friends at a table and the importance
Pamela Kay 7x8in. (18x20.5cm). The painting is about more
Find out more about Pamela than the nest; it is also an abstract arrangement
visually of the things that surround you, and her work by visiting of interlocking shapes. There is a wonderful
the visual as well as the social language www.pamelakayprints.com geometry to still-life paintings, which acts as
is lost. Painters are the custodians of this a scaffold to a successful composition.

LP03 15-18 Dolman_Layout 1 12/01/2018 11:19 Page 14
Oils
Animals in focus
Sam Dolman discusses the materials, references and techniques he uses
to paint his stunningly realistic portraits of some of his favourite subjects
LEARNING OBJECTIVES
n How to paint the character
of animals
n Top tips on colour mixing
n Learn a realistic approach
to painting
I have painted animals since childhood.

Growing up on a smallholding I was
surrounded by animals of all sorts.
I was inspired by my artistic mother,
who taught me lots and provided me with
drawing materials and paints. Sketching
a moving chicken isn’t the easiest thing to
do, of course, and it wasn’t long before
I was reaching for my camera!
t
Sam photographing his favourite subject: cows
One of my first proper paintings was
of our pet chow chow, Koala (left).
He was a great character and an absolute
joy to paint. It wasn’t until later in life,
when I took up painting full time, that
I realised how capturing the personality
of the animal is what matters most to me.
Artists need to have a connection with
their subjects and I often spend
considerable time photographing the
animals I paint, and getting to know
them. A painting will take many weeks
to complete so it keeps the process
enjoyable when there is a personal
connection with my subject.
Cows are probably one of my most
common subjects. There are highland
cows near me in the Peak District, which
I visit regularly. Some of them have been
roaming around for many years. I like
the gentle, inquisitive nature of cows and
will often sit next to them, finding out
more about them and preparing myself
for the painting. I rely exclusively on my
photographs as reference and painting
a likeness is important to me. Sometimes
we see pictures of ourselves or others
that seem to lack any resemblance
whatsoever – well, it’s the same with
animals. It is perhaps no surprise that
I might have 100 photos of one animal
and only one will be suitable to use
for a painting.
Lighting is very important. A majority
of the time I use pictures taken on a
sunny day. The colours are more vibrant
and the final painting appears more alive.
It is easier to create depth and a three-
dimensional appearance when you
have a good light source.
Koala, oil on board, 16x12in. (40.5x30.5cm)

t

Oils
t
Maggie, oil on panel, 1934⁄ x1534⁄ in. (50x40cm)
LP
t
Truffles, oil on linen, 20x16in. (51x40.5cm)
Colour selection can, of course, mix these colours from the glass. My method uses a piece of acetate
Colour choices are as unique as every three primaries very accurately, but I am over a white piece of paper, which has
artist and I have a fairly small palette. I lazy and the earth colours sometimes been Sellotaped to an ordinary wooden
work with Artists’ quality paints from match the colours found in animals very palette. It might look a bit messy, but it’s
Winsor & Newton and Old Holland. As well. cheap, easy to clean and does the job!
far as painting animals is concerned, you A mix of ultramarine blue and burnt At the beginning of every painting session
can make almost every mix you want umber provides a wonderful dark colour, I mix half a dozen or so colours and lay
from the three primaries. One of the most which doesn’t make paintings look too them out in the middle of the palette,
common and versatile combinations of dull and flat – unlike tube blacks. ready to use.
primaries is ultramarine blue, crimson I position the colours on my palette
alizarin and cadmium yellow pale. I also the same each time onto a white surface. Other materials
like to include three earth colours: yellow You can buy disposable white palettes or The surface of a painting can really affect
ochre, burnt sienna and burnt umber. You even put white paper behind a sheet of the painting. I like painting on archival

Oils
t
Mosi, oil on linen, 24x36in. (61x91.5cm)
wooden panels, which are sanded and

gessoed dozens of times to create a
wonderfully smooth surface to paint on,
perfect for details. I don’t complicate
things too much with my choice of
medium. It is simply turpentine and
refined linseed oil. I tend to increase the
amount of oil in the medium as the layers
progress, which keeps in line with the fat-
over-lean rule and stops any darks in the
painting from sinking in.
I tend to use a lot of synthetic brushes.
Strangely enough, the ones I use most
are the same type of brushes I picked up
when I starting painting professionally.
I guess I have just become used to them!
Da Vinci 1670 Nova synthetic Round
brushes are durable and can be made into
a nice point for painting hair. I use these
and larger filbert synthetic brushes in the
same range for the first few layers. A mix
of sable and Kolinsky sable brushes are
used for the final layers, where the detail
is more important.
First impressions
The most important features to ensure are
correct in a portrait are the eyes. Again,
with a bit of sunlight, the eyes will have
a sparkle, which brings the subject to life.
It is perhaps worth mentioning that a flash
on the camera can make the eyes look t
A close-up of an eye. Eyes tell a story by themselves. They needn’t be looking at the camera,
very unnatural. although this can help the viewer engage with the painting.
t

Oils
The eye has depth to it and I like to socket, and the eye lashes which may
study this in person rather than from cast shadows on the eye.
photographs to learn how to create Just like the eyes, the fur or hair in
that three-dimensional effect. The eyes different parts of the animal will be
allow light to pass through them, and different colours depending on which
you will notice that in bright light the direction they are facing. In my work,
pupil is small and in dull light the pupil I do not like the animals to stand in
becomes large. The eyes also reflect front of a detailed background, as this
the colours of their surroundings, distracts the viewer from the portrait.
which include you if you are too close! It also means that with the animal being
The top half of the eye may well be the focal point, there is little room for
a shade of blue, and light yellow error. Reflected and refracted colours are
reflecting the sky and sun, and the important, and in your painting if you
bottom half may be a shade of green take the animal out of the environment,
reflecting the grass. Think about the you should make sure the colours fit in
eyelids and how these follow the eye with the environment you create. I often
tune the colours of the background to
Photograph used for the painting suite the subject, but there are times for
t
of Ruban (below) example when I really don’t want that

green colour from the grass included.
t Ruban, oil on panel, 1534⁄ x1134⁄ in. (40x30cm) How do you do this? In my example of
a wild boar (Truffles, page 16) grass was
reflected under much of the snout.
Naturally, green would not have worked
well in this portrait. A simple solution
was to blend some of the background
colour over the top.
This technique can also be used if
you want to vary your portraits and
play around with lost-and-found
edges (see Maggie, page 15).
Take out the detail

Not all portraits need to be tightly
detailed; try blending some parts into
the background. Perhaps you can vary
your brushstrokes or use large and small
brushes, as you can see in my painting
of a congo buffalo (Mosi, page 17).
Much of the head was completed
with very small brushes. The body was
painted with larger brushes that were
blended into each other. The body
wasn’t important to me and I didn’t want
it to have much attention so by making
it very dark and blurred the viewer’s
attention may well go down to the
bottom right corner, but only for a split
second before moving back to the head.
Sometimes I go against my rule of
using photographs I’ve taken on a sunny
day. The image I used to paint Ruban
(left) was very dull and lacked contrast,
and the colours, whilst more natural,
were all influenced by the green
surroundings, which I didn’t like.
However, I liked the image so much
I couldn’t resist painting it.
There is nothing to stop you using
artistic licence. Here I exaggerated the
colours. As long as you make the right
tones, you can create that three-
dimensional effect. If the value is right, it
will still read true as a painting and you
can hold on to your artistic vision. LP
Sam Dolman
Contact Sam through his website
www.samdolman.com or on facebook
at www.facebook.com/samdolmanart

LP03 19-21 Webb_Layout 1 12/01/2018 11:24 Page 19
t
Clouds and Crows above Fernworthy, Dartmoor, watercolour on Saunders Waterford 200lb watercolour paper, 12x17in (30x43cm).
I used a graded wash for the blue-sky areas in this painting. Of course, dodging around the clouds is a little trickier!
Watercolour basics
and beyond
Part 3 Develop your watercolour skills as you practise
the second painting technique of the series – a graded wash
– and paint a simple landscape, with David Webb
LEARNING OBJECTIVES getting paler in tone towards the sheet of paper to the board with
horizon. This is more obvious in a masking tape, ensuring that you
n How to apply a graded wash clear sky but, even when you have have the board angled at about
n Learn paint consistency and large, fluffy cumulus clouds, the 20 degrees to the horizontal. This
brushwork skills blue sky behind them usually shows gentle slope helps the washes
this effect as in Clouds and Crows flow down the paper.
n Practise colour mixing on the paper above Fernworthy, Dartmoor
(above). Brush technique
Load your brush with colour and,
Paint consistency
P reviously I explained how
to paint a flat wash, which
is a basic but important
technique. However, completely flat
areas of colour seldom occur in the
Like the flat wash, you begin by
diluting colour in your mixing well
to create quite a strong, but fluid,
wash. The amount you need is again
beginning at the top of the wash,
paint a horizontal brushstroke.
If you’ve done it right, you’ll see
the bead form at the base of the
brushstroke. If it’s not there, you’ve
landscape and there are occasions dependent on the size of the area either laid the board flat or there
where I might use a similar you wish to cover. It’s always best isn’t enough paint on your brush.
technique known as the graded to make more than you need Repeat this action once or twice
wash, which gradually changes though, as it’s very difficult to match more, painting a brushstroke just
in tone from dark to light. the colours if you are halfway beneath the previous one so that the
Typically, skies tend to be at their through a wash when it runs out. bead from the first runs down into
t
most intense overhead, gradually Before you begin, secure your the new stroke. If you were painting

Watercolour
a flat wash you would just continue lucky you’ll make it right first time,
like this to the bottom of the wash. but it may require some practice.
However, we want a graded wash so, In my technique (right), you can see
on the third try dip your brush straight how the wash gradually changes from a
into the clean water jar then make the strong blue at the top, to almost clear at
brushstroke. There will still be paint on the base. You can clearly see the bead,
the brush but it will be diluted by the which has flowed right down the paper.
action of dunking it into the water. Remember, don’t lose the bead! LP
Carry on like this, dipping into the
water each time. The paint from the
previous brushstrokes should flow down Graded wash technique. With a brush
t
into the next and so on but, eventually, loaded with cobalt blue, I started at the top
you’ll notice that the wash becomes of the paper, gradually adding more water
weaker and paler each time. If you’re as I progressed to the bottom of the paper.
Demonstration Seascape sketch
You will need

n Surface
l Bockingford NOT 300gsm
watercolour paper
7x10in. (18x25.5cm)
n Brushes
l Rounds, large and small
n Watercolour
l Cobalt blue
l Raw sienna
l Light red
n Pencil
l 3B to 5B. Avoid using any
grade with an H, as these
are quite hard and tend to
create a groove in the soft
watercolour paper.
n Miscellaneous
l Mixing palette with
large wells
l Board
l Masking tape t
Step 1
l Water TIP Divide a quarter Imperial sheet – In the first step you can see that I began with
l Kitchen towel 11x15in. (28x38cm) – in half so you can a simple outline drawing, using a 5B pencil.
practise the graded wash on one side and I wanted a strong sky, but lighter water in the
the demonstration painting on the other. foreground. The solution to this was to paint
a graded wash of cobalt blue. I then allowed
this to dry completely.
Step 2
t
For the second stage, I mixed the colours

on the paper. I started with raw sienna on
the cliffs to the right then added a little
cobalt blue, which I dragged into the sea
area. Most of this was cobalt with light red.
I gradually worked this downward, adding
more raw sienna and light red in the lower
right corner. I worked on dry paper, but the
paint was very fluid. Again, I let this dry.
David Webb
Find out about David’s work,
classes and workshops by visiting
www.davidwebbart.co.uk.

Step 3 t
t
Step 4
In the third step, I established the forms sandy areas were deliberately painted Finally, I added a few small dark details
and landmasses, using stronger mixes of cooler in the distance, and warmer in along with the tiny figures.
cobalt and raw sienna on the cliffs. The the foreground.
t
The finished painting Seascape Sketch, watercolour on Saunders Waterford 200lb watercolour paper, 7x10in (18x25.5cm)

LP03 22-24 PP2_Layout 1 12/01/2018 11:36 Page 22
Pastels
Painting project
Part 2 Tony Hogan completes his painting of a Yorkshire sunrise using pastels
LEARNING OBJECTIVES
n How to create the effect of light
and shadow in a sunrise scene
A s I explained last month, working
with applicators (Soffts) with Pan
Pastels allows for the feeling that you
are painting with dry paint as opposed to
drawing with sticks of pastels. Don’t forget
finish, which is comparable to a sanded
pastel paper, except more durable and
more versatile. The coating is pH neutral
and non-yellowing thus making it a truly
permanent museum-quality surface. Pan
n How to paint snow in pastel that Pan Pastels, as opposed to standard soft Pastels will work on almost any surface,
n How to use Sofft applicators pastels, cannot be blended with the fingers. from encaustic board to quite rough
with Pan Pastels I chose to work on Ampersand Pastel Board textured pastel paper, but the Ampersand
in grey. These are clay and gesso-coated Pastel Board is very easy to work on and
hardboard panels with a granular marble dust I like the high-quality finish. LP
You will need

n Surface n Pan Pastels n Miscellaneous
l Ampersand l Titanium white l Yellow ochre tint l Sofft applicators:
Pastel Board l Ultramarine l Ultramarine angle wedge
20x16in. blue tint l Diarylide yellow and round
(51x40.5cm) l Permanent l Permanent red wedge
red tint l Violet shade l Sofft knife tools
l Black Nos. 1, 2, 3 and 4
t
Your reference
photograph of a
winter sunrise
Step 1
t
With a light loading

of titanium white on
the edge of the No.1
round applicator
knife tool, I dragged
the applicator across
t
Step 2
the board to draw 1 Changing to a wedge angle slice and yellow ochre tint I began laying
the horizon line in the morning sky. I slowly built up the depth of tone by applying one
and establish the thin layer over another.
location of the rising 2 Next, I laid in permanent red tint using the oval sliced applicator.
sun. I then added I allowed the colours to blend and mix on the surface and brought the
slightly more pastel warmth of the colour nearer the horizon. As the applications progressed,
to form the round the sun needed additional layers of titanium white. This is an area
edge of the sun. I returned to many times during the development of the painting.

LP03 22-24 PP2_Layout 1 12/01/2018 11:56 Page 23
Pastels
t
Step 3
t
Step 4
1 I introduced ultramarine blue tint into the Using the No. 2 applicator on its edge and
top of the sky; this was the final colour used flat side, I created the fields with the simple
to capture the pale morning light. I then application of violet shade along the line
strengthened the overall tonal values of the of grass between the fields.
sky by lifting onto the applicators a combination
of yellow ochre tint with a touch of diarylide
yellow at the same time. Permanent red tint Step 5
t
with a touch of permanent red was combined 1 Working from dark to light I added the
and applied in the same way. mid-distant snow-covered field using the alongside and over the top or lifting more than
2 Violet shade was lightly applied to areas in the Sofft oval slice round. I began by making one colour onto the applicator before applying
sky to define the cloud pattern and nearer the patches using ultramarine blue then added it to the surface. Gradually I added the colours
horizon where the light was not as yet so bright. ultramarine blue tint to the Sofft and I used for the sky, observing where the light
3 I defined the horizon with violet shade and blended the areas together. and dark areas were in the field.
ultramarine blue, using the angled wedge slice 2 I continued by
applicator. I returned to ultramarine blue tint either laying one
to capture the far distant fields at the right-hand colour down then
side of the painting and above the dark horizon. blending another
t
Step 6 t
Step 7
Still working with the oval slice round, I dragged ultramarine blue tint The oval angle round was used to make interesting marks that
at an angle across the foreground where the snow was at its whitest. were representative of snow on rough terrain. I then add touches
The grey board was selected for this very reason as it allowed tonal of ultramarine blue and violet shade to cool and define the
t
variation without too much work. foreground snow further.

LP03 22-24 PP2_Layout 1 12/01/2018 11:58 Page 24
Pastels
Demonstration continued
t Step 8 Step 9
t
1 There are moments in any painting when the work The most powerful motif
needs definition and to this end I now introduced the in this work is the old
distant hawthorn hedge. Working with the triangular No.4 wooden post, which is
small applicator and lifting both ultramarine blue and cast in dark shadow
black on to the tool, I worked with small dabbing marks against the bright sunrise.
to build the hedge. To give depth to the dark shadows This was painted using
I worked with just black, still using the dabbing technique. the No.2 knife applicator,
It is important not to make this too dark, however, as it which is rectangular in
will impact on the deeper foreground blacks later. shape. I painted the post
2 The middle distant field looks at this stage as though by dragging the flat area
it could be a seascape sunset rather than a snow-covered of the knife vertically
field. So with the down the page at the
No.3 applicator and desired angle in one
tinting white I created sweeping motion. As
the effect of rough I dragged the knife down,
terrain, again using the colour lightened
a dabbing method so needed several more
with the flat area applications to attain
of the blade. the desired tonal depth.
Step 10
t
Working with black and the range of shaped knife

applicators I depicted the winter grasses silhouetted
against the morning light. Each of the knives have
a different shaped head cover and produced its
own mark. This allowed for interesting shapes and
creative freedom. I also felt that the wooden post
looked too regular and didn’t have the rustic look
I wanted so I widened it to create uneven edges.
Step 11
t
1 I added cast shadows onto the foreground snow

then added the wire fencing. This wire is another strong
compositional aspect, which holds the viewer within the
work and creates further depth to it. The shadow cast from
the post and unseen objects were now applied with black.
2 To complete the work I scraped a small amount of pastel
loose across the top of the titanium white pan and, holding
the pan near to the work, I blew this onto the foreground
snow area to give delightful textural spots of pure white.
It is important not to touch this area any further with an
applicator or you will loose the freshness of these highlights.
3 When working with Pan Pastels I do not normally use
a fixative as the purity and fine grain of the pastel itself
adheres to the support without a problem. However when
using this final technique of blowing loose pastel onto the
surface, a light spray with an Artists’ quality fixative was
required before framing the work behind glass.
Tony Hogan
Tony is an artist, tutor and demonstrator, who
leads painting holidays in Cornwall, Scarborough
and Derbyshire. Visit www.hoganart.co.uk; email
admin@hognaart.co.uk; or telephone 012028
t
The finished painting Sunrise, Pan Pastel on grey Ampersand Pastel Board, 895088 or 07888 852503
20x16in. (51x40.5cm)

LP03 25-29 Botanical_Layout 1 12/01/2018 11:43 Page 25
Watercolour
Botanical painting
for beginners
Brighten up a winter’s day by painting a delicate calla lily
with botanical accuracy, with Michael Lakin
LEARNING OBJECTIVES
n First steps in painting flowers
accurately
A South African flower, calla
lilies (Zantedeschia) are a real
favourite of mine. They lend
themselves to being painted with
colours from rich yellow to deep
burgundy.
n Practise glazing methods

n How to create the illusion of form
You will need

n Surface n Brushes
l 300gsm (140lb) l Rounds, No. 5, 3
hot-pressed and 1
watercolour
n Miscellaneous
paper 22x15in.
l
Masking tape
(56x38cm)
and board
n Watercolour l Pencil and putty
l Manganese blue eraser
l Transparent yellow l Masking fluid
l Alizarin crimson and No. 3
l Sap green sable/synthetic
Neutral tint brush
l Payne’s grey l Liquid soap
l Yellow ochre l Kitchen paper
t
The outline of this project t
The finished painting
t

Watercolour
Step 1
2 Use the No.5 Round to
t
1 Transfer the image
t
to the paper then secure wet the leaves with clean water.
it to the board with While wet, drop in a mix of
masking tape. Use the manganese blue and transparent
No.3 sable/synthetic yellow, leaving the midribs clean
brush to apply masking and dry. Lay in more colour on
fluid, as shown, to the the darker areas while the paint
leaves. Allow to dry. is wet, to begin to develop the
modelling.
t Step 2
1 Glaze the paper with a little clean water, Grade the colour out to the mouth
then apply alizarin crimson to the damp of the flowerhead using clean
paper in the throat of the top flowerhead. water, being careful not to paint
over the stigma.
2 Repeat on the
other flowerhead,
including the outside
of the flower as
shown. Allow to dry.
Step 3
t
Use the same mix to

paint the remaining
areas of the petals
where they curl over,
then lay in an initial
wash on the stems
and lower parts of
the flowers using the
No.3 Round and a
mix of sap green and
transparent yellow.
Step 4
1 Prepare some
t
alizarin crimson and

use the No.5 Round to
develop the shading in
the throat of the upper
flower. Grade the
colour away with clean
water, avoiding the
stigma.
2 Enrich the colour
t
on the lower flower

by glazing it in the
same way with the
same mix. Again,
concentrate on the
throat and below the
TIP If you are struggling to keep the stigmas curled-over petal.
clean, you can mask them with masking fluid.

Watercolour
Step 5
1 Lay in a second
t
wash of sap green over
the right-hand leaf. Use
the No.5 Round with
a slightly stronger mix
of paint, and work
outwards from the
central part of the leaf.
Use clean water to
grade the paint out to
the margins of the leaf,
being careful to keep
the midribs clean.
2 Paint the dark parts
t
of the remaining leaves
in the same way.
t
Step 6 Step 7
t
Mix alizarin crimson Using the sap green and transparent yellow mix with
with a little neutral the No.3 brush, lay in another glaze over the stems
tint, and deepen and the lower parts of the flowers, merging the colours
the shading on the with the dry alizarin crimson. Use the same mix to lay
flowers with another in a first wash on the curl of the tip of the upper flower
glaze using the (see inset, above right). Lay in the glaze on the lower
No.3 brush. parts of the flower, to suggest the venation as shown.
Step 8
t
Change to the No.5

Round brush and use
the alizarin crimson
and neutral tint mix to
glaze the flowers once
more, deepening the
shading further and
introducing it to the
upper part of the green
areas of the flowers.
Step 9
t
Develop the upper

parts of the leaves with
a glaze of sap green.
Pay careful attention
that the highlights
and shades remain in
relation to the light
source at the top left
to ensure that the
leaves look natural
and correct.
t

Watercolour
t Step 10
Lay the next wash onto the underside of the
leaves, using a slightly thicker mix of sap green
Step 11
1 Using a No. 1
t
and transparent yellow. Wash the stems and
Round with sap green,
lower parts of the flowers with the same mix.
paint in the midribs
on the three leaves.
2 Make a darker mix of

t
Payne’s grey and sap green

for the shadow areas on the
tops of the leaves. Lay in the
wash with the No. 5 brush, t
3 Lay in another wash of the sap green and
and pay careful attention transparent yellow to the stems, undersides of
to the shapes of the leaves. the leaves and the bottom of the flowerheads.
Step 12
1 Concentrating on the topmost
t
flower head, use the No. 1 to apply the

same green mix to the curl on the tip;
then stipple yellow ochre on to the stigma,
concentrating on the right-hand side and
bottom to leave a highlight in the top left.
2 Switch to the No. 5 and lay in

t
a wash of alizarin crimson to the dark

areas of the flowerhead, keeping the
highlights clear.
Step 13
t
1 Use a clean finger to rub

away all of the masking fluid.
2 Wash over the leaves with a dilute
mix of sap green and transparent
yellow to blend the leaf markings
into the rest of the leaf.

Watercolour
This demonstation was

adapted from Beginner’s
Guide to Botanical Flower
Painting by Michael
Lakin (Search Press,
2017). Save £2 when you
buy from our bookshop
at PaintersOnline.
Please turn to page 58
for details.
Step 14
1 Switch to the No. 3 Round and dilute neutral tint. Apply
t
this to the shadow areas on the stems and leaves.

2 Use a pencil to mark in light guidelines for the veins on the
t
underside of the leaf.
3 Make a mix of sap green and Payne’s grey then paint in the
t
veins on the middle leaf using the No. 1 Round.
4 Repeat on the other leaves to finish. Remove any pencil marks,

t
once the painting has dried completely, using your putty eraser. t
The finished painting

LP04 30-31 Birch_Layout 1 12/01/2018 11:51 Page 30
Inspiration
Journey into abstraction

Part 3 Follow Linda Birch as she concludes her series with a look at the
thought processes behind producing both abstract collages and paintings
Collage
LEARNING OBJECTIVES
n More ideas for painting
abstracts, using colour and shape
A bstract art can be both an
emotional response to a motif and
an intellectual statement in form or
colour, or both. Here I am not discussing
I wanted to create a collage that would
be as little like anything else as I could
make it; something that wasn’t like
n How to flex your imaginative conceptual art in terms of sound, film or anything recognisable as an object.
muscles installation. This genre can feel strange As I stated earlier, we are all influenced
to those who work in by our visual experiences, whether we
representational fields, know it or not, and it was the same for
often it can be downright me as I sliced a piece of black paper into
confusing and hard to a long curve. I looked up and noticed
judge whether a work has a photograph left close to where I was
merit. I am sometimes working and realised that the shape of
uneasy about what I see, an arched canopy over a railway station
especially when there are (left) probably influenced my subsequent
critics lauding the work, choice of shapes!
and I just don’t get it. It is not really possible to break down
Abstraction is, however, the collage into step-by-step stages, but
part of what we do as what follows is a record of my thinking
painters, whether we are as I was doing it.
representational or not. I started with a strong shape using
Every time we leave out black drawing paper cut one side, torn
a tree, exaggerate a shape the other, and stuck onto white mount
or hype up a colour board with PVA glue. The shape needed
because it looks effective a response from underneath, almost
t
A photograph of Bergen railway station, the inspiration for aesthetic reasons, we answering the shape above; a lighter
in part for the abstract (below) are abstracting, whether texture and different colour, but a
we know it or not. strong colour to help balance things.
Having looked at Accordingly, I used a piece of red
transitional ways of tissue paper, which crinkled as the
approaching abstract glue affected it, creating another texture.
painting through the The lightness of the paper needed a
extension of forms and little more support so I added a straight
diagrammatic works thin strip of black, which I chose to
based on topography, I symbolise a rail (as I already had a
now want to look at how station canopy). I also added a further
aesthetic qualities can be black block shape, which had been
found in colour and form, a trolley of luggage.
independent of a subject. All the time this process needed
However, I believe that aesthetic judgement, which was more
nothing ever comes from difficult than I thought. I was thinking
nothing, in other words about how the forms fitted together,
we cannot help being the balance of shapes, the texture and
influenced by something importantly the white spaces, which
seen or experienced, were also part of the work. These
however fleetingly, but elements are also important in aspects
it is how this experience of picture making in representational
is translated in a new painting.
and different way, that I next turned the work in different
somehow is able to be ways in order to see if I had some
transmitted to the viewer. balance of shape in the work. Contrast
This is sometimes known was the next judgement I felt I needed
as imagination. to make. Did the black, red and white
I am suspicious of balance each other as colours? It seemed
written statements to need a spark of something lighter;
accompanying abstract not a major form, but a strong accent
artworks hung in galleries. of colour. A piece of gold paper, which
If the artist cannot provide I tore into a long shape, seemed to
the viewer with a ‘key’ work. I was using torn and cut shapes
to help unlock a piece as a relief against each other and to
of art then it becomes create a balance one against the other.
t
The final piece, black paper, tissue and gold foil on meaningless and self Finally, turning the artwork 90 degrees
mountboard, 1112⁄ x812⁄ in. (29x21cm) referenced. improved the shapes.

LP04 30-31 Birch_Layout 1 12/01/2018 11:51 Page 31
Inspiration
t
Midsummer, oil pastel, 7x5in. (18x12.5cm). This assembly of colours t
Sea at Dawn, oil pastel, 10x834⁄ in. (25.5x22cm). This was an homage to a
suggests sensations and memories. Turner sketch of the sea. I was inspired to work with more bands of colour
reflecting the colours he used on a small sketch of the sea at dawn.
Try this! (1903-1970). Rothko painted colour 2 Refining

Try a magazine collage with torn fields, which produced glorious pulsating From the previous list I made
and cut shapes, or use watercolour colour sensations and seemed purely another, this time of colours
by dropping two to three colours abstract colour yet some work of his associated with some of the words:
onto watercolour paper. When dry, has been likened to dull fire, the sort Naples yellow (shorn fields), soft
tear or cut the paper to make an of ashy reds seen in a dying fire. umber grey (pavements), ice white
abstract, based purely on shapes. Accordingly, I decided to give myself (water), deep black green (tree
a project on which to base some colour shadows), yellow ochre (dry grass),
Colour fields abstracts (above). You can try your own; mauve-blues (twilight) and bone
One of my favourite painters is the just follow the steps. For the following white (moon).
abstract expressionist, Mark Rothko I chose to use oil pastels.
3 Colour shapes
1 Brainstorming The results you see above were
This is an important bands of colour against each other
step as it helps and in varying sizes.
define what
you want to ‘say’ In conclusion
when using colour. This has been a most valuable and
I wrote down interesting journey for me. I have
a list of words learned the importance of aesthetics
I associated with and the value of composition.
midsummer in The thought processes I have
the UK. They are: recorded as I wrote these articles
sun, heat, shadows, have surprised me; I hope it was for
humidity, storms you, too. Even if you don’t decide to
rain harvest, follow a purely abstract path, I hope
shorn fields, that this journey will feed back into
hot pavements, your own work; it has in mine. LP
barbeques, traffic
fumes, the moon,
twilight, cool water,
t
Winter Fire, acrylic and oil pastel, 11x14in. (28x35.5cm). Here is a warm stones, dry Linda Birch
formal arrangement of shapes based on a fire. I used acrylics as a base grass, stillness,
scented flowers, Find out more about Linda
with oil pastel on top, because oil pastels deliver an intense rich and her work by visiting
stickiness that adds texture to the painting. I based the coloured areas dust, trees thick
with foliage. www.theartistlindabirch.co.uk
on those seen in a winter fire, with a range of reds, pinks and grey,
with a strip of green as an echo of a pine branch used as fuel.
LP
LP03 32-35 Gregory_Layout 1 12/01/2018 12:15 Page 32
Oils
Where to begin
Experiment with two different ways of starting an oil painting, with Noel Gregory
LEARNING OBJECTIVES
n
n
Try different ways of working
Follow painting and thought
I n this article I want to show you
two different methods of beginning
an oil painting. My first painting,
Orchid Garden, Singapore (below)
shows my partner, Sue, in an orchid
of sunlight from the right – something
that would have the right colour for the
landscape. The photograph was then
taken outside our home, near Cheddar.
With this and all the orchid garden photos
processes for oils
garden. It was painted from a self-taken taken in Singapore, I now had all the
photograph of the Singapore Botanical images I needed to begin my oil painting.
Orchid Garden, which was one of the I used oil paint mixed with Liquin,
NOEL GREGORY most beautiful places we have ever a trademark substitute for turpentine,
It is with great visited. I could not wait to return and linseed oil, as it is near odour-free
sadness that we home to paint this. and, perhaps more importantly, the
must report the Looking though all my images of finished painting does not require
death of a highly Sue in the original garden, I found no a varnish coat, as this mordant gives
respected artist, tutor photograph of her that would fit into a soft, slightly gloss appearance when
and contributor. what I wanted, especially when the fully dried. Liquin is also extremely
We publish his final images showed she was carrying all easy to use and dries quickly. It may
article for LP as the bags, whilst I took the photos. be used sparingly to produce thick
a tribute to Noel What I needed was a yellow and red colour, or thinly to provide the perfect
and his work. dress that would fit into the colour glaze medium when areas need to
scheme and a photo that had an image be colour linked together. LP
Demonstration 1 Orchid Garden, Singapore

size and position of the figure would image. I could tell within an hour that
COLOURS USED work to scale with the background of the figure and the small amount of
slight pencil drawing. This near finish pencil drawing background information
l Titanium white l Ultramarine blue gave me the confidence to complete the would be enough to produce what
l Lemon yellow l Violet rest of the canvas, knowing it would I wanted.
l Burnt sienna l Magenta
work. A series of
l Raw umber l Cadmium red
bright brushes and a
l Winsor green
small sable for detail
were used to do this.
The real first stage
Step 1
t
was to work up the

I began with what I tell all my students not composition, trying
to do: nearly finishing the main subject of not to fiddle with
the painting without working it up as a small brushes or
whole. In this case I wanted to see if the overworking the
Step 2
t
During the general painting stage I used a 34⁄ in. bright brush, adding
detail and tone to create the effect I wanted. I used three similar
brushes for this, painting the light greens with one and the darker
areas with another to save time on cleaning. The end of the third
brush I cut into four separate pieces to make it quicker to paint the
orchids, which were dotted around the large hoops. Notice that none
of the detail on the flowers is obvious. This use of larger brushes
means that you are not tempted into details that lose the painting’s
spontaneity. My advice to all is look, study and use your brushes
to do all the work with the minimum of overworking.

TIP The tonal structure of the picture is the most

important of its construction. You can get away with poor
drawing and colour, but a painting will never work without
an understanding of light and dark. It is the use of tone that
creates sunshine in a composition, and changes any simple
t
Step 3
subject into a strong painting. Now that the painting’s drawing was complete I felt it worked better,
With this in mind, I tried hard to reproduce the sunshine because it was less cluttered and detailed. It seemed, however, to be
by careful use of shadows across the path and flower areas. rather overwhelmed with green so I decided to glaze over the whole
Looking closely at how the various parts of the dark and using lemon yellow, a warm yellow colour, mixed with Liquin. This
light areas should be painted went a long way to making I hoped would calm down the green and link the entire picture with
the most of these beautiful gardens in Singapore. a softer unity. This was easily done, because if you use Liquin you
will be able to add your glazing within hours.
t
The finished painting Orchid Garden, Singapore, oil on canvas, 35x46in. (89x117cm).

Oils
Demonstration 2 Pelicans on Kangaroo Island

The second painting, showing one of Island, South Australia. We never tired ALKYDS
my favourite birds, has been painted in of seeing the birds, together with these All paints contain pigment and a binder.
a completely different way. I took many pretty and tiny silver gulls, almost a smaller Acrylics or latex paints use water as a
photographs of the pelicans on Kangaroo version of our herring gull, who seemed to fluid solvent, alkyds have a petroleum
have little fear of us approaching so near. base, called a resin, and dry quicker
I used two photos for this composition, than oils and are less likely to yellow
because there was a better choice of bird with age. I used them for this painting
COLOURS USED positions. It meant that I could select what with Liquin. Alkyds also have one great
l Titanium white l Ultramarine blue bird looked best in the composition with advantage over acrylics, as their colours
l Lemon yellow l Viridian green the added feeling that if I used several are easier to control and they seem
l Winsor red l Black photographs for the painting, it meant to have subtler colour strength.
I was not just copying but creating
a more personal original.
t
Step 1 position, it was time to start with the Alkyds.
t
Step 2
I began as I often do, using acrylics, mainly I used a very limited palette, which included The background was the first thing to
because of the speed of drying and quickness in black. I don’t usually use black and I discourage cover and I lightened the foreground
changing anything that needed to be repositioned. others from using it, but I felt that the strong and darkened the back to give a feeling
Oil paints and Alkyd go easily on dry acrylics. contrast with the white of the birds would of space, which was not obvious in the
With about one hour’s work and all the birds in work well if I broke the rule for once. photographs. It was also time to draw
the birds with more accuracy and to
know exactly where everything should
go. This should not take too long and
it is the next stage that will make or
break what you want to achieve.
Step 3
t
Next was to simplify the contrast of

the white and black pelicans, which
was the whole point of the painting.
You can see how by using black the
contrast with the white makes a very
strong composition idea. With this done,
it was time to paint details and refine
areas with more paint. This usually takes
most of my painting time, but it is in
reality just adding paint, refining areas
and correcting any mistakes that may
have been made.

Step 4
t
For the first time I could forget the composition

and concentrate on the detail of each bird. It was
a time when the quality of brushstroke and depth of
colour and tone were considered. This is also the time
when you have to be the most critical and change
anything that just does not look right. An example
of this are the two head shapes of the foreground
birds, one with its head slightly too large and the
main pelican’s head shouldn’t be so round. With
this corrected I was ready to finish the work.
t
The finished painting Pelicans on Kangaroo Island, Alkyd on canvas, 21x26in. (53.5x66cm)
t
Step 5
The finished painting shows that it is only a matter of adding paint
and detail to get what you want. The pelicans and silver gulls made
Noel Gregory
Find out more about Noel, his life and work
a great subject and with their limited colour range gave me a very
by visiting www.artistnoelgregory.com
different image from the colourful Orchid Garden.

LP03 36-39 Scott_Layout 1 12/01/2018 12:57 Page 36
t
The finished painting Evening Light, watercolour on Saunders Waterford 300gsm NOT watercolour paper, 10x14in (25.5x36cm)
Evening light
Follow Gwen Scott as she paints a sunset over snow using four colours
and a variety of watercolour techniques, including salt texture
LEARNING OBJECTIVES
n Turn a summer photograph
into a winter painting
n Add salt texture to areas of
foliage
n How to apply masking fluid
W hen I paint, I sometimes

take elements from several
sources to create the overall
picture that I want. I rarely use a
photo without altering parts of a
landscape and often change colours
or add features, buildings and detail
to compose a finished painting.
The inspiration for this watercolour
snow scene came from a photograph
of a country lane that I took in the
summer (left). I was attracted to the
strong sunlight shining through the
trees, creating long patterned shadows
across the road exaggerating the light
t
A reference photograph of the country lane. I took elements from this summer and dark in this picture. However,
scene to create a winter landscape, adding interest and a focal point rather than painting this scene in

Watercolour
summer greens, I envisaged with

a little imagination a painting with
dappled shadows across a snowy
lane in cool blues.
I thought I would make the painting
even more dramatic by altering the
time of day, by changing the afternoon
light to evening by adding pink across
the centre of the sky and giving it a
yellow glow just above the horizon.
The pink and blue in the sky would
reflect onto the snow-covered field and
lane giving a sense of colour harmony
throughout the whole painting.
First steps
First I made a sketch to work out the
composition, pencilling in the horizon
line, the walls and the bushes. To give
the picture a focal point I included
a small church at the end of the lane.
Using a black pen I marked in all the
highlights and areas of white snow to
remind myself where I would need t
A tonal and compositional sketch helps you to focus on the important aspects of painting
to save the white paper on the main
picture. In watercolour, the white paper
is retained by applying masking fluid church on the finished painting was blues I decided to use a limited palette
with a ruling pen or a Colour Shaper to sprinkle salt on to these areas whilst of just four colours, mixing these in
rather than painting with white paint. the paint was still wet. The salt soaked various proportions. These four paints
The technique used to create the up the paint to give the effect of snow were: Prussian blue, cerulean blue,
frosty looking tree on the right, above and ice on the branches. permanent rose and raw sienna as
the wall, and the bush to the left of the Having practised with several different shown on the colour chart (below). LP
Demonstration
Evening Light
You will need

n Surface n Brushes
l Saunders l Rounds Nos 12,
Waterford 10, 4 and 1
300gsm NOT
n Miscellaneous
watercolour
l Masking fluid
paper 10x14in
l Ruling pen
(25.5x36cm)
l Palette
n Artists’ l Pencil
watercolour l Table salt
l Raw sienna l Water container
l Permanent rose l A board and
l Cerulean blue tape to fasten
l Prussian blue the paper to
the board
Step 1
t
1 On watercolour paper, lightly pencil the

horizon line, bushes, church and the stone
walls. Draw the curved lines of the road
and banking leading up to the church.
2 Using a ruling pen and masking fluid A Raw sienna
mask out all the areas of white snow. B Permanent rose
For best results place your watercolour C Cerulean blue
paper flat to do this rather than on a slant. D Prussian blue
As I used white masking fluid, which doesn’t E Cerulean with a touch of permanent rose A B C
show up in this illustration, refer to my F Prussian blue, permanent rose and a tiny
preliminary sketch as all the black marks amount of raw sienna.
on this drawing represent the areas of 2 As watercolour dries lighter than when
white snow that need to be masked out. first applied, especially when working wet
in wet, mix the colours slightly darker, adding
Step 2 a little more pigment to compensate for this. D E F
t
1 Prepare six initial washes before 3 Empty table salt onto a saucer. Perhaps on a spare piece of paper to create the effect
practise sprinkling the salt onto a wash painted of frost before trying this on the main picture.
t
wetting the paper:
LP
Watercolour
t Step 3
1 Using a No. 12 brush thoroughly wet
the top of the watercolour paper down
to the horizon line, above the top of the
church, through the large bush on the left
of the church and through the large tree
on the right above the wall. Avoid wetting
the small bushes below the church.
2 Working quickly wet in wet paint raw
sienna above the horizon line, permanent
rose above that and cerulean blue across
the top of the paper. Try to overlap these
colours so that they don’t appear as stripes.
Paint two strokes of Prussian blue across
the top of the paper overlapping the
cerulean blue.
3 Switch to a No. 1 brush and paint in the
distant bushes above the horizon line and
above the small bushes next to the church
with the dark mix (mix F in Step 2). the right with cerulean blue dropping in the (mix F ). Make sure that these colours are
4 Still working wet in wet paint the bush on mauve mix (mix C) then towards the bottom quite strong and not wishy washy, these
the left of the church and the large tree on of the bush and tree paint in the dark colour are the areas where the salt is applied.
t Step 4
Lightly sprinkle the salt on to the bush you think nothing is happening; it takes fingers. The aim of the salt is to remove
and tree area, avoiding the sky. This must be a little while to start working. Leave this the colour to give the effect of frosty
done whilst the paper is still wet. Don’t be to dry for at least two hours. When it is trees as shown in this close-up picture
tempted to add another sprinkling, because thoroughly dry rub the salt off with your (see inset below).

Step 5 t
1 Mix more of the same colours as in step

two before thoroughly wetting the bottom
half of the paper. Also make a dark brown
colour for the walls with a mix of Prussian
blue, permanent rose and raw sienna. This
is the same mix as mix F, but with more raw
sienna. This next stage is painted wet in wet.
2 Using the No. 10 brush paint a pale wash
of cerulean over the whole area including
the small bushes below the church and
through the stone walls, except for the
church, leave this white.
3 Drop in a pale wash of permanent
rose and the mauve mix (mix C) across
the road and banks.
4 Paint Prussian blue in some of the
shadows on the banks and in the two
bottom corners.
5 Switch to a No. 4 brush and paint the
dark mix (mix F) carefully on the right
side of each of the small bushes below
the church to represent the shadows.
6 Paint the walls with the already mixed
dark brown colour. Leave this to dry.
Step 6
t
t
The finished painting Evening Light, watercolour on Saunders Waterford 300gsm
1 Mix the colour for the church using raw NOT watercolour paper, 10x14in (25.5x36cm)
sienna, a touch of permanent rose with
a little Prussian blue. Paint the church except
for the roof. When this wash is dry, add a little with your finger to reveal the white snow.
more Prussian and permanent rose to this
first mix to make a darker shadow colour then
4 Some of these white areas can be toned
down with a pale wash of cerulean blue
Gwen Scott
Gwen is a professional artist
paint this on to the right side of the church. on a No. 1 brush.
and watercolour tutor. To
2 Using the dark blue shadow colour 5 Paint a few dark branches on the tree
see more of her work and find
(mix F) paint the strong shadows across the on the right above the wall with the dark
out about her watercolour
road and across the banking on the right as brown mix made earlier and the window
workshops and other tuition visit
shown in the finished painting. on the church with mix F – and the
www.gwenscottwatercolours.co.uk
3 When this is dry rub off all the masking fluid painting is complete.

LP03 40-43 Chadderton_Layout 1 12/01/2018 13:09 Page 40
Line & wash
Beautiful bugs
Part 1 Take your first steps in painting with line and wash, from the materials
you’ll need to drawing and painting techniques to try, with Liz Chaderton
Which comes first?

This is not the chicken and egg
question, but rather do you use colour
first, followed by ink, or vice versa?
You will be delighted to know there
is no answer to this conundrum.
Although it is a matter of preference,
I would urge you to make each
element play a definite role. What
you do not want to end up with is
a beautiful ink drawing that you
colour in, or a lovely watercolour
that you outline. We should strive
for a case whereby the whole is
greater than the sum of the parts.
Before you start, do consider the
role each element will play, and,
of course, there is no reason why
you cannot alternate between the
media. Just ensure each is dry before
switching between ink and colour,
otherwise it may end up as a muddy
puddle.
Scale
Just because insects are generally
small, don’t think you have to paint
them small. Consider what it is that
attracts you and what you want to
t
Rhino Beetle, line & wash on NOT watercolour paper, 1012⁄ x1412⁄ in. (27x37cm) communicate in your painting. You
might find that a larger-scale painting
communicates your meaning better,
capturing urban landscapes or portraits or a miniature could be right for you.
LEARNING OBJECTIVES so do read on. All I am saying is that size matters
n Understand your materials so please consider it.
Where to look
n Drawing techniques to try We are in the middle of winter and YOUR MATERIALS
n How to create interest and there aren’t many insects buzzing and Paper
texture in your work scuttling. A trip to your local museum A good-quality watercolour paper
will reveal huge Victorian collections is essential. If you want to do very
of exotic bugs. I like the Natural detailed ink work, you may wish
P ainting insects – are you

serious? might be your first
reaction to this article, but
with over 900,000 different kinds
of known insects there will be
History Museum in Oxford, which
I find less overwhelming than its big
brother in London. You can also look
online at Pixabay (www.pixabay.com)
and Paint my Photo (www.pmp-
to use a smooth Hot-pressed paper.
I prefer a NOT surface as the texture
adds more interest, but Rough paper
might put up too much of a fight.
Whichever surface you choose,
something to inspire every artist: art.com), both of which offer a I would suggest a minimum of 140lb
perhaps a scarlet ladybird, the wonderful range of copyright-free weight, unless you plan to stretch it.
powdery wings of a butterfly, the high-resolution images. My go-to paper is Bockingford,
jewelled body of a beetle or the although recently I have enjoyed
stripes and velvet of a bumblebee? Line and wash experimenting with Canson’s
But how can you capture their I was going to say pen and wash, but Montval Torchon snowy surface.
rapid movements or their unique there are many ways of using ink that
mix of transparent wings and hard do not involve a pen, and although Colour
skeleton? This is where line and the wash is usually watercolour, Artists’ tube watercolour is ideal.
wash comes into its own. The mix of it might equally be coloured inks, However, if you are sketching in the
hard-edged ink with the softness of acrylics or even Brusho (ink crystals). field, pans will be more portable. If
free-flowing colour is a wonderful The technique involves drawing with you intend to do your ink work first,
way of capturing a little of nature’s ink and mixing with washes of make sure you choose transparent
bounty. However, even if insects are colour. My aim is to capture essence pigments, otherwise the ink will be
not your favourite technique, pen and character rather than precise under a veil. If you are not sure of the
and wash is equally applicable to anatomical detail. opacity, check the manufacturer’s

Line & wash
Pigment liner
t
pens create uniform,
predictable lines;
you will need to
be creative with
your marks.
Brush pens
t
offer a more
responsive line.
Water-soluble
t
pens are, regretfully,
not lightfast, but
offer interesting
watercolour effects.
Marker pens
t
Remember to match
the size of your pen
to the size of your
artwork; not all are
fade-resistant.
t
Beetle Study, line & wash on NOT Dip pens are
t
watercolour paper, 712⁄ x5in. (19x13cm) used with ink;
they will scratch
and blot.
chart, which will clearly show
DIY matchstick
t
transparent, semi-opaque or opaque.
makes a great nib.
Ink
I love Indian ink. It is waterproof
once dry and it granulates in
Brushes can
t
fascinating ways. Acrylic and pigment
inks are also available. Always check be used with Indian
if your ink is fugitive (not lightfast). ink as you would
watercolour.
Pens
The most convenient way of putting
ink onto paper is via a sketching pen,
but it is not the only way. You need
to look for permanent, lightfast ink.
If the ink is water-soluble it will bleed
once colour is applied. If you don’t
want this to happen, do your colour
work first then, once dry, apply the
pen work.
Pigment liner pens are available in
a range of widths, with the indelible
pigment ink is waterproof and
lightfast. Staedtler, Faber-Castell
and UniPin make good-quality pens,
which should not dry out quickly
if you happen to leave the lid off.
The downside is that the line is
very uniform so can be boring.
Brush pen These pens are an
interesting alternative. You can
create fine to broad lines with a
single stroke. Some come with
cartridges of permanent black
pigment ink. The synthetic bristles
retain their shape and are durable.
Pentel has a good one.
Water-soluble pens allow you to create
watercolour effects by stroking the
lines with a wet brush or by drawing
on wet paper. The Stabilo Point 88 is
perhaps the best known of this type.
An interesting alternative is the
Dragonfly, line & wash on NOT

t
watercolour paper, 934⁄ x934⁄ in. (25x25cm)

t

Line & wash
EXERCISE 1 Mark making

Draw squares and use a different mark to fill each box. Now
choose a simple geometric shape and apply tone to it using
different marks.
t
Make a crib sheet of ink marks and tone
t
Simplicity, line & wash on NOT watercolour paper, 1014⁄ x8in. (26x20cm)
Elegant Writer from Speedball. This Marker pens Here you need to match a less predictable route. Used with ink,
chisel-tipped marker pen was made for the size of your pen to the size of your they will scratch and blot, but that is
use in calligraphy, however when you artwork, so Sharpies or other permanent part of their charm.
add water the ink separates into pink marker pens may fit the bill. However, DIY options Make your own dip pen
and turquoise, allowing all sorts of not all are fade-resistant. by inserting a matchstick into a piece
creative possibilities. The downside is Dip pens While modern pens deliver a of bamboo or taping it to a stick.
that the ink is not lightfast in either of consistent line, you may find the lack The matchwood is quite absorbent so
these pens – so great for sketchbooks, of responsiveness rather unexciting. takes up a decent amount of ink and
but not display. Using a bamboo or metal dip pen offers it can be cut to the right shape with
scissors. Of course, Indian ink can be
put on with a brush and diluted to let
the ink play a far softer role. Ink can
EXERCISE 2 also be used with a twig, a stone or a
Continuous line feather, to produce interesting marks.
Do not lift your pen from the
page (so don’t use a dip pen). YOUR LINE WORK
As you outline and draw As well as representing contours,
internal shapes, you will find line can also be used to apply tone
your lines double back on each (light and shadow) to a drawing.
other. As well as producing This can be done by altering the
a free-flowing image, it spacing between the lines, the weight
encourages your eyes, hand of the line and the lightness or
and brain to work together. darkness of the line. Try scribbling,
According to Smithsonian hatching, cross-hatching, contour lines,
Studio Arts, continuous line stippling, wavy lines, criss-cross and
drawing is actually a very making stylised patterns.
powerful way to create a piece
that is both hard edged and Loosen up first
fluid, representational and It is tempting to become caught up
abstract, rational and in detail when you pick up a pen.
emotional all in one. Try two exercises to loosen up your
line work: continuous line (Exercise 2,
left) where you don’t lift your pen
Don’t lift your pen off the page from the paper, and blind drawing
t
in a continuous line drawing (Exercise 3, above right) where you

don’t look at the paper at all.

Line & wash
COLOUR EXERCISE 3 Blind drawing

Avoiding the temptation to colour The aim is to draw without looking at the paper. You can do this as a continuous line (see
in your line drawing can be tough. Exercise 2) or as a contour drawing, concentrating on the edges and shapes, but taking your
Use a large brush and plenty pen off the paper if required. It encourages you to observe the object closely and trains your
of paint to prevent fiddling. hand to mimic your eye movements. It may not be exactly what you intended, but usually
Mix colours on the paper through has a charm that more than makes up for inaccuracy. I like to use a paper plate to act as a
wet-up-to-wet or wet-in-wet work, shield so there is no temptation to take a peek. Push the pen through a central hole and
and consider if texturing techniques hold the pen under the plate to draw, while you keep your eyes firmly on your subject.
such as Clingfilm or salt may be
appropriate to the texture and
character you are trying to capture
(Exercise 4, below). Next month,
I will take you step by step
through a painting in line and
wash, incorporating some of
these techniques. LP
Liz Chaderton
Liz is a professional artist based
in Berkshire. She runs weekly
classes and monthly workshops
(see www.joedaisy.co.uk) and
will be leading a week in Italy
with ArteUmbria (www.arte
umbria.com) 4-11 July 2018,
where she hopes to paint Italian
black bees, honey buzzards
and wild boar. Visit her website
www.lizchaderton.co.uk for
details or her blog for tips and
ideas: http://lizintheshed.
wordpress.com/
t
No cheating! Have a go at blind drawing
EXERCISE 4 Texture
Make a crib sheet of possible textures veins on a dragonfly’s wings or the salt t Experiment with watercolour
using everything from Clingfilm, salt and imitate the fluff on a bumblebee’s bottom? textures. Make notes on how you
Epsom salts to alcohol. What do they bring Next month we will capture the drama of achieved the effects.
to mind? Could the Clingfilm produce the a dragonfly using some of these methods.
Table salt in Clingfilm in Dishwater

a damp wash a mixed wash rinse aid
Bubble wrap
(weigh it down!) Splatter
Epsom salts in Stencil Colour sanding

a damp wash (through a doily) on damp paper
LP
LP03 44-46 Steed_Layout 1 12/01/2018 14:56 Page 44
Watercolour
Acrylic highlights
Follow Colin Steed as he demonstrates how
to smarten up old watercolour paintings
LEARNING OBJECTIVES
n How to apply acrylic over You will need
watercolour n Artists’ watercolour n Artists’ acrylic tubes n Watercolour
l
n How to create light and form in tubes Titanium white brushes
l Lemon yellow l Lemon yellow l I recommend
in your paintings
l Yellow medium l Yellow med Rosemary & Co
n Easy solutions to brighten l Yellow ochre l Yellow ochre Kolinsky Sable,
up dull pictures l Brilliant red l Brilliant red Round and flat,
l Crimson red l Crimson red and a medium
l Ultramarine blue l Blue lake mop
l Sap green l Phthalo blue
U p to two years ago I was a

purist when it came to painting
with watercolour. In those days
the white of the paper was my white.
I either masked the highlights or
l Viridian green
l Burnt umber
l Light green
l Phthalo green
l Burnt sienna
n Acrylic
l
brushes
Pro Arte Studio
hog, Round
and flat
painted around the area, leaving white
paper, which I could tint with weak
colour if necessary. In many ways
I still like painting in this way. So them could never be improved Materials
why would I begin using acrylic paint with watercolour alone. I highly recommend using MBGI-WAP
on a small number of my paintings? My advice is to always keep your Artists’ watercolour and acrylics. They
A couple of years ago I looked old work, no matter how poor you are a competitively priced Artists’ quality
through some of my old work in my think it is. By looking through your paint and available in sets through eBay.
‘may frame one day’ collection and paintings occasionally, even months When using watercolour and acrylic
wondered if some of them could be or years later, it may stimulate your together, try to keep the two media
improved using acrylic paint. Many of creative thoughts, which could give separately. Once acrylic is mixed
them lacked important highlights that you the inspiration to move forward with watercolour, the watercolour loses
I had either failed to mask or paint with your work. It certainly has its transparency.
around, but more importantly many of helped me over the years. I use a large 101⁄2x12in. (27x30cm) tin
SKIES
It’s not that difficult to paint dark
clouds over light sky washes. What
is much more difficult to achieve
when using pure watercolour is
light highlights over dark clouds.
t
1 On one of my many trips to

North Norfolk I painted this sunset
study using watercolour and a wet-into-
wet technique. I used ultramarine blue
for the background sky, yellow medium
and brilliant red for the warm colour,
and a strong mix of ultramarine and
brilliant red for the dark clouds. The
sun was lifted off with kitchen towel
before the paper completely dried.
In my excitement to capture this lovely
sunset I completely forgot to lift off
highlights on the undersides of the
clouds. I quickly took a photo for
future reference.
Sky Study 1, watercolour,

t
8x12in. (20x30cm)

Watercolour
HIGHLIGHTS ON FIGURES
The challenge when producing studies of figures is creating that all-
important feeling of movement. To help capture that sense of movement
I try to draw and paint from life as much as possible.
t 2 A few months later I added more distant figures with t Figure

pure watercolour. To the foreground figures I applied white Study 2,
acrylic to the very top edges of the hair and coats. I revealed watercolour
the shoulder bag on the left-hand figure with a highlight across and acrylic,
the top and down the strap. The distant figures I treated in a 7x9in.
similar way. I used a No. 3 Rigger brush for all the highlights. (18x23cm)
t
t
Figure 1 This figure study was painted in situ
Study 1, using ultramarine blue, blue lake, brilliant
watercolour, red and burnt sienna watercolour. My aim
7x7in. was to create a feeling of sunlight shining
(18x18cm) from above and directly in front of the
figures. To some extent I achieved that, but
the figures are just silhouettes against the
sunlit shops. They lack crucial highlights that
would give them form. I could lift off colour
back to almost the white paper, but that
would be difficult as the areas are very small.
palette (when open), which has

two separate mixing areas, one I use
for acrylic and one for watercolour.
I keep the acrylics damp by spraying
with water using a spray bottle.
Acrylic brushes would be rendered
unusable if left to dry when loaded
with paint. To guard against this I use
a water container, which allows the
hairs of the brushes to be kept damp
during the painting process. LP
t
2 On my return from Norfolk I decided

to turn my study into a painting, using
my memory and the photo as reference.
I painted the landscape just to see if that
would counter balance the dark clouds.
To some extent the balance was improved
but the under sides of the large clouds
did not reflect the evening sunlight.
Using acrylic and a No. 4 flat hog brush,
I mixed titanium white with a touch of
yellow medium and brilliant red. Only
lightly loaded with colour, I dragged the
brush gently across the undersides of the
dark clouds. Recalling in my mind the
clouds that evening, I extended the light
areas into the blue sky in a few places.
I painted light strips of colour across the
narrow elongated lower clouds. The sun
was painted using white. To intensify the
feeling of sunlight I used a very dry brush
of titanium white to paint a halo effect
around the sun and tapered horizontal
highlights across the foreground landscape.
Sky Study 2, watercolour and acrylic,

t
8x12in. (20x30cm)
t

Watercolour
BLUEBELL WOOD
I have always had a passion for painting
woodland landscapes and spring is one of
my favourite times of the year. Capturing light
filtering through the fresh green leaves of spring
and the way the dappled light is cast into the
undergrowth, a meandering path or a carpet
of bluebells will always be a challenge.
t
1 I painted this bluebell wood on the spot in

a fresh, loose way. I was quite pleased with the
outcome. I captured a general sense of light, but
the foreground lacked detail and did not show
light cast on the flower heads. After casting a fresh,
objective eye over the painting the next day,
I popped it into my ‘may frame one day’ folder.
t 2 Some months later I decided to improve that

foreground light. Using acrylics and a No. 4 flat hog
brush I stippled light green highlights across parts of t
Bluebell Wood Study 1, watercolour, 10x13in. (25x33cm)
the left-hand overhanging leaf work, leaving plenty
of dark patches for the leaves in shadow. The same
technique and colour were used for the light touches Stippling technique
t
on top of the grasses and the ferns in front of the
lower tree trunk (see stippling technique, right).
I mixed a bluebell colour and using a vertical
motion stippled the light bluebell heads. Finally, after
changing colour, I dragged a lightly loaded brush in a
downwards motion to give the effect of light catching Colin Steed
the bark on the right-hand side of the large trunk. Find out more about Colin, his
The bluebell mix was white with phthalo blue and work and workshops by visiting
crimson red, and the green was white with yellow www.colinsteedart.magix.net
medium and phthalo blue. The bark colour was white
with burnt sienna. I used lots more white than colour.
t
Bluebell Wood Study 2, watercolour and acrylic, 10x13in. (25x33cm)

LP03 47-49 Joyce_Layout 1 12/01/2018 15:05 Page 47
Watercolour
Winter in watercolour
Part 3 In the final part of his watercolour series, Colin Joyce
demonstrates how to find and paint the patterns of a winter landscape
cut out an aperture to suit the dimensions through the scene more easily. You
LEARNING OBJECTIVES of your canvas or paper. may want to change the scene even
n Practise the wet-in-wet technique When working from your photographs, further; remember, it is your painting!
you don’t have to copy what’s in front I have enjoyed writing these articles
n How to adapt a photograph into of you slavishly – neither the colours nor over the past three months. I hope you
a painting the elements in the landscape. Whilst have enjoyed painting along with me.
n Build your colour-mixing I usually paint in quite a representational I would love to hear from you and
confidence style, I still move objects around or miss see your versions of the paintings, too.
them out altogether. You will see an Contact me via my website (see the
example of how I do this in the following end of the article for details), where
F or the final part of my series

on painting winter scenes in
watercolour, I am venturing out
into the countryside to look for
interesting patterns in the landscape.
demonstration, where I omitted
foreground trees to allow the eye to travel
you can also register for my free art
tips newsletter. LP
A covering of snow, whether it is

just a light dusting or a thick blanket,
transforms the landscape into wonderful
patterns, which may not be evident
in other seasons.
A zoom lens on a camera is useful
for spotting potential subjects, and
compressing distances and perspective
thereby doing the cropping for you.
If you paint outdoors, I suggest taking
a little viewfinder with you to help
visualise your painting. These are
available to buy in art stores or you can
make your own from a piece of card; just
THE WATERCOLOUR PAINTING

STATION
I said last month that I would show you

my plein air watercolour kit, which I call
my painting station. Several students have
asked me to make one for them and I
intend to make it available on my website
soon. It simply sits on and fastens to a
camera tripod, holding everything you
need for watercolour painting outdoors.
When finished painting, everything folds
up and packs into a small backpack. t
The finished painting Winter Patterns, watercolour, 14x10in. (35.5x25.5cm)
t

Watercolour
Demonstration Winter Patterns

Here is a scene in the Perthshire countryside (right), where I was attracted to both
the lines made by the stone walls and hedgerows, as well as the strong foreground
shadows on the snow. I just knew I wanted to capture the scene in watercolour.
You will need

n Surface n Artists’ watercolour Your reference
t
l Saunders Waterford l Ultramarine blue photograph for this
300gsm watercolour paper l Cobalt blue demonstration:
10x14in. (25.5x35.5cm) l Burnt sienna a winter scene
l Alizarin crimson in Perthshire,
n Brushes
l Green apatite showing interesting
l Large wash brush –
genuine (Daniel patterns made
squirrel hair or synthetic by shadows
Escoda Perla Round Smith) or olive green
l Yellow ochre light and walls
brushes Nos. 16, 12 and 8
l Quinacridone sienna
Rigger or sword liner
brush (Daniel Smith)
l Cadmium orange
n 2B pencil
Step 1
t
1 I taped my paper to a plywood board with 4 With a different brush, add the clouds
masking tape. I drew only the lines needed but avoid touching the blue. The dampness
to place the objects correctly. You may prefer of the paper will bring them together.
to draw more detail initially, but this might 5 Touch the lower parts of the clouds with
tighten the end result. the cobalt blue on the other brush to
2 Dampen the sky area with clean water create the appearance of shadow.
and, whilst this is soaking in, mix yellow 6 Leave this to blend and dry, while you
ochre with alizarin crimson in one well of strengthen the cobalt blue and add the
your palette and cobalt blue in another. foreground shadows cast by the trees
3 Using a large wash brush apply the and fences out of view behind you.
blue, leaving spaces for the clouds. Allow to dry thoroughly.
Step 2
t
1 Use the side of the

No. 12 Round to add
burnt sienna to some
of the fields in the
distance. I kept this
quite dry by touching a
tissue first to take some
moisture out of the
brush and applying the
paint with fast strokes
to create a hit-and-miss
dry-brush effect.
2 Add a mix of cobalt
blue and alizarin
crimson for distant
shadows in a similar
way.
3 Paint the front of
the farmhouse with
burnt sienna and
yellow ochre and
plenty of water.
4 Next apply a strong mix of cobalt blue 5 Check the front of the farmhouse is dry
and burnt sienna with the point of the before adding the shadow sides and roof
No. 12 Round brush to create the walls with the same dark mix then begin painting
and hedgerows. Add touches of blue the trees nearby. Don’t worry about colour,
here and there to give variety. it is tone you need to get right.
Step 3
t
1 Do more of the same as you continue adding trees, shadows

and exposed ground, working down towards the middle distance.
2 Add a touch of yellow to cobalt blue and paint the outhouse
on the farm. Apply shadow to this when dry.

t
Step 4 t
Step 5
1 Next tackle the large copse of fir trees in here and there. Use the side of Add more shadows to the snow where it
the middle right using the wet-into-wet a large Round brush, and stamp down will appear behind the foreground trees.
technique, allowing the colours to mix quite firmly with the point of the Doing this now is much easier than trying
and create shapes for you. You need quite brush to give you the correct shape. to place them later. Use mainly cobalt blue,
strong mixes with not much water. Begin 2 Finally, add quinacridone sienna adding a touch of alizarin crimson to alter
with green apatite genuine, a wonderfully and yellow ochre to the bottom the warmth in some of the shadows.
granulating pigment, and add ultramarine of the copse to simulate grasses
blue, burnt sienna and alizarin crimson and undergrowth.
t
Step 6
1 Now to tackle the foreground trees. 4 Finally, add yellow ochre and cadmium
I omitted some of the trees, as they blocked orange, which are both quite opaque, to
the view. Mix a dark tone using cobalt the branches on the trees in front of the
blue and burnt sienna and load a No. 8 copse. This will help them to stand out
Round brush. and create more depth to the scene.
2 For your trees to show the warmth of the 5 Make a final check of the painting
sun use burnt sienna and quinacridone and, when you are happy with the t
The finished painting Winter Patterns,
sienna and the No. 12 Round to form the result, sign it and call it done. watercolour, 14x10in. (35.5x25.5cm)
tree trunks and branches. Immediately add
the dark here and there to imply sunlight
and shadow. Do not attempt to paint every
branch and twig, but place enough to look
fairly realistic. Notice where the trunks end Colin Joyce
to help give the impression that the ground Colin paints and teaches both in oils and watercolour. He lives in Fife,
falls away behind them. Scotland where he has his own studio. He regularly carries out demonstrations
3 Use the sword liner with a dark mix to and workshops for art groups. In 2018 he will be showing at the Borders Art
add further bushes and twigs then add Fair in March, tutoring workshops in Umbria (June) and Venice (September)
a dry mix with a Rigger brush to imply for Arte Umbria, as well as exhibiting at Patchings Art, Craft & Photography
more detail to the treetops. Festival in July. To find out more visit www.colinjoyceart.com

LP03 50-53 Strode_Layout 1 12/01/2018 15:12 Page 50
Acrylics
Landscape studies
Part 3 Steve Strode continues his look at painting the landscape with
tips and advice on painting effective landscapes and urban scenes
LEARNING OBJECTIVES
n How to paint aerial and linear
perspective
P ainting outdoors can be an
overwhelming experience, especially
if you’re trying to do too much all
at once, but concentrating on separate
elements can hone your painting skills
but in hindsight I’d probably have
benefitted from breaking down my
learning into manageable chunks. Over
the past three months we’ve looked at
doing just that as we try to develop a
n Find a good painting practice for when you tackle the bigger picture. routine based on observation, modelling,
n Colour mixing for green When I first started painting on site, the right kind of practice and persistence.
jumping in at the deep end was Having looked at sky and water in the
exhilarating in a strange sort of way, past two issues, why not try the following
tips for painting landscapes.
Observation
I enjoy getting out and about in the
landscape, and, as a walker, observation
is a big part of that even when I’m not
painting. Carry a sketchbook for taking
notes and making thumbnails, and a
camera or phone to photograph anything
of interest. Taking time out to see and
question rather than just looking will help
prepare you for when you’re ready to
paint. And remember, painting landscapes
isn’t just restricted to the wide open
spaces. Wander around your city, town
or village with more intent and make
observation part of your painting practice.
Find our inspiration

Take time for a little practice by copying
or modelling other artists, who have
painted subjects that interest you. Work
out how they handle the same subject,
and question what sets them apart and
what they do differently to achieve results
that really stand out. Do this and you’ll
be ready to tackle your own studies
confidently.
On location, take time to decide what
you’re attempting to paint. Don’t feel the
t
Cain’s Brewery, acrylic on board, 712⁄ x512⁄ in. (19x14cm). Landscape isn’t just about painting
t
I travel light and work small on site.
the wide open spaces. Begin a project and paint what you see around you. What I wanted to I usually choose interesting places to paint
paint was on my doorstep; I just needed the morning light for atmosphere. as a result of observations from initial walks.

Acrylics
t
After Trevor Chamberlain, oil on board,
4x6in. (10x15cm) and 4x4in. (10x10cm).
Small studies help you to come to grips
with the urban environment.
need to include everything exactly where

it is, as when considering detail, what we
leave out is just as important as what we
include. Ask yourself why you’re making
this painting. For instance, is it the light
or the colours? Use only elements that
help communicate your ideas and if it
adds nothing, leave it out. Make a few
thumbnail sketches and decide on the
main shapes and format. It’s best to find
out here which idea is the most promising
rather than chopping and changing things
when you’re painting.
The right perspective

So what can we practise? No doubt
you’ll break the task down and
concentrate on the elements that help
your own development, but the following
challenges are bound to crop up sooner
or later so why not give them a go to
help get you started.
One of the biggest challenges in urban
landscapes is linear perspective, but this
technique can help give our pictures the
impression of depth. Painting buildings,
traffic and people is a great opportunity
to explore familiar objects and how they
are affected by perspective. If you
understand the basics it is much easier
to concentrate on the drawing and
painting, knowing you are able to apply
the principles if things don’t look right.
In its simplest terms, linear perspective
sees horizontal lines that move away from
the viewer appearing to converge at a
vanishing point on the horizon. Objects
appear to become smaller and closer
together as they recede. Receding
horizontal lines above eye level appear
to slant down. Those receding at eye
level appear more or less level, and those
below eye level appear to slant up.
Vertical lines in doors, windows and
edges of buildings usually remain
perpendicular so try using the edges
of your paintings support as a guide to t
Bold Street, acrylic on card, 712⁄ x512⁄ in. (19x14cm). Here is an exercise in handling
line these up straight. one-point perspective, where all lines converge on a vanishing point. Suggest distance
t
While the same rules of linear and depth by painting familiar objects.

t
Renshaw Street, acrylic on card, 512⁄ x712⁄ in. (14x19cm). Aerial or atmospheric perspective, together with linear perspective, can add even further
to the illusion of depth.
perspective also apply to the more

COLOUR MIXING FOR GREENS traditional ideas of a landscape, there
may be fewer recognisable clues, such as
With the addition of the blues – top to bottom ultramarine, cobalt, cerulean and black– buildings, people or familiar objects to
you can make some beautiful greens (and, yes, black and yellow gives some lovely olive achieve a feel of scale in the wide-open
greens). We can also make the green, more yellow or more blue. Alter the value, tint it with spaces. Where these clues are missing,
white or add complementary red to darken and lower the intensity. The permutations are the painter can use aerial or atmospheric
many, but experience will see you come to grips with the greens you want if you practise perspective to add depth to their painting.
chasing down a colour. When the landscape recedes, the
contrast, colour and details all decrease.
Lemon Cadmium As an example, try breaking your
yellow yellow intended picture up into foreground,
middle and background. In the
foreground the harder edges of objects
tend to gain our attention, especially if
they contrast in colour or value. Colours
can appear to be more saturated in
comparison to the rest of the picture,
and there may be a wider range of values.
As objects recede through the middle
and background, they become less
distinct. Their colours fade, becoming
greyer and cooler, detail becomes lost,
edges become softer, and there’s less of
a value change. As a painter you can
exaggerate this as much or as little as you
want to communicate your message.
The problem of green

‘They’ll sell you thousands of greens.
Veronese green and emerald green and
cadmium green and any sort of green
you like; but that particular green,
never.’ Picasso

t
Llyn Idwal, oil on canvas paper, 7x14in.
(18x36cm). Overlapping foreground objects
with mid and background objects create depth
if you lighten the tones and colours as each
layer recedes.
If one of the biggest challenges in urban

landscapes is perspective then painting
greens is probably up there when it
comes to painting the countryside.
The variety of greens out there can be
staggering, depending on the time of day,
the season, or the quality of light, and
whilst there’s always room for a tube of
green on my palette, this is rarely enough
to give me the colour I want. I can add
more yellow to make it lighter, or more
blue in the shadows, but even with some
modification my options are limited.
Alternatively I can make my own.
In his book, Blue and Yellow Don’t Make
Green, Michael Wilcox makes it clear that
whilst those primaries will indeed make
green, it may not necessarily be the green
you want. It’s not only the proportion
of blue and yellow you use, but also the
type of primary colour you choose. All t
Formby, watercolour on paper, 614⁄ x934⁄ in. (16x22cm). The greens you make depend on a variety
primary colours also lean towards another of factors, such as the quality and direction of light, the season or the time of day. Stepping
colour in the spectrum, and the resulting outdoors and making studies from life will inform every picture you make.
green depends on whether the blue or
yellow you use is help or hindrance.
For instance, ultramarine with its high warm and cool primaries to mix a wider
red content would tone down your green, range of greens and start practising.
as the complementary red neutralises the FURTHER STUDY
l Peak: How all of us can achieve
hue, whereas a cerulean blue with its Persistence extraordinary things by Anders
green bias would make your green Whilst researching their book, Peak:
Ericsson and Robert Pool (Vintage
more intense. Similar results occur using How all of us can achieve extraordinary Publishing)
l Blue and Yellow Don’t Make
cadmium yellow with its red content, things, Anders Ericsson and Robert Pool
or lemon yellow that leans towards consistently found that those who set Green by Michael Wilcox
green. Mixing and matching just these the right sort of practice and prevail
four colours give a variety of greens. can only become better, and see this
Chasing down an approximation of as contributing to ‘the most powerful
any colour involves asking the following approach to learning yet discovered.’
questions. What is the underlying hue, So why not give things a try? Observe,
in this case green? How intense is that model other painters, be specific about
hue? What is the value, and is the what you’re trying to learn, and persist.
perceived temperature warm or cool? Practise and prevail, but rather than Steve Strode
These questions may be asked more repeating what you already know over Steve welcomes comments and
than once when trying to find a match, and over again, see each new painting questions about his articles through
and will become easier with practice. So as an opportunity to push yourself that his website: www.stevestrode.com
don’t limit your options, try a selection of little bit further each time. LP

LP03 54-57 Crown_Layout 1 12/01/2018 15:40 Page 54
Coloured pencil
Reflections
Part 1 Here we look at simple and complex reflections, and how to depict them
realistically in our drawings and paintings, with Judith Heilbronn-Crown
t
Photograph of Llanberis. Reflections are only clear if water is very smooth. On a windy day you are unlikely to see reflections.
At Llanberis, the water was smooth so the reflections were very good. The view was close to a simple reflection, with some complex
reflections on the right-hand side. The mountains and left side could be treated as a simple reflection.
The complex reflection is apparent but it is much simpler to use tracing

LEARNING OBJECTIVES when you are slightly above or much paper. Draw the top half of the picture
n How to view and depict higher than the water line. Here you down to the horizontal waterline, which
reflections accurately would be looking down into boats or you can draw with a ruler. By measuring,
seeing flat areas of grass above the banks check that the line is horizontal, in other
n Techniques for working from at the water’s edge. These are not visible words, the same distance from the top at
photographs and life in the reflections. Distant mountains that both ends of the line. Mark the ends of
are visible to you may not be visible in the waterline with short vertical lines,
the reflections. The water’s edge may and indicate L for left and R for right at
I n general, there are two types of

reflections: simple and complex. The
simple form of reflection can be seen
when you stand at water level, or very
close to water level, and the line where
not be horizontal, or there may be edges
that are a mix of flat and angled, and
different levels where the water meets
the land.
the ends. Clip tracing paper over the
drawing and trace it firmly with a soft
graphite pencil, making sure that you
add the short vertical lines and R and L.
Flip the tracing paper over, and draw
the water meets the land appears as a Simple reflections the horizontal line over the one in the
straight horizontal line. You are so low First let’s look at the simplest type of drawing, using the short lines to line up.
that what is reflected in the water is reflections. You could do this by using The R should be on the same side as
a mirror image of what is above. a ruler and measuring everything exactly, the R on the drawing, of course!

t
Llanberis, coloured pencil, 834⁄ x1134⁄ in. (22x30cm)
t
How to draw the reflections for Llanberis. Here I didn’t include all the lines in the reflection, but emphasised the reflection lines
or points for the closer areas on the right-hand side. In a complex reflection, it is necessary to measure the height of a point above
its reflection line to find where the reflection will be below the reflection line, as in A and B in this diagram.
Once everything is lined up, clip in could use a coloured pencil so you can The colours in the reflections may
place along the bottom of the paper. be sure that you have transferred all the be exactly the same as the view above,
Transfer the drawing by going over all lines. As the tracing paper is only but often appear slightly darker,
the lines with a reasonably sharp pencil, clipped at the bottom, lift it to check especially in the sky area. Lines will
pressing just hard enough to transfer the progress. This will result in a landscape often be slightly blurrier in the water,
lines, but not to indent the paper. You
t
and a perfect reflection. with slight horizontal lines perhaps.

Coloured pencil
HOW TO SEE REFLECTIONS
t
Photo 1 Fabric landscape from water level. t
Photo 2 Fabric landscape from a little
Flat areas in the landscape are not visible. above water level. Some of the fields and
the lower parts of the trees are now visible,
but they are less visible in the reflections.
Complex reflections
If you are viewing from a higher position,
the waterline will probably not be
horizontal. Anything that is closer will be
lower down, and there will be a point of
reflection rather than a line for each place
or item. Each level of distance will have
a different reflection point or line.
A complex reflection can sometimes be
composed of several simple reflections.
The reflection visible will depend on
the height at which you are standing. As
I was not able to take photos of the same
landscape from different heights, I built
my own landscape from fabric and leaves,
and using a mirror photographed at
different levels. In Photo 1, which was
taken at horizontal level, the view is a
mirror image. From slightly higher, Photo
2 shows parts that were obscured in the
Photo 1, which are now visible in the
‘grassy’ area above the edge of the water
and some flatter areas, although you see
even less of the reflections. In Photo 3,
from even higher, more of the landscape
is visible, but only a little reflection can be
seen from the mountains in the distance,
as the lines for the reflections are higher.
Photo 3 Fabric landscape from higher up.

t
Fields and horizontal areas are visible, but

there is only the top of the mountains visible
in the reflection. The waterline is usually
not completely horizontal, as anything that
is nearer will appear lower.

Coloured pencil
REFLECTION OF AN OBJECT
As I could not take a photo of the same
boat from different heights, I found this
tiny Chinese junk to photograph. To
find the best reflections for this, I used a
silver tray (as the mirror has a thickness
of glass between the base of the boat
and the silver layer). From water level,
the reflection was a perfect mirror
image, while not being able to see into
the boat. From above I could see into
the boat, while the reflection shows
only the underside of the boat visible.
Levels of reflection highest mountain in the picture to its multiple points towards the eye, as
If you look at a river or a small lake, reflection; halving it will give the line the water is not flat so that the same
the line of the waterside may not be of reflection. Middle distance items will image of that point appears in several
horizontal, unless you are very close have a lower line of reflection, and the places at the same time, whilst some
to water level. Look at the reflections of nearer items, such as small islands and points do not arrive at the eye at all.
the tree trunks to check how it should boats, will have their individual lines of Multiple reflections from all directions
be, as each tree will have its own reflections. If you don’t have reflections, meeting the eye close together will
reflection level. It is probably easier to but want to include them, use logic to give the grey appearance of water.
copy a photograph in this case, and use work out where the lines of reflections Next month I will introduce a
the mirror image method for individual for the most distant items will be. painting project from a photograph
waterlines as a guideline. Check the true and offer advice on how to depict
horizon by finding where the reflections Why we see reflections the reflections using coloured pencils.
fall. If the top of the trunk of a tree in Every point of a landscape sends out ou are welcome, of course, to use
the middle of the picture is vertically its image in all directions, but only one any medium you choose to paint
above that of its reflection, the waterline goes directly towards your eye. If the from the photograph. LP
is half way between. water is still it will also reflect from the
If you are closer to trees that are water at the angle that meets it, and one
reflecting, the overhanging branches reflection will go towards the eye. The
will not give an exact reflection. You eye follows the line towards the water,
would have to work from a photograph and then continues in that direction so
for these, or guess! that the image appears below the point Judith Crown
There are many levels of reflections it is reflecting equidistant from the Judith is a member of the UK Coloured
in a complex reflection. If you have a waterline for that point. Pencil Society. See www.ukcps.co.uk
photograph that shows good reflections, If there is turbulence in the water, for details.
try measuring from the tops of the the same image may be reflected from

LP1803 Subs .qxp_Layout 1 11/01/2018 13:36 Page 1
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LP03 59-61 Holland_Layout 1 12/01/2018 15:47 Page 59
Oils
t
The finished painting Blackwell Mill, Derbyshire, oil on canvas, 20x24in. (50x70cm)
Sketch to painting
Part 2 How to complete a studio-based painting from
oil sketches made on site, with Richard Holland
LEARNING OBJECTIVES
n Simple steps for painting with
oils You will need
n Colour mixing for greens n Surface n Miscellaneous n Pip Seymour Oil Colours
l Canvas 20x24in. l B2 pencil l Raw sienna l Permanent yellow
n How to transfer information (50x70cm) l Winsor & (base colour) deep
from a sketch into a painting l French ultramarine l Naples yellow deep
n Brushes
Newton Heavy
Carvable l Indigo l Florentine golden
l Rosemary & Co
l Cobalt blue
T his month I will show you how

I produce a full-size studio painting
from the oil sketch you saw last
month. The painting shows a set of cottages
alongside the river Wye at Blackwell Mill
short flats,
Nos. 20, 10 & 5
Modelling
Paste
l Coco Bella
Thinner
l Cerulean blue
l Alizarin crimson
l Coral red
l Venetian rose tint
flesh
l Buff titanium
l Titanium white
l Royal light blue
l Lowry grey
in Derbyshire. The process comprises l Permanent yellow light l Burnt sienna
the following four key points: drawing,
applying a modelling paste, adding
t
mid-tones then finally the highlights. LP

Oils
t
Your reference photograph of the scene: Cottages along the river Wye
t
The oil sketch completed on site at Blackwell Mill, Derbyshire
Step 1
t
The drawing
When drawing the scene on my
canvas I used a piece of tracing paper,
which had been gridded up seven
squares by five squares and placed
over the oil sketch. I applied the
same scaled-up grid to my canvas.
I reproduced both what I captured on
location and the alterations I decided
on between completing the sketch
and starting the studio painting.
Step 2
t
Apply the paste then the base colour

1 Next I applied the paste with a wide, flat and
relatively hard brush. I tend to use an old brush
for this and apply the paste directionally to define
the subjects on the painting.
2 Once dry, which did not take long, I applied a
thin base of raw sienna. The raw sienna base helps
to warm up the colours applied in steps 3 and 4.
It’s important not to paint straight onto white
canvas. If you miss areas as you work through the
painting it will show as raw sienna and not white.

Oils
Step 3
t
Apply the mid tones
1 Here I followed as faithfully as possible
the colours on the oil sketch. Once the
underpainting was dry I blocked in the
sky with a mix of French ultramarine,
cobalt blue and white. I added buff
titanium to the blue to make a blue-grey
for the lighter areas of the clouds.
2 I used the darkest greens, including
green umber along with mauve and burnt
sienna, to block in the trees. I didn’t go
overboard with this, because I needed to
finish the sky before finishing the trees.
3 I then blocked in the cottages with
burnt and raw sienna, which were mixed
with a tiny amount of French ultramarine
to create the shadow parts of the building.
I used French ultramarine and burnt
sienna for the windows and door shapes.
4 The reflections were painted in darker
colours from the sky, building, trees,
bridge and grass, using mark making
to create the effects I wanted. I mixed
burnt and raw sienna for the foreground
riverbed, again stippling the river floor.
5 For the dark shadows under the bridge
I used French ultramarine and burnt
sienna, with a little alizarin added to
make a dull blue-purple. I kept the bridge
details and foreground foliage basic at
t Step 4
this stage, as I still needed to add details
to these areas in the final stage of the raw sienna, along with French ultramarine,
painting. Apply highlights and glazing cobalt blue and cerulean, to waft highlights
1 Sky Here I applied highlights to the painting lightly over trees, making sure I left plenty
and gave the river a glazed surface above of sky holes and shadow holes.
the reflection. Once all the mid-tones were 3 Trees A little burnt umber wafted across
TIP Strong directional completed and dry, the highlights and details the marks hinted at the trunks and branches
brushstrokes on the final layer were added. For the sky, I mixed a range of that normal straight brushmarks would not
of the river and greenery are blues with both buff titanium and white and be possible to achieve.
important as they help to lead Venetian rose flesh and applied them using 4 Buildings I applied a mix of buff titanium
the viewer through the painting. a 12⁄ in. brush. and raw sienna to the lighter part of the
2 Foliage I then used a range of light greens, cottage, leaving the shadow and windows
mixed from lemon yellow, Naples yellow and from the mid-tones layer.
5 Foreground grasses and water
I wafted light greens for the grass and
used directional dry brushmarks to add
the highlights to the water. Once dry
I applied a pale turpsy glaze over the
water of French ultramarine and white.
6 Finally I used a fine brush and an
old credit card to add the fine grasses
and the bridge details, using neat
colour with no thinner added.
TIP When painting such a vast

array of greens in my landscapes
I generally create one base green
then add many different colours
to it, almost in a circle on my
palette, so every time I apply
a brushstroke it’s slightly
different in colour.
Richard Holland
Find out more about Richard
and his work by visiting
www.richardholland
landscapeartist.co.uk
t
The finished painting Blackwell Mill, Derbyshire, oil on canvas, 20x24in. (50x70cm)

LP03 62-63 Gasperi_Layout 1 12/01/2018 15:58 Page 62
t
Sketch of Anne, graphite, 1934⁄ x1334⁄ in. (50x35cm). Sketching is important, t
Anne in the Garden, acrylic, 1934⁄ x1334⁄ in. (50x35cm). Look for
as it is the start of familiarising yourself with your subject’s features. unexpected colours in the shadows.
Beginner’s guide
to portraiture
Top tips on how to plan and paint a portrait, by Lorna Gasperi
drawing will give you confidence, as source. Look at the shapes that
LEARNING OBJECTIVES you begin to realise that producing a contrasting light makes across the
n How to plan a portrait good painting is not such a distant goal. face in relation to the natural shapes
of the features. Remember that you
n Top tips for painting features Structure and shapes are always painting light.
n Colour-mixing for skin tones With most portraits the eyes are the
centre focus. When painting children Be truthful
or very young people they are roughly Suppress the desire to please your
in the centre of the head. The eyebrow sitter, as it will hold you back in
P lanning a portrait, especially for

the first time, may feel daunting.
If you are a beginner, start by
making loose charcoal sketches from
life, before experimenting with more
line will define the structure and shape
of the head and act as a bridge
between the head and the face. You
can see this more clearly if you look
at a skull.
the long run. The model will have
expectations and this puts pressure
on you, which will influence your
decisions.
If you are pleased with your
detailed pencils. My first practice Try not to think of painting the eyes, drawing, photograph your subject
paintings were simple poses of my nose and mouth, but think in terms of and work on it further to familiarise
sleeping cat and myself. The advantage shapes and the relationship from one yourself with the various contours and
of painting yourself or your pet is that shape to another to eliminate your own connecting shapes. When painting
you won’t feel self-conscious about your perception. The hair is also painted in a portrait, you are learning about
mistakes. Don’t worry about rubbing shapes; look at the pattern the hair someone’s face, just as if you were
out or changing your drawing; this makes in different parts of the head. to paint a landscape, when you would
is an integral part of the process and Notice the contrast and shapes between learn to understand the various curves
one you must accept when learning. the darker parts underneath and at and lines. The principles are the same:
Draw what you see rather than what the top where it catches the light. define and map out with the tonal
you think you see. Perfecting your Always acknowledge your light and structural values.

LP03 62-63 Gasperi_Layout 1 12/01/2018 15:58 Page 63
Acrylics
t
Kathy On The Red Sofa, acrylic, 1934⁄ x1534⁄ in. (50x40cm). Vary your t
Tim in Black, acrylic, 1934⁄ x1334⁄ in. (50x35cm). Acknowledge
brushes to add different textures in the skin. your light source and look at the shapes the light makes across
the face.
Save time shadow areas, such as the dip in the one feature at a time, but move
Small sketches of your subject will chin and the eyes sockets, are often freely around the features to make
take minutes to complete and save you cooler tones. Remember that warmer all features an integral part of the
hours. With these you can determine colours will come forward and cooler face, otherwise they can appear
your format, and work out tonal values tones back. This will help give a sense like cut-outs.
and positive and negative spaces. of form and perspective. Although the eyes are the windows
Think about whether you wish to have Asian skin is usually warmer. I painted of the soul and convey emotion and
a dark background contrasting with light Ann’s neck and chest (see Anne in the character, a poorly painted mouth can
skin tones and light clothing to project Garden, above left) in a slightly yellow undo your good work. If you paint the
your subject forward. Additionally, think tone to show her honey-coloured skin, mouth wrong, you can’t portray
about whether you want to paint more however she was wearing makeup and character. This could cause the subject
flesh tones than clothing and the overall her face had a pink tone, combining to look older, too melancholy or even
image you want to create. Plan the natural colour and synthetic. I’ve also hard looking. If you are unsure about
background tones against the tones of taken into account the reflection in your painting and you feel you haven’t
the subject. Try to use your light source the colour of the scenery around her. quite caught the personality, I find
to create contrast and strong tonal value. There are often unexpected colours that the fault is usually in the mouth.
in the shadows; avoid painting them If you are painting from a photo,
Flesh tones as darker versions of lighter areas. This measure the proportions from one
There is no magic formula to creating will give your portrait more life and feature to another to find where your
flesh tones. It will help to use different a sense of surprise, which is important faults lie. For example, mouths are
brush shapes and sizes to show the in any subject you are painting. usually a little wider than they look.
different textures. Skin is translucent Again, paint in shapes and not in lines.
and therefore a reflective surface. The Facial features If you are not happy with your
colours of clothing and surrounding Whichever feature you are painting, portrait, put it away and work on
tones will influence the colours remember to paint it in context with another one. With each portrait you
reflected in the skin. the face as a whole, constantly paint, you will learn a new skill, which
To give yourself a good base, mix measuring the size and proportion will help you see the mistakes you
titanium white, crimson, yellow ochre in relation to other features. have made in earlier portraits. This
and a touch of cadmium red in varying In relation to the eyes, the irises are could result in making some of your
proportions. Use warmer colours, such often partly covered by the top eyelid earlier portraits your best work. LP
as red, burnt umber and sienna for areas so appear a half circle. The whites of
in the light, and cooler colours, such as the eyes are normally a blue grey with
violet blue, to your mix for shadows. the strongest highlight in the centre.
Factors, such as light, will affect the Eyes are all slightly different shapes and Lorna Gasperi
warmer and cooler areas of the skin. sizes; paint what you see rather than be Lorna work in oils, gouache and
For example, the nose and chin normally tempted to even up shapes. Work back acrylics. you can find more of her
have a warmer tone and the forehead is and forth between the eyes and the work at www.galleryfiftyfive.co.uk.
a mix of warm and cool tones. The surrounding area. Don’t concentrate on
LP
LP01 12-13 OpenCompv5_Layout 1 20/11/2017 10:48 Page 12
and
Open Art Competition 2018
in partnership with Patchings Art Centre
CALL FOR ENTRIES
OVER £17,500 WORTH OF PRIZES
OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:

£5,000 £500 Caran d’Ache/ £2,600 £500 Royal Talens
Purchase Prize Jakar Awards Award Awards
Award Two prizes of £250 One prize of a showcase Two prizes of art materials
Selected by guest judge worth of art materials feature on a selected artist to the value of £250 each
Lachlan Goudie ROI www.jakar.co.uk in Leisure Painter magazine www.royaltalens.com
for a work up to the www.painters-online.co.uk
value of £5,000 £500 Clairefontaine £500 Sennelier Awards
www.painters-online.co.uk Awards £100 Two prizes of £250
Two prizes of £250 worth Highly Commended worth of Sennelier
£1,700 ’s of art products selected Award art materials
Exhibition Awards from the Clairefontaine A subscription to www.globalartsupplies.co.uk
Selected artists from the Graphic & Fine Art range Leisure Painter worth £100
2018 The Artist’s category www.clairefontaine.com www.painters-online.co.uk £600 St Cuthberts
will be awarded a mixed Mill Awards
exhibition at Patchings £850 Daler-Rowney £450 Patchings Award Three prizes of £200
in 2019, worth £1,700 A gift voucher worth £450 worth of watercolour paper
Awards to be used at Patchings Art www.stcuthbertsmill.com
www.patchingsartcentre.co.uk Five sets of materials Centre in Nottinghamshire
to the total value www.patchingsartcentre.co.uk £1,800 The Harbour
£100 of £850 Gallery Award
Highly Commended www.daler-rowney.com £600 Premium Art One year’s representation
Award Brands Awards by The Harbour Gallery,
A subscription to £500 Great Art Cornwall
The Artist worth £100 One prize of Daniel Smith
Awards watercolours worth £350 and one www.theharbourgallery.co.uk
Two prizes of £250 prize of Pan Pastels worth £250
worth of art materials www.premiumartbrands.com £400 Winston Oh
£600 Batsford Awards from Europe’s largest Award
Four prizes of Batsford art art materials’ supplier £300 Pro Arte Awards A painting course worth
books to the value of www.greatart.co.uk Two prizes of brushes to up to £400 of your choice,
£150 each the value of £150 each provided by Winston Oh
www.batsford.com www.proarte.co.uk www.winstonoh.com
JUDGES David Curtis ROI, RSMA Ingrid Lyon, editor Liz Wood, artist and
Sally Bulgin, editor Guest Judge: Leisure Painter co-owner of Patchings
(All art materials prizes are quoted at the rrp)
The Artist Lachlan Goudie ROI John Sprakes ROI, RBA, MAFA Art Centre
How to enter & conditions 1 The entry fee of £18 covers up to THREE through the links entitled The Artist MUST be available for exhibition if
The competition is open to artists entries of two-dimensional works in & Leisure Painter/Patchings 2018 selected.
any media; only ONE work per entrant Competition. The closing date for 5 Successful entrants will be notified in
worldwide. Only original work will be accepted for exhibition in the entries is 12 noon on Friday, April mid-May about delivering their work
completed within the last two years Leisure Painter category. 13, 2018. between June 15 and July 1, 2018 to
will be considered and paintings 2 No entry should be larger than 4 Entries will be judged after April 13, Patchings Art Centre, Nottinghamshire.
based on reference photographs 120x150cm WHEN FRAMED (canvases 2018 and selected works called for 6 All care will be taken with entries but
must have been taken by the artist do not need to be framed). exhibition. These must be framed no responsibility can be accepted for
or used with the permission of the 3 To enter, upload digital files of your (canvases excepted) ready for loss or damage in transit, incoming or
photographer. Photography, except image(s) and pay your entry fee using exhibition from July 12 to August 12, outgoing, whilst on the competition
where incorporated into collage, our secure server via our website at 2018 at Patchings Art Centre, premises or during the exhibition.
is not acceptable. www.painters-online.co.uk, clicking Nottinghamshire. ALL works entered Originals selected and submitted for
LP01 12-13 OpenCompv5_Layout 1 20/11/2017 12:04 Page 13
t
2017 Winston Oh Award Amanda Wragge
t
2017 Harriet, oil on canvas, 12x16in. (30x40cm)
Patchings
Award
Brenda
Mawditt
Waiting,
watercolour,
1612⁄ x1212⁄ in.
(42x32cm)
2017 Pro
t
Arte Award
Mayumi Taguchi
Tomatoes,
watercolour,
20x14in.
t
2017 Batsford Books Awards Graham Lockett
(51x36cm) Black Rock Sands Gull, oil, 20x16in. (51x41cm)
WITH THANKS TO THIS YEAR’S AWARD SPONSORS:
Winston Oh
ALL ENTRANTS WILL RECEIVE A COMPLIMENTARY ONE-DAY ENTRY TICKET

TO THE PATCHINGS FESTIVAL OF ART, CRAFT & PHOTOGRAPHY, WORTH £10
final exhibition must be fully insured but not limited to magazines,

by the artist. promotion materials, websites, TIPS FOR PHOTOGRAPHING YOUR ARTWORK
7 Original works must be left with the databases and as part of
organisers throughout the exhibition. downloadable digital products. l Set your camera to the highest quality available
8 All entries must be original. 9 Commission of 25% plus VAT l Take your picture of your painting square on
Submission of entry in this will be charged on sales of works and fill the frame as far as possible
competition automatically constitutes accepted and hung in the final l If possible use a tripod to ensure a crisp image
acceptance of all the competition rules exhibitions at Patchings Art
and agreement to allow The Artist Centre l Turn off the date!
and/or Leisure Painter to publish, 10 By entering the competition, l Make sure that no easel clamps or clips intrude and
republish and repurpose entries in entrants agree to be bound by that frames don’t cast shadows across the artwork
print and digital formats, including the conditions of entry
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487 at competitive www.theartradingcompany.co.uk 2201252
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715390 Street, Skipton,
www.theartshop.co.uk Opening times: Monday to
Tel:www.theartshop.co.uk
01334 472174 www.gadsbys.co.uk
prices and a personal friendly service. Stocking: Golden, Lascaux, Unison, www.pullingers.com
North Yorkshire BD23 2JB
Stockist of: Derwent,
Stockist of: Derwent, Pebeo,
Pebeo,Loxley
Loxley Stockist of: Winsor & Newton, Thursday 9amSmith,
Sennelier, Daniel - 6pm,
Pro Friday,
Arte, Da Vinci, Stockist of: Canson, Caran D Ache, Cretacolor
Opening times: Monday to Winsor & Newton, Daler-Rowney, Tel: 01756 701177
Reeves, Unison, Daler-Rowney,
Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc Pip Seymour,
9am Canson, Derwent, Roberson,
- 5.30pm, Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Saturday
Sennelier,9am - 5.15pm
Winsor
Winsor &&Newton,
Newton,Conte
Conte Derwent, Montana Gold spray paints, Opening Golden,
Faber-Castell, times: Royal
Monday
Talens,to Friday
Schmincke
Saunders Waterford, Hahnemuhle, Westgate Gallery Saturday 9am - 5pm Sennelier, Winsor & Newton,
9am - 5.30pm, SaturdayFabriano
9am - 5pm.
Saunders
Sunday Waterford,
12.30
Fabriano, Art
Fabriano, ArtMaster
Master
Hahnemuhle,
- 4.30pm Golden,
much
Sennelier,
more.
83 Westgate,
Unison and
Grantham NG31 6LE
NORTH YORKSHIRE
www.jacksonsart.com www.theartshopskipton.co.uk
www.jg-innes.co.uk
Tel 01476 578800 The Art Shop
Stockists of: essential high-quality LINCOLNSHIRE
Stockists of: Pebeo, Derwent, Sennelier,
SURREY
Stockist of: Winsor & Newton,
Daler-Rowney, Hahnemühle, Staedtler,
Stocking: Royal Talens, Da Vinci, Schmincke 2 Newmarket Street, Skipton,
painting and drawing materials from WUnison,
F Gadsby
Winsor & Newton, Daler-Rowney,
HERTFORDSHIRE
North Yorks BD23 2JB
Pullingers Loxley,
347 HighArtmaster, Reeves, Hahnemühle,
Street, Lincoln,
Parker, Waterman, books, magazines,
109 West Street, Farnham,
WEST YORKSHIRE brands including
Tel: 01756 70177 Sennelier,
www.theartshop.co.uk Lincolnshire
AMT Products, LN5and
7DQmany more.
cards, games and a gallery, TheVan
Art Shop Winsor & Newton, Golden,
Surrey GU9 7HH Art Go - Ilkley Stockist of: Derwent, Pebeo, Loxley Tel: 01522 527 487
Upstairs @ J & 715390
Tel: 01252 G Innes Ltd Old Holland
Reeves, and
Unison, more.
Daler-Rowney, www.gadsbys.co.uk
Hawksworth
Studios, Street, Ilkley, Road,
www.pullingers.com
The 1 Stevenage
Sennelier, Winsor & Newton, Conte
Artist's
Stockist Palette
of: Winsor & Newton,
West Yorkshire LS29 9DU
Stockist of: Canson, Caran D Ache, Cretacolor Knebworth, Hertfordshire Saunders Waterford, Hahnemuhle,
Daler Rowney, Caran
1 Millgate, D’Ache
Thirsk YO7 etc1AA
Tel & Fax: +44(0)1943 432016
GLOUCESTERSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, SG3 6AN Fabriano, Art Master
NOTTINGHAMSHIRE Tel: 01845 Gallery
574457
www.theartshops.co.uk Westgate
Faber-Castell, Golden, Royal Talens, Schmincke Winsor & Newton, Daler Rowney, Pro Arte,
Tel: 01438 814946 Opening
Sennelier, Winsor & Newton, Fabriano Canson, Liquitex, Derwent, Unison, Caran 83 Westgate,times: Monday
Grantham NG31 6LEto
Cotswold Art Supplies Opening times: shop Tuesday to
D’Ache, Loxley, Sennelier Mapac SURREY
Local Art Shop Saturday
Tel 9am - 5pm
01476 578800
LINCOLNSHIRE
Church Street, Stow on the Wold, Friday 9am - 5.30pm, Pullingers
4 Main Road, Gedling,
Stocking:
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke
Gloucestershire
W F GadsbyGL54 1BB SUFFOLK
Saturday 9am - 2.30pm 109 West Street, Farnham,
Nottingham NG4 3HP
Daler-Rowney, Loxley, Sennelier,
WEST YORKSHIRE
Tel:347
01451 830522 (closed Sunday & Monday) Surrey GU9 7HH Clairefontaine and many more. Craft
High Street, Lincoln, The Art Trading Company
Opening times:
Lincolnshire Monday
LN5 7DQ to Phone lines open Monday to
Tel: 0115 715390
Tel: 01252 9401721 The Art model
materials, Shopkits
- Ilkley
and bespoke framing
36a Earsham Street,Bungay N35 1AQ www.pullingers.com
Tel: 01522 527 487- 5.15pm Friday Opening times: Hawksworth Street, Ilkley,
service. Professional artist and tutor-owner
Saturday 9.15am 01986 9am
897939 - 5.30pm, Stockist of: Canson, Caran D Ache, Cretacolor
www.gadsbys.co.uk www.theartradingcompany.co.uk Tuesday toDaFriday 10am - 5.30pm,
West Yorkshire LS29 9DU
www.cotswoldartsupplies.com Saturday 9am - 2.30pm or visit Clairfontaine, Vinci, Daler-Rowney, Derwent, happy to offer expert advice.
Stockist of: Winsor & Newton, Stocking: Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
online shop Faber-Castell,12.30pm
Saturday Golden, Royal Talens, Schmincke
- 5pm www.theartshops.co.uk
Stockists
Daler of: Winsor
Rowney, & Newton,
Caran D’Ache etc Sennelier, Daniel Smith, Pro Arte, Da Vinci, Sennelier, Winsor & Newton, Fabriano
Daler-Rowney, Pro Arte, Unison pastels, www.artvango.co.uk
Pip Seymour, Canson, Derwent, Roberson, www.localartshop.co.uk The&Art
Winsor Newton,Shop
Daler Rowney, Pro Arte,
Westgate Gallery Stockists of: Golden Acrylics, Roberson, Stockists of: Royal & Langnickel,
Canson, Liquitex, Derwent, Unison, Caran
230 High Street, Northallerton,
Sennelier, Conté, Paperblanks, Reeves.
83 Westgate, Grantham NG31 6LE
Picture framing on site. NORTH YORKSHIRE
Sennelier, Talens, pigments and binders,
LINCOLNSHIRE
Sennelier, Pebeo, Loxley, Golden,
D’Ache, Loxley, Sennelier Mapac
North Yorkshire DL7 8LU
Tel 01476 578800 W F Gadsby
The Art
Stocking: Royal Talens, Da Vinci, Schmincke Jacquard dyesShop
and paints, Khadi, House of Crafts, Cretacolor, Jakar, SUFFOLK
Tel: 01609 761775
347 High Street, Lincoln, Opening times: Monday to
Pegasus Art Shop Pink Pig, Seawhite,
2 Newmarket fabrics
Street, and
Skipton, Daler-Rowney,
Lincolnshire LN5Caran
7DQd’Ache. The Art Trading Company
WEST YORKSHIRE
Griffin Mill, London Road, Stroud,
Northoff
canvas Yorks
the BD23
Tel: 01756 70177
roll. 2JB Tel: 01522 527 487
Saturday 9.30am - 5pm
36a Earsham Street,Bungay N35 1AQ
www.theartshops.co.uk
The Art Shop
Gloucestershire GL5- 2AZ
Ilkley www.gadsbys.co.uk 01986 897939
www.theartshop.co.uk Patchings
Stockist of: WinsorArt Centre
& Newton, Stockists of: Winsor & Newton,
www.theartradingcompany.co.uk
Tel:Hawksworth
01453 886560 Street, Ilkley, Stockist of: Derwent, Pebeo, Loxley Reeves,
LANCASHIRE Daler Rowney,
Oxton Road,Caran D’Ache etc
Calverton, Stocking: Golden,Loxley,
Daler-Rowney, Lascaux,
PipUnison,
Seymour,
West Yorkshire Unison, Daler-Rowney, Sennelier, Winsor
Opening times: LS29 9DU to
Monday Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Tel & Fax: +44(0)1943 432016 & Newton, Conte Saunders Waterford, Nottingham NG14 6NU Pan Pastel, Unison, Pro Arte, Roberson,
Artmaster,
Pip Seymour, Canson, Derwent,
Saturday 9am - 5pm
www.theartshops.co.uk Hahnemuhle, Fabriano, Art Master
Ken Bromley Art Supplies
Westgate Gallery Hahnemühle, Pebeo.
Tel: 0115 965 3479
www.pegasusart.co.uk
Winsor & Newton, Daler Rowney, Pro Arte,
Canson, Liquitex, Derwent, Unison,
Stockists of: Williamsburg, Rembrandt, Caran Unit 13 Lodge Bank Estate,
SURREY
83 Westgate, Grantham NG31 6LE
Opening times: every day
Tel 01476 578800 NORTH YORKSHIRE
D’Ache, Loxley, Sennelier Mapac Crown Lane, Horwich, Stocking: Royal Talens, Da Vinci, Schmincke The Art Shop
9.30am - 5.30pm
Old Holland, Pip Seymour, Cobra, Pullingers
Bolton BL6 5HY
www.patchingsartcentre.co.uk
WALES
2 Newmarket Street, Skipton,
SUFFOLK
Winsor & Newton, Daler-Rowney,
Derwent, Daniel Smith, Schmincke,
Tel: 01204 690114
Surrey GU9 7HH WEST YORKSHIRE
Stockists of: Winsor & Newton,
Emrys Art Supplies Ltd
Tel: 01756 70177
The Art Trading Company Opening
Tel: 01252 times:
715390 Monday to Friday The Art Shop - Ilkley www.theartshop.co.uk
Da Vinci, Pro Arte, Arches, Canson, Daler-Rowney, Derwent, Caran d’Ache, 22 Market Street, Haverfordwest,
36a Earsham Street,Bungay N35 1AQ www.pullingers.com
9am - 5pm Stockist of: Derwent, Pebeo, Loxley Reeves,
Saunders Waterford watercolour paper, Hawksworth Street, Ilkley, Pembrokeshire, Wales SA61 1NH
01986 897939 Stockist of: Canson, Caran D Ache, Cretacolor Unison, Liquitex, Old Holland, Pro Arte, Unison, Daler-Rowney, Sennelier, Winsor
www.artsupplies.co.uk West Yorkshire LS29 9DU
Hahnemühle, Fabriano, Somerset.
www.theartradingcompany.co.uk Clairfontaine, Da Vinci, Daler-Rowney, Derwent, &Tel: 01437
Newton, 779646
Conte Saunders Waterford,
Stockists of: Winsor Leonard Brushes,
Tel & Fax: Sennelier,
+44(0)1943 432016Canson,
Stocking: Golden, Lascaux, Unison, Faber-Castell, Golden,&Royal
Newton,
Talens, Schmincke
www.theartshops.co.uk Opening times:
Hahnemuhle, Tuesday
Fabriano, to
Art Master
Sennelier, Winsor & Newton,
Smith,Fabriano St Cuthberts Mill, Artmaster, Pebeo.
Jackson's Art Supplies
Sennelier, Daniel Smith, Pro Arte, Da Vinci, Daler-Rowney, Daniel Liquitex,
Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9am - 5pm
Pip Seymour, Canson, Derwent, Roberson,
Unit J, The Aquarius Centre Bob Ross, Derwent, Caran d’Ache,
LINCOLNSHIRE
Canson, Liquitex, Derwent, Unison, Caran
D’Ache, Loxley, Sennelier Mapac
SURREY
www.emrysart.co.uk
Edison Close, Waterwells Business Pro Arte, Loxley, Bockingford, Arches, Pullingers
NORTH YORKSHIRE
Park, Gloucester GL2 2FN
W F Gadsby
Saunders Waterford and accessories. SUFFOLK Stockists of: Winsor & Newton, plus many
more
109 including
West Street, Daler-Rowney,
Farnham, Sennelier,
The Art Shop
Tel: 0145 222 6378
347 High Street, Lincoln, SUFFOLK
The Art Trading
Surrey
Unison,GU9Pro7HH
Arte, Derwent.
Lincolnshire LN5 7DQ Tel: 01252 715390
2 Newmarket Street, Skipton,
Opening times: The Art Trading Company
LONDON Company
North Yorks BD23 2JB Tel: 01522 527 487 www.pullingers.com
Monday to Friday
Tel: 01756 70177 9am - 5pm www.gadsbys.co.uk 36a Earsham Street,Bungay N35 1AQ Stockist of: Canson, Caran D Ache, Cretacolor
www.theartshop.co.uk
www.jacksonsart.com
Stockist of: Derwent, Pebeo, Loxley
Stockist of: Winsor & Newton,
Jackson's ArtD’Ache
Daler Rowney, Caran Supplies
etc
55
01986Earsham
897939 Street, Bungay
www.theartradingcompany.co.uk
Suffolk NR35 1AF
WEST YORKSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Faber-Castell, Golden, Royal Talens, Schmincke
Jackson’s warehouse holds painting, Stocking: Golden, Lascaux, Unison,
Reeves, Unison, Daler-Rowney,
drawing, printmaking
1 Farleigh Place,
Westgate Gallery Tel: 01986
Sennelier, 897939
Daniel Smith, Pro Arte, Da Vinci, The Art
Sennelier, WinsorShop
& Newton, Fabriano
Sennelier, Winsor & and sculpture
Newton, Conte London N16 7SX Hawksworth Street, Ilkley,
Saunders
materials fromWaterford,
Golden,Hahnemuhle,
Sennelier, 83 Westgate, Grantham NG31 6LE
Tel:
Tel020 7254 0077
Pip Seymour,
Opening Canson,
times: Derwent, to
Monday Roberson,
LINCOLNSHIRE
WTo discuss a listing
Fabriano, Art Master 01476 578800 West Yorkshire LS29 9DU
Schmincke, Winsor & Newton etc. Saturday 10am - 5pm
F 01943
Gadsby
Opening
Stocking: times: Monday
Royal Talens, to Friday
Da Vinci, Schmincke
NORTH YORKSHIRE
(closed Sunday and Bank Holidays)
Tel: 432016
SURREY 9am - 5.30pm, Saturday 10am - 6pm
The Art Shop in ourLN5
347 High Street,
Opening UK 7DQArt Shops
Lincoln,
times: Monday to
WEST YORKSHIRE www.TheArtTradingCompany.co.uk Lincolnshire
HAMPSHIRE
Pullingers
www.jacksonsart.com
The Art
Stockists Shop -drawing
of: painting, Ilkley
and
2 Newmarket
Stockists Street,
of: Old Skipton,
Holland,
Michael
Saturday 9am
Tel: 01522 527 487
directory contact
www.theartshops.co.uk
www.gadsbys.co.uk
- 5.30pm
Harding, Sennelier,
70177 Golden, Lascaux, Stockist of:of:Winsor && Newton,
Perrys Art Suppliers Ltd Tel: 01756
Anna-Marie
Rowney, Caran D’Acheon
Surrey GU9 7HH printmaking
Hawksworth materials
Street, from
Ilkley, Stockists Winsor Newton, Daler-Rowney,
Tel: 01252 715390 West Yorkshire LS29 9DU www.theartshop.co.uk Daler etc
109 East Street, Southampton Daler-Rowney, Winsor & Newton, Daniel Smith, Rohrer & Klingner, Winsor Loxley, Pip Seymour, Pan Pastel, Unison,
www.pullingers.com Tel & Fax: +44(0)1943 432016 Stockist of: Derwent, Pebeo, Loxley
SO14 3HD
Stockist of: Canson, Caran D Ache, Cretacolor Old
www.theartshops.co.uk Harding etc.
Holland and Michael & Newton,
Reeves, Liquitex
Unison, and many more.
Daler-Rowney, 01778
Westgate
Pro Arte, Artmaster, 392048
Gallery Hahnemühle, Pebeo.
C W S

6
p66_67_lpmar18.indd 66 15/01/2018 13:50:21
CARAN D’ACHE LUMINANCE 6901
PROFESSIONAL QUALITY PERMANENT
COLOUR PENCILS
Available in sets of 12, 20, 40, and 76 with two full
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in 76 individual colours. This product range has the highest
percentage of lightfast colours ranging between 100% for
20 colours to 80% for the remaining 56 colours. Sets cost
from £39.99rrp to £269.99rrp, the luxury wooden box
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Additional information and stockists please contact
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£54.95rrp, Pegasus price: £35
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cobra-water-mixable-oil-art-starter-value-pack-10x40ml.ir
email: info@pegasusart.co.uk Tel: 01453 886560
Art products to help you develop your skills
JAKAR WATERCOLOUR
ALUMINIUM EASEL
This lightweight easel with telescopic legs
and a black carrying bag weighs just
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watercolour use. £47.99rrp each WOODEN PAINTING PANELS
Tel: 020 8381 7000 Global Art Supplies have recently launched a
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and natural wood finishes. The panels are
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Tel: 01980 625625
www.globalartsupplies.co.uk
w w w. painters-online.co.uk MARCH 2018 67
p66_67_lpmar18.indd 67 15/01/2018 13:50:39

LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses

art holidays in cornwall
PAINTING COURSES IN NORFOLK
AND CORFU. 1-7 day and weekly art
courses painting flowers and gardens,
landscapes, watercolour or line and
wash with Jan Blanch in Norfolk also
‘a great deal more than just a painting holiday...’
Brusho classes. Very good accommodation.
Small Groups
Painting holidays in Corfu.
Stunning Locations
Tel: 01493 393639 or 07702 069300 4 Star Accommodation
Email: janblanchartist@gmail.com All Abilities
Tel 01579 383491
www.janblanch.co.uk www.callingtonartschool.com
Penwith Painting Holidays

• Discover painting in the open air, a wonderful experience that
makes work come alive
• Exciting new painting holidays in the beautiful Cornish and
Greek landscape
• Capture the quality of the light with a unique painting holiday
‘plein- air’ on the dramatic cliffs of West Penwith, Cornwall
• Relax, try out different painting techniques, make new friends
• Discover breathtaking scenery
Visit www.painters-online.co.uk/Marketplace
Tel: 01736 787872 Mobile: 07710 348926 for further details of goods and services
www.penwithpaintingholidays.co.uk
EXCITING NEW 2018 BROCHURE NOW AVAILABLE!

LAST YEAR’S PRICES HELD
For brochure and other information contact John or Christine on
“Your First & Best Choice for a Painting Holiday” 01202 393234 info@artholidaysindorset.co.uk
www.artholidaysindorset.co.uk
Somerset, Exmoor National Park, North Devon Coast,
North Cornwall, Lake District, Wye Valley, Provence, Art Holidays in Dorset
France & The Western Algarve, Portugal DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
• Prices from £155 SNEAK PREVIEW OF SOME OF THE DOZENS OF COURSES
IN 2018
David Bellamy, Grahame Booth, Jem Bowden, Roger Dellar, • 500 m from the sea
• Free transport
28 Feb-3 Mar Winter Landscapes with Watercolour and
Watercolour Pencil studio based
Joe Francis Dowden, Jeremy Ford, Soraya French, Steve Hall, • Highly professional tutors 26-29 Mar Spring Gardens with Watercolour
4-7 Apr Watercolour in Three Washes
studio based
studio based
Barry Herniman, John Hoar, Richard Holland, Anne Kerr, • Friendly house-party atmosphere
• Delicious food and wine
17-20 Apr Scaling the Heights - Fantasy Watercolor
21-24 Apr Portraiture in Pastel
Arnold Lowrey, Kevin Scully, Keiko Tanabe, Andy P • All accommodation en-suite 5-8 May Explore Painting in the Style of Picasso and Braque
Org LUS
partly studio based
• No single supplement
Walker, Paul Weaver, David Webb & more a
14-17 May Painting from Your Favourite Photos studio based
alw niser
• Stunning locations - easy walking 9-11 Jun Come & Explore the Techniques of Van Gogh - Acrylics
19-22 Jun Creature Creations -Fantasy Watercolour studio based
a s • All abilities and non-painting 23-26 Jun Sketching Buildings in Pen and Wash
loca ys on partners welcome 3-6 Jul South Coast Scenes with Acrylics and Palette Knife
10-13 Jul Coast and Countryside in Water Based Media
wit tion • Well equipped studio 14-17 Jul Rocks, Waves, Sea and Sky - Acrylics
hg • Small numbers to ensure 18-23 Jul Final Frontiers of Outer Space - Fantasy Watercolour
rou individual attention

studio based
p 24-27 July Come Roaming with Your Sketchbook

31 Jul-3 Aug Experimental Drawing & Painting - water based media
some studio sessions
Picture by David Webb
SUPER P
20-23 Aug Loosen up Your Watercolours
ovely ainting oliday dventure EU

3-8 Sept Immerse Yourself in Fantasy studio based
DOUBL AVE
17-20 Sep Rocks, Waves, Sea and Sky - Acrylics
25-28 Sept Immerse Yourself in Monet’s Waterlily Ponds and
 All Destinations researched thoroughly by Alpha beforehand S Irises - Acrylics mostly studio based
DEAL 30 Sep - 3 Oct Watercolours - Beginnings and Beyond
 At Alpha we use only proven tutors from around the world
£169
studio based
4 - 7 Oct Sketching Buildings with Pen and Wash
 Art Materials included on selected holidays WINTER WARMERS
studio based
 All Abilities & Non Painters Welcome Two full days’ tuition in our cosy studio from 10am to 5pm, light lunch
and delicious dinner plus bed and breakfast all for only £155 Why not
 Studio & Location based courses in all media pamper yourself and add Friday and/or Sunday night dinner, bed and
breakfast at the special painters’ rate of £55 per night? Most people do!
 All rooms en-suite & some Ground Floor rooms 10 & 11 Feb Learn to Draw & Paint Portraits from Photographs
13 & 14 Oct Atmospheric Scenes in Mixed Media
3 & 4 Nov Build Your Drawing Skill - Try Blind Contour Drawing!
Combined Sketching & Walking Holidays 10 & 11 Nov Mixed Media Medley - Painting, Collage and Printmaking
17 & 18 Nov Working on a Coloured Surface with
01934 733877
Watercolour Pencils and Pastels
8 & 9 Dec Animal Portraits in Pastel
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
Boscombe Manor, Nr Bournemouth BH5 1HR
lp CLA mar_NEW.indd 68 15/01/2018 14:26:29

Mar 18 Holiday of the Month_Layout 1 15/01/2018 12:52 Page 3
Holidays & Courses
Art
rt
r breaks
bre
re
r aks
ks
k in Exmoor
Ex
E moor
Watershed
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Holiday of the month Studio
Celebrating our 17th year
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at ART HOLIDAYS IN DORSET • Proven reputation for quality courses
ffood
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r ners welcome
Non-painting part
partners
rt Tim Fisher, Trevor Osborne,
Sophia Flowers, Diana Seidl,
Ready-made groups also welcome David Webb and many more
01255 820466
Email: allison@watershedstudio.co.uk
Call Sandy or Mark 01598 763505
www.watershedstudio.co.uk
St Clere’s Hall Lane, St Osyth,
olidays &Email:
Courses
enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa Clacton on Sea, Essex, CO16 8RX
LEARN AT HOME. Watercolour

day and drawing. Beginners/advanced
ainting correspondence courses. Easy, relaxed,
dscapes, thorough. Details: Jenny Trotman NDD.
J
wash with Tel: 01305 264568
ohn and Christine have been running their popular art
o Brusho
holidays based at Boscombe Manor, near Bournemouth, for
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Call Bill or Lois: 0039 327 379 9178
THE LIMIT
based, with a carefully chosen group of professional tutors. Just
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ay of the month
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N CANVAS HOLIDAYS
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time for plenty of individual attention as well time to make
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Anna–Marie to discover
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Art Holidays in Dorset! Many students


Professional artist available for workshops &


opportunities
book up on the spot to to
available be you.
sure to be together again another
demonstrations throughout the East Midlands,


further afield by arrangement. time.”T: 01778 392048
Courses from October to March are always studio based, www.learntopaintinfrance.co.uk



Weekly oil and watercolour classes in the
 withE:location courses reserved for the summer months, although
annamarieb@ With Mike Hall Des RCA.
Mansfi
eld, Selston and Matlock areas.

 there are plenty of studio-based summer courses too for those
warnersgroup.co.uk

Two-day oil workshop on 10th & 11th May 2018
 Join popular ar�st

at Alison 
House Hotel, Cromford, Derbyshire who prefer to work in comfort.
and experienced


and Caudwell Mill, Rowsley, Derbyshire at Tutors for 2018 include Sharon Hurst, Heather Jolliffe, Helen

 tutor Mike for
the end of Aug 2018.


Two-day oil workshops in Apr and Sept at

ArtJean
Talbot, Materials
Lee, Alison C. Board, Jonathan Newey, Mike Bragg
a long weekend


Old House Studio, Glossop Derbyshire. and David Webb, who is currently writing a year-long series for

 or a week’s all
Also several one day oil workshops at
 Leisure Painter on watercolour
Sidewinder Studio techniques. Full details of the

the Venue, Ashbourne, and watercolour inclusive pain�ng


workshops at Tansley near Matlock. courses on offer, as 552186
01243 well as biographies of each tutor and

 holiday in France.

Contact me on: 01629 583359
 examples of their Shopwork,
onlinecan be found on the website.

or e-mail me at: www.sidewinderstudio.co.uk

 Small pain�ng groups in Limousin.
ricardo2244@yahoo.co.uk,


or visit:
 CHINESE BRUSH PAINTING SUPPLIES All levels welcome.

www.richardhollandlandscapeartist.co.uk


Contact Art Holidays in Dorset, The Studio, Boscombe Spa
  Hotel,
We have 4 Glenrange
an extensive Road, Boscombe
of high quality, Manor, Bournemouth, Dorset See the website for details

 BH5 Chinese
authentic 1HR. Tel.
Brush01202 393234;
Painting supplies, info@artholidaysindorset.co.uk; or call Mike on

 www.artholidaysindorset.co.uk
beautiful accessories and specialist books. 01256 850167 or 07774 616361
bscshep@aol.com
• Over 300 titles in stock
• Starter packs for beginners
ws demonstrates in the port at Mèze,
ce on one of her Paint ‘N Canvas holidays MARCH 2018 69
Framing
day organiser, Linda Matthews is passionate
g from life,lp CLA
en plein air, and69in fact was the
mar_NEW.indd 16/01/2018 11:40:39
Holidays & Courses
The Old House Studio. Just want to Paint?

In the Peak District National Park, Derbyshire
Enjoy a pain�ng holiday with like
minded people who just want to paint with
2018 Dates Now Available For:
“No Instruc�on”
Hashim Akib, Tim Fisher, Robert Dutton, Tony Hogan, Joe Francis Dowden,
on the private estate of the beau�ful
Paul Talbot-Greaves, Paul Dene Marlor, Judith Selcuk,
Chateau de la Chesnaye
Carol Hill & Richard Holland and many more.
in the Loire Valley
* Experienced Artists who are experts in their field. • Private, luxurious suites
* Workshops aimed to provide an enjoyable and interactive experience. • Wholesome French Cuisine
* Small classes maximum 10 students. • Fabulous regional wines
* 2 Course lunch provided * B&B accommodation available. • Pain�ng materials & setup included
• Excep�onal value
For information on all workshops available please visit the website.
Telephone: 01457 857527 Email: info@pennine-art.uk www.chesnaye.com
www.pennine-art.uk info@chesnaye.com
SOMERSET
Art Materials
The Old School Studio Inspirational art in 2018 Stay in our Scandinavian Log Cabin in a
quiet country lane, 2 double bedrooms.
The Old School
Old SchoolStudio
Lane, with professional tutor/artist For more details, email:
Whittlesford,
Old School Lane, Whittlesford,
Cambridge CB22 4YS
Cambridge
Tony Hogan kathsouthview@sky.com or
Tel: 01278 789678
CAMBRIDGE basedCB22Working
4YS Art Studio
set in an attractive Victorian School House.
Creative, fun, instructional courses to SUE FORD’S MIXED MEDIA
Spacious working art
Affordable one & two day fully tutored workshops.
suit all abilities in all media. PAINTING HOLIDAYS
studio offering a wide
m Akib, Paul Alcock, Marilyn Allis, Jamel Akib, Vic Bearcroft, Melanie Cambridge,
ya French, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood,
Scarborough Cornwall Derbyshire U.K. Cober Hill and Red Lea Hotels near
Let Tony’s lifetime of experience Scarborough, various dates
mble, John Shave, Simon Williamsrange ofPlunkett
SBA, Thomas fullyPRWS, tutored
Sue Williams
and local knowledge guide you. Higham Hall and Glenthorne in Cumbria,
one & two day workshops
rop-in-and-Paint Club every Thursday & Friday
CAMBRIDGE OPEN STUDIOS IN JULY
Friendly easy to follow tuition as desired.
Residential and non residential options.
various dates
Excellent catering, Great venues Old Shorland Farm in Devon
ay Summer School & Kids Painting Activities in August
Drop-in-and-Paint day
tocked with easels, drawing boards etc, and benefits from a large mezzanine floor with a
En plein air and studio courses High Trenhouse - Dales
Full details on web: www.hoganart.co.uk Foreign holidays - Spain, Algarve, France
every Thursday & Friday
Students can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
E Mail: admin@hoganart.co.uk Details: www.sueford.co.uk
kshops or to request the 2016 brochure Email: info@theoldschoolstudio.co.uk Tel: 01208 895 088 Mobile: 0788 885 2503 Email: sue_ford@email.com
ifer: 01223 833064 Request our 2018 brochure
www.theoldschoolstudio.co.uk colour leaflet on request Tel: 01642 712926
or view on-line. Bookings now
being taken so don’t miss out! LEARN AT HOME. Watercolour and drawing.
Beginners/advanced correspondence
Framing
info@theoldschoolstudio.co.uk courses. Easy, relaxed, thorough. Details:
www.theoldschoolstudio.co.uk
Tel: 01223 833064
Jenny Trotman NDD. Tel: 01305 264568 AshcraftArtists
FramingFrames
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Art Shops
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lp CLA mar_NEW.indd 70 15/01/2018 14:26:50

LP March 2018 Books p71_News 1st 15/01/2018 12:32 Page 6
Books & DVDs WHAT TO READ & VIEW THIS MONTH

Visit www.painters-online.co.uk/store and click
on the link to books to buy the latest practical Lessons in
art books available from LP’s online bookshop landscape
Subtitled ‘A course of 50 lessons’,
Drawing and Painting the
Pure watercolour Landscape by Philip Tyler, takes a
Watercolour is a magical medium very practical approach to
when used correctly, adding working from the landscape.
sparkle and life to your paintings. Philip guides us through the
Here, Peter Cronin, takes you back materials and techniques
to basics, learning the traditions of necessary to see the subject
watercolour in its purest form, before you with your own eyes. Each chapter is divided into a
allowing the radiancy of the series of lessons. For example, the chapter on tonal drawing
medium to shine through. Aimed includes lessons on grey scales, block-ins, the notan (lights and
at artists of all levels, Peter shares darks), negative painting, duotone, collage, erased drawing
his 25 years of teaching experience and wash media, while the chapter on painting includes
with us, including lessons on monochrome studies, masking, underpainting, oil
step-by-step projects, inspirational paintings and forewords by painting, alla prima, pointillism, scumbling, drybrush, glazing,
watercolour experts, David Bellamy and David Curtis. impasto and mixing and matching. No stone is left unturned
Pure Watercolour Painting by Peter Cronin. Search Press, (s/b), £15.99. in this energising and creative book.
Drawing and Painting the Landscape by Philip Tyler. The Crowood Press,
(h/b), £19.99.
DVD
Chinese vision New edition
Hermel Pekel studied fine art at the A new updated edition of the very
Royal Melbourne Institute of Technology popular Encyclopedia of Botanical drawing
and held his first one-man exhibition at Watercolour Techniques by Hazel Artist, Penny Brown, brings us a brand
the age of 17. His drive to constantly Harrison has been published. new step-by-step guide to drawing
challenge himself is highlighted in his Packed full with step-by-step flowers, vegetables, fruit and other plant
latest film, My Chinese Vision, in which projects, techniques and tricks of life in Botanical Drawing. Ten step-by-
he paints unfamiliar subject matter in the trade, the 176 pages provide a step projects will help to get you started,
often very difficult conditions – hot, comprehensive encyclopedia for ranging from simple studies to complex
humid and with people everywhere. artists of all levels. This edition finished drawings, and the excellent
Subjects include a street scene in includes a range of new works by diagrams and source photographs
downtown Qingdao, Chinese junks in a internationally recognised artists. provide invaluable reference material as
fishing village, pagodas in Jimo Old The Encyclopedia of Watercolour you build your skill and confidence in
Town and a busy beach scene. Techniques by Hazel Harrison. this ancient art form.
My Chinese Vision by Herman Pekel. APV Films, Search Press, (s/b), £12.99. Botanical Drawing by Penny Brown.
94 minutes, £28.55; www.apvfilms.com Search Press, (s/b), £12.99.

LP03 72-73 ACY 2017_Layout 1 12/01/2018 09:03 Page 74
Inspiration
Art Club of the Year 2017

Leisure Painter has great pleasure in publishing the winning paintings from the two
runners-up of last year’s exhibition, Hornsea Art Society and Pinner Sketch Club.
The clubs won art materials vouchers worth £250 each from Jackson’s Art Supplies
Hornsea Art Society
t
Anne Saunders Chimp, watercolour,
t
Kate Gendle Ebony Sonata,oil, 29x21in.
812⁄ x1534⁄ in. (47x40cm) (74x53cm)
Pam Williams From the Bridge,

t
watercolour, 1234⁄ x15in. (32.5x38cm)
t
Meg Burkill Hocus Crocus, acrylic, t Keith Robinson Le Tour, oil,
3614⁄ x12in. (92x30cm) 14x28in. (36x71cm)
Hornsea Art Society

To find out about the society and its many
activities, exhibitions and workshops, visit
www.hornseaartsociety.co.uk. To join the
society, please email kategendle@gmail.com

LP03 72-73 ACY 2017_Layout 1 12/01/2018 09:03 Page 75
Pinner Sketch Club

Enoka David
t
Shades of Glass,
collage,
3914⁄ x2712⁄ in.
(100x70cm)
t Tom Hornung
Antibodies,
t
Kalpna Saksena Victorian Perspective, oil, 2434⁄ x21in. (63x53cm)
acrylic, 1734⁄ x2112⁄ in.
(45x55cm)
Mary
t
Pelham One
Cold Night,
watercolour,
1734⁄ x1334⁄ in.
(45x35cm)
t
Patrick McAuliffe Paul, acrylic, 2312⁄ x1934⁄ in. (60x50cm)
Pinner Sketch Club

Find out about Pinner Sketch Club, its activities, programme
and exhibitions by visiting www.pinnersketchclub.co.uk. If you
would like to join or have a question about the club, email
desmond.sloane@tiscali.co.uk. Details of how to enter this
year’s Art Club of the Year will be launched in the April issue
of Leisure Painter.

LP March 2018 Art clubs p74_News 1st 15/01/2018 12:36 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
Demonstrations
Bedford Art Society
Paul Fullstone will demonstrate how to
use pen and wash to the Bedford Art
Society on Friday 2 March. The
demonstration will take place at Putnoe
EXHIBITIONS AND ACTIVITIES Heights Church, Bedford, MK41 8EB;
7.15 for a 7.30pm start. Entry is free for
members; £5 for visitors. Contact Jean
Paterson 01234 307210 or visit
www.bedsartsociety.co.uk
Brighouse Art Circle
Two dates for your diary in March for
the Brighouse Art Circle – on Thursday
15 March, Martin Priestly will give a
demonstration on how to improve your
photography; and on Thursday 29
March, Jane Galvin will give a flower
painting demonstration.
Demonstrations take place at Waring
Green Community Centre, Brighouse at
7.30pm. For more information visit
www.brighouseartcircle@yahoo.co.uk or
telephone Geoff at 01484 712947.
Halifax Art Society
Pam Blair Storm Over Marsden There are three dates for your diary
t
Ingeborg Neale Summer

t
Rock, acrylic, 231⁄2x113⁄4in. (60x30cm), Landscape, pastel and acrylic inks, coming up in March for the Halifax Art
on show at the forthcoming exhibition 11x141⁄4in. (28x36cm) on show at Society. On Friday 26 March, Lynne
of the Maxey Art Group & Deepings Art the spring exhibition of the Epsom
Club at the Stamford Arts Centre and Ewell Art Group Hickin will give an illustrated talk on
Alice Through the Illustrators; then on
Highlights March 23 Lynne will lead a workshop
Brighouse Art Circle M.A.D. in Stamford showing how to develop your
The 69th annual exhibition by members The popular Maxey Art Group & illustration. Participants are asked to
goes on show at the Smith Art Gallery, Deepings Art Club (M.A.D.) will be take along their sketchbooks. Finally, on
Brighouse HD6 2AF from 3 March until showing the work of their talented 30 March, Janet Gledhill will lead an
9 June. Open Monday to Saturday, members at the gallery in Stamford Abstract from Still Life workshop to
excluding Wednesdays, during library Arts Centre, 27 St. Mary’s Street, which you are asked to take along your
hours. For more details visit Stamford, from 21 March until 8 April. own paints and paper or canvas. Talks
www.brighouseartcircle.co.uk or ring Geoff Riviera Art Fair and demonstrations take place at All
Habergham on 01484 712947. Works by members of Brixham Society Saints Parish Hall, Godfrey Road,
Epsom and Ewell Art Group of Art, the Torbay Guild of Artists and Skircoat Green, Halifax from 10.30am
The spring exhibition of work by the Devon Art Society will be on show until 1pm. For more information visit
members of the Epsom and Ewell Art at the Riviera Art Fair, at Spanish Barn, www.halifaxartsociety.com
Group goes on show at Denbies Wine Torre Abbey, Torquay, Devon from Hipperholme & Lightcliffe
Estate, London Road, Dorking RH5 6AA Saturday 3 February to Sunday 25 Art Society
from 5 to 18 March. Open daily from February. Open daily, 11am until 4pm; Charles Kelly will give a Wildlife in
9.30am to 5pm, there is free parking and a café with free entry. For more information Watercolour demonstration to the
available on the ground floor. telephone: 07828 004758. Hipperholme & Lightcliffe Art Society on
Tuesday 20 March at the Brighouse Rest
Centre (7.30 to 9.30pm). For more details
visit www.handlas.co.uk www.handlas.co.uk
CLUB EXHIBITIONS Open from 2 to 6pm on 2 March; 10am to Sidmouth Society of Artists
n Brierley Hill District Society 6pm on 3 March; and from 10am until 5pm Members of Sidmouth Society of Artists
of Artists on 4 March. and visitors are welcome to a
Exhibition at The Red House Glass Cone, n Royal Tunbridge Wells Art Society demonstration by Gergory Wellman who
Wordsley, West Midlands from 3 February to Spring exhibition at 61 The Pantiles, will be using acrylics to paint African
18 March. Free entry. Open weekdays, Tunbridge Wells, Kent from 24 March until Wild Life – Big and Bold, at Kennaway
10am to 3pm; weekends, 10am to 4pm. 8 April. Visit www.rtwas.org House, Coburg Road, Sidmouth, Devon
Enquiries to Ena Baker 01384 292439.
n Woking Society of Arts from 7 until 9pm. Visitors are welcome.
n Cookham Arts Club Spring exhibition at The Lightbox, For more information telephone Terry Crook
Spring art exhibition at Pinder Hall, Chobham Road, Woking from 13 to 18 on 01395 578108 or email him at
Cookham Rise, SL6 9EH from 2 to 4 March. March. terence.crook@btinternet.com

LP March 2018 Gallery p75-76_Layout 1 15/01/2018 12:37 Page 3
Art club gallery BEST IN SHOW PAINTINGS
If you would like to see your

art group’s winning paintings
reproduced here, encourage
visitors to your next exhibition
to vote for their favourite
work then simply send us the
details. Full information is
given on page 76.
Dedham Arts Group

HelenMorgan’s painting, Sharing a
Secret (right), won the best in show
vote at the 50th anniversary
exhibition of the Dedham Arts Group,
which was held in the beautiful
Dedham parish church last October.
Jan Corder and Pamela Rees were
runners up in the exhibition held in
aid of East Anglia’s Children’s Hospice
(EACH). With a rapidly growing
membership, the group has just been
renamed the Dedham Art Society.
More information can be found at
www.dedhamartsociety.co.uk t
Helen Morgan Sharing a Secret, acrylic, 12x16in.
(30.5x40.5cm), first prize winner at Dedham Arts
Group’s 50th anniversary exhibition
t
Pamela Rees The Path to the Beach, acrylic, 12x16in. (30.5x40.5cm),
t
Jan Corder On the Water, acrylic, 14x18in.
third prize winner at Dedham Art Group’s recent exhibition (35.5x46cm), second prize winner at Dedham Arts
Group’s exhibition
t

LP March 2018 Gallery p75-76_Layout 1 15/01/2018 12:37 Page 4
Art club gallery continued

Chailey & Newick Painting
t
Group Carline Oliver Chequers,
pastel, 15x12in. (40x30cm). For the
first time, there was a tie in the
favourite painting vote at Chailey &
Newick Painting Group’s latest
exhibition, with two pastels sharing
the top spot: Chequers by chairman
and group founder, Carline Oliver
(pictured left) and Just Out of Reach
– a portrait of a giraffe by last
year’s winner, Katherine Walden.
The group of 40 members meets
every Monday throughout the year
for a programme of
t
Altrincham Society of Artists demonstrations and workshops
Paul F Bennett The Middle of Nowhere, and the occasional coach trip.
mixed media, 193⁄4x241⁄2in. (50x62cm). For more information visit www.
Members of the Altrincham Society of chaileyandnewickpaintinggroup.
Artists meet regularly in the society’s own org.uk
studio at the back of the Unitarian
Church Hall in Sylvan Grove, Altrincham.
Here, regular painting sessions are held
from Monday to Friday, some during the
day and others in the evening. Outdoor
painting sessions, life-drawing classes and
regular workshops and demonstrations
are all part of the society’s busy schedule,
as well as an annual three-day painting
holiday. For more information go to
www.altrinchamsocietyofartists.org.uk
t
Horsley and Clandon Society of Arts David King Tresillian River at St. Clements,
watercolour, 9x13in. (23x33cm). The Horsley and Clandon Society of Arts meets monthly
throughout the year for a varied programme of demonstrations and lectures. Its annual
exhibition – typically featuring around 200 framed pictures – takes place in October.
This year it made a record profit, which will be put towards funding the coming year’s
demonstration and lecture programme. For more information contact Robyn Cormack
on 014833 224063.
t
South Liverpool Arts Group Stephen
Bayley View over Camphill, acrylic, How you can join in
193⁄4x193⁄4in. (50x50cm). Voted the picture To participate in our best in show feature, arrange for the voting to take
most members would like hanging over place at your next club exhibition, then send Leisure Painter a photograph,
their fireplace, Stephen’s work also won transparency or jpeg of the chosen painting. We can only accept sharp, high-
the South Liverpool Arts Group’s resolution (300dpi) images for reproduction purposes. Attach details of the
Chairman’s cup. Members meet on artist, title, medium and dimensions, along with details of the club itself.
Monday evenings at Bridge Chapel, LP also welcomes art exhibition listings, profiles, events, letters and news.
Aigburth, between 7.30 and 9.30pm. Send to Jane Stroud, 63/65 High Street, Tenterden, Kent TN30 6BD;
Contact the group through the South or email jane@tapc.co.uk
Liverpool Arts Group Facebook page.

The online home of
and magazines
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LP_FullPage_FEB18.indd 1 08/01/2018 10:37:34
LP March 2018 Online gallery p78_News 1st 15/01/2018 12:45 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
S now is the subject of this month’s choices. It predominates in both

paintings, but the treatment couldn’t be more different. Craig Lee (below)
uses thick oil paint applied with a painting knife, while Cesare Romano (right)
paints loose wet-in-wet watercolour. Here they explain their methods. If you
would like to see more of their work, post a comment or upload your own
images to our free online gallery, visit www.painters-online.co.uk.
Speed painting
Amateur painter, Cesare Romano, began any previous drawing and with a
painting with watercolour three years very limited palette – ultramarine
ago, after taking painting classes in Italy. deep, indanthrene blue, indigo
“Basically, I see myself as a self-taught and peacock blue. The white of
painter,’ he says. “Every day I paint one the paper describes the vast areas
or more watercolours and I strongly of snow and the background in
believe this constant training is my best the trees. White gouache was
form of education. I particularly like splattered to create the snowfall
painting portraits, but I also paint effect. I sprayed small areas with a
landscapes in a quick and loose style little water to contrast soft and
using a wet-in-wet technique. Winter, hard edges.”
which derives from a photograph by
Shanna Leigh on the pmp-art.com Cesare Romano Winter,
t
website, was painted alla prima, without watercolour, 15x11in. (38x28cm)
Seize the day

Craig Lee is passionate about painting and at the ROI open exhibition at the Mall was painted during an icy spell when I
has recently been pre-selected for the Galleries. “Window cleaning pays the was unable to work, so I gathered my
2017 BP Award, and has exhibited in The bills,” he says, “but I spend all my free gear together and headed to a
Artist’s Open Competition at Patchings and time painting with oils. Before the Thaw neighbouring village on the hunt for a
great scene to paint. Unfortunately, no
matter how hard I tried, I just couldn’t
park. Luckily I had my camera with me
so I took a few good shots before
returning to the warmth of my kitchen.
“The painting was completed in a
single two-hour session, using just a
palette knife and Winsor & Newton
Winton oils on an oil-primed panel.
I did a very quick raw umber drawing
(with my knife) to mark out the dark
areas before applying the other colours
reasonable thickly over the top. I used
a limited palette with both a light and
dark for each primary colour for mixing.
No medium was used on this occasion.”
To see more of Craig’s work go to
www.facebook.com/craigallanlee
Craig Lee Before the Thaw,

t
oil, 8x12in. (20x30.5cm)

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W AT E R C O
LOUR pattern. I wanted
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Pheasant (below to blend together the
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Discoverhow
Ladybird in some hard-e
TION Humble
time, mainta the bird with
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DEMONSTRA whites, so I
ly leavin g some
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STAGE ONE
This paintin
to dry paper
g was applied
without a pencil
straight
used all sorts
spattering and
texture, and
of
scribbling to
masking fluid
to preserve
add
was applied
some
wet-in-wet
light through windows
in it. My at the outset
sketch to underp les. Once the
motivation
lovely shine
smooth shell
was to produc
that appear
of the wings,
e the
s on the
and this
use of
negative scribb ped enough depth of
stage had develo put the daubs of
gs in
to
tone I was able with very stiff dark
can bring your subject matter to life
Animal designs
the dark markin have to
was achieve
d through
the ber that you Jake Winkle
merging with colour. Remem wet-in-wet
pale cool blue paint light to dark with
shell. I had to immediately
so work from owers’ and Jake uses the Luxartis
range of
rich red of the all the were applied to avoid ‘caulifl adding the kolinsky sable brushes,
could merge dots, which back if you want
quickly so I for the black e spaces of
white on the advantage of available from
ts, leaving spaces The negativ looked back runs. The the previous colour is www.luxartis.biz. His
book Light and
different elemen into the wings. and would have markings whilst slightly soft- Movement in Watercolou
they were slightly
are really import
they
soft-edged
ant as they
had first
help with the
been plotted
effect of shine
with a pencil.
with a
The head and
dry-bru
legs have much
sh technique
to give them
edged and
look
they will be
still wet is that like part of the
Animals and wildlife offer the watercolourist the opportunity
than an after thought.
by Batsford. Jake has
DVDs, available from
r is published
three teaching
Town House Films,
SKIN TONES WATERCOLOUR ACRYLICS
contrived if were painted to have fun with colour and mark making. Jake Winkle reveals the
t and the legs pheasant rather paintings are just www.townhouse films.co.uk.
For more
thicker pigmen my
Notice how I don’t want information about Jake
texture techniques he uses to obtain different textures and patterns
gestures or
vignettes, as the paintings, see www.wink
and his
FINISHED ound to detract from TA le art.com
the backgr STAGE ONE
PAINTING d, subject. I wet the body and FINISHED PAINTING Master the anatomy of legs &
head with water and
Humble Ladybir wet-in-wet with warm painted these
on Arches Foxed, watercolour
feet to improve your figures
I
watercolour find the), English landscape largely nt, waterco lour onwill be approached slightly
like a zebra Hamish, watercolour on Arches Rough reds and oranges next
to cool on Arches Rough 140lb
blues. The wet-in-wet was (300gsm), 121⁄2⫻181
(300gsm Running Pheasa differently then developed further Once dry I then worked ⁄2in (32⫻47cm).
Rough 140lb subdued, made up Road of subtle ), 20⫻28in from the highland cow 140lb (300gsm), 20⫻28in (51⫻71cm).
adding more layers by the legs and face detail
(32⫻47cm). 140lb (300gsm of gradually thickening to contrast with the on dry paper using
121⁄2⫻18 ⁄2in greens, browns, Arches
ochresRough
1
and greys, because no matter how wild I go with light fur. The finished strong darks
work had
in stage one,
(51⫻71cm).
All the hard which is a real challenge to interpret ng paintin g I used
colour all mark making, I still want the
and
Vigorous directional brushstrokescreate
and use of
depth in the wash
warm and cool colour formed this wonderful
pigment to
although several layers
dried out so it was
were painted in the
painting remains fresh
coat wet-into-wet,
because Learn the right time to use
been done this very satisfyi aking the paint never
in bold colour
so all that was left was
senseladybir
towhilst For
of realism.
d
maintaining
Thesorts of fabulou
texture
a s colours and
of a shaggy
stripes
mark-mto
hand, wet-in-
h painted
be discernible. On the other
wet,
because the highland cow has no
shaggy beast still only one wash
black in your paintings
in the ues and, althoug shapes of
underpbrown highland cow, techniq on the other hand, crisp pattern, I don’t have to worry
distinct
back have
with a shadow
and have
seems spatter
to lend itself toparts of the bird’s
being about expressive brushstrokes completely wet-into-wet but I like to Hazel Soan on how to capture
fun with some white have strong jagged elements of white
interpreted in all sorts of wild colours;
maybe it’s because of the way light and
muddling it.
paper to show through, so I decided to light & shade in watercolour
colour reflect off different facets of Working on dry paper work on dry paper and, to create extra
animals, or simply that a blue cow looks Hamish (above) is a ginger highland depth, I worked back into the colour Try new line & wash exercises
fine and a blue tree does not. cow, very shaggy and standing proud while it was still wet. To create form you
When I think of animals I tend to with the sunlight catching his back. I need light and shade and I try to
categorise them into two broad groups: love to paint just the essence of the exaggerate both, so the lighter hair on
those with distinct patterns or designs
and those made up of textures or no
subject, which in this instance was his
relaxed stature and appealing rough
his back was bleached to almost white,
as was the elegant fringe on his head.
!
design. A subject with a strong pattern hair. I could have painted him I had to work briskly to keep the paint
Make the right colour KEEP IT LOOSE DYNAMIC LANDSCAPES
www.painters-online.co.uk artist March 2018 31 choices for coloured Techniques for capturing Be inspired by trying a
pencil portraits the textures of wildlife new medium
WINDOW LI
GHT
they key to making
sure these areas
had something
to say.
A shuttered set
of French windows
and a complet
ely open window
adjacent inspired
PRACTICAL 57). It was painted
Blue Chemise (page
in Portugal, and
-online.co.uk particular attentio
www.painters Buxton Café (below right), was painted
blinding bright
n was given to
the
www.painters-online on an overcast although fairly bright light coming through
.co.uk day, without direct sun. It would have window, which
also lit up the the
been a different story if there had been the shirt. colour of
artist March 2018 artist March 2018 strong sunlight hitting the table and In a painting such
34 35 (below), the descriptas Cards and Flowers
making the shadows deeper and
darker. As it was, the subtlety of the has to be decided ion of the 'view'
upon on merit.
light made for a pleasing result with the occasions it can On
be unnecessary
window making for a suitable interest include as the to
composition gives
to offset and enhance the ambience of enough to the
piece to deem
irrelevant or to it
the room. clutter up what
For my watercolour sketch Cornish Sill straightforward is a
message. Contempl
(below) I used watercolour paper taped on Coffee and Cake ation
(right) is a less
to a small piece of hardboard. I prefer complicated story,
save to say that
to paint having a rigid support rather young lady was this
lit purely with
lighting. This is window
than a wad of paper in a sketchbook. I how
keep two boards ready when I do a really be effective window light can
SUBSCRIBE TODAY
with a fairly strong
sketch, un-taping and removing the first but not confused
mix of light or
once the second is painted. This gives shadows. crossed
the paintings time to dry and flatten In summary, windows
area for the painter. are a great play
whilst I am getting on with the next. Sometim
perfectly stage-m es you can
This sketch would have taken anage the effect
approximately ten minutes. positioning the by
subject or yourself
Three Friends (left) was inspired by Shapes and colour, .
along with enhance
people who sat across the way to me, in values – even d
in fairly occluded
lighting – can be window
another café, and the quite strong rim plenty to start
creative juices your
lighting on the figures on the left. When flowing. Maybe
an armchair or even add
painting rim lighting it is vital not to a part of the room
overdo the shadow areas and paint Blue Chemise, acrylic on canvas, 113⁄4⫻151⁄2in (30⫻40cm).
balance out your to
composition.
them too dark. There is invariably This painting is a fascinating balance of neutrals; apart from the blue of the clothing and the So whether it's
people or items
something very tangible there and are lit, a whole that
transmission of that colour onto the wall on the right, it is almost monochrome. In a way, this interior, a view
the window, or through
keeping the paint, in this case water- window painting shows an enhanced balance of values simply by blocking out the majority of more.
mixable oils, thin and translucent was the light
find a more flexible I challenge you to
genre than 'window and rewarding
and save over £10 on the cover price

light'
TA
Contemplation
on Coffee and Cake,
193⁄4⫻233⁄4in (50⫻60cm oil on canvas,
).
Lit only by the
light from the
is in slight shadow window, on the
from her hair. left the girl’s face
the cast shadow The rear of her
of her coffee cup raised arm and
with our special introductory offer of 6

values, with the give a good balance
focus purely on of
coffee and the the very front
cake at her table. of her face, the
Make the most of

out of the window. Her slightly glazed
The slight warmth eyes stare
feel to quite a of the light gives
hard-edged painting, a softer
on-wet skin tones but carefully blended
ensure smooth wet-
transition of values
window light Max Hale
issues for just £15. Subscribe now at

studied at Harrow
School of
Art. He teaches
workshops and
painting holidays,
and offers
Light coming in through Cards and Flowers, personal mentorin
opportunity says Max Hale, a window

g. His
provide acrylic on board, First Steps in Water-Mi DVD
Notice how the
view from thes other
a fantasti9 ⁄ ⫻11 ⁄ in (25⫻30cm
c painting
side of the road ).
3
4 3
4
is available from
xable Oils
whoedges
this painting. It
challeng was softly painted
es you tousing
becomes importan Town House
Cornish Sill, watercolour sketch on Khadi
window light for but some evocative find
light between inspirat
a filbert brush
ion
to give few from
hard
t in Films price £29.95;
paper, 90lb, 8⫻6in (20⫻15cm). your next painting

negative spaces the items on the
sill to highlight
the
www.townhousefi
telephone 01603
lms.co.uk;
A direct, almost straight-on view of the 782888.
www.painters-online.co.uk/store and
www.maxhaleart
58
L
window; the sunlight hit the spider plant, ight is the driving force .co.uk
behind artist
March 2018
making parts of it bleached out and other Buxton Café, acrylic on canvas, 153⁄4⫻193⁄4in (40⫻50cm). our art portraits and some figure
– our subjects are work. It can
areas dark green. The depth of the window The daylight is quite blue and therefore the colour of cool light coming in through the windows be expressive or simple Three Friends, oil on canvas,
affected by the quality, direction, depending on 191⁄2⫻271⁄2in
helped as the light bounced around within shows up distinctly on the two ladies at the table nearest the window. The light perceptibly
strength the strength of the sun. 50⫻70cm. www.painters-on
and colour of the light Items on a The light on the left-hand
line.co.uk
the window frame changes to a warmer yellow as the incandescent lighting becomes the more dominant
when we paint and it contributes source window sill or hanging figures was quite
to our within the beautiful, leaving a definite
inspiration. Usually we window space will be shadow within
are at the mercy given life as the the torsos and heads but
of the changing light dances on their form.
www.painters-online.co.uk artist movements57
orMarch 2018
fleeting a bright rim of pure
of light, particularly if Keep a camera and a light describing their contour.
we paint outside. sketchbook to I loved the way
hand. Make notes as the man's face had small
Windows offer a variety you sketch, highlights on his
of painting quite dark complexion,
enter code LPTA1803 or call 01580

opportunities. The invariably capture the emotion it giving him some
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unidirectional light can you draw. If you include Note the rim lighting
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on any subject, or perhaps them if they mind you left. The right-hand
give a rim of sketching them figure is more bleached
light around the subject as you hope to make out and is almost
and turn a painting later. If surreal
everything into silhouette, you have a card, offer
or create them one and
harsh but attractive form encourage them to contact
shapes and you; I have
shadows. It depends sold a few paintings to
on your viewpoint, cafés and the
people within the paintings
Colour temperature
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Window light can be excellent event – I guarantee you'll One element to be aware
of is
for you missed these gems
wonder how change of colour temperature the
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artist March 2018
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qxp_Layout 1 16/01/2018 10:42 Page 1

THE UK’S BEST-SELLING ART MAGAZINE

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p02_lpmar18.indd 2 12/01/2018 14:07:37

Incorporating Leisure Painter

www.painters-online.co.uk MARCH 2018 3

Contents MARCH 2018

FEATURES 36 Evening light

4 MARCH 2018 www.painters-online.co.uk

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62 Beginner’s guide to portraiture

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p06_lpmar18.indd 6 12/01/2018 14:14:37

Pablo Picasso Nude Woman in a Red Armchair, 1932, oil on

canvas, 511⁄4x381⁄4in. (130x97cm)

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8 MARCH 2018 www.painters-online.co.uk

Tom Boulton Stranger on the Shore,

watercolour, ink and gum arabic, 21x241⁄2in.

n Laing Art Gallery

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demonstration, someone pays a Wales

10 MARCH 2018 www.painters-online.co.uk

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p11_lpmar18.indd 11 15/01/2018 15:25:58

The value of art

T here is anxiety at the moment

12 MARCH 2018 www.painters-online.co.uk

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I have painted animals since childhood.

Koala, oil on board, 16x12in. (40.5x30.5cm)

14 MARCH 2018 www.painters-online.co.uk

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16 MARCH 2018 www.painters-online.co.uk

wooden panels, which are sanded and

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of Ruban (below) example when I really don’t want that

Take out the detail

18 MARCH 2018 www.painters-online.co.uk

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Demonstration Seascape sketch

You will need

For the second stage, I mixed the colours

20 MARCH 2018 www.painters-online.co.uk

www.painters-online.co.uk MARCH 2018 21

You will need