Professional Documents
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Colour mixing
NOVEMBER 2016 £4.20 made easy
WATERCOLOUR
tips & techniques PAINT TEXTURE
in watercolour
DEVELOP
YOUR STYLE
Knife painting
with acrylics
FIRST STEPS for
a pastel sunset
BUILD
CONFIDENCE
with liquid
acrylics
Paint landscapes
from photographs
!
LANDSCAPES
Step-by-step ENTER OUR
sunlight in Simplify your work PAINTING
woodland with pen & wash COMPETITION
Unique
acrylics
from the
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Editor
Ingrid Lyon
W elcome to the November issue of
Leisure Painter. As I write this, the
air feels distinctly chilly, the sky has
Contributing Editor
Jane Stroud
Editorial Consultants
turned an ethereal blue grey and the trees outside my window are
Diana Armfield, RA, NEAC (Hon), RWS
Tony Paul, STP
just beginning to hint at the change. I’m looking forward to a long
Advertising Sales and gloriously colourful autumn in Kent. This issue begins our
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) celebration of painting autumn in the natural world, by capturing
Advertising Copy
Sue Woodgates (Tel: 01778 392062) the beauty of seasonal landscapes in oils and also in watercolour in
(suewoodgates@warnersgroup.co.uk)
Accounts
the first part of this month’s painting project. There are rose hips to
creditcontrol@warnersgroup.co.uk
paint in watercolour, nature’s textures in liquid acrylics and the first
Events Manager
Caroline Griffiths part of a project, demonstrating how to depict a sunset using three
Subscriptions & Marketing Manager
Wendy Gregory different photographs and soft pastels.
Subscriptions
Nicci Salmon & Liza Kitney
If you’re ready for a challenge, take up your finest brushes to paint
(Tel: 01580 763315/763673)
aging wood, flaking paint and rusty metal in one watercolour (see
Online Editor
Dawn Farley our main front cover image and Ian Pethers’ step-by-step
Designers
Alison Renno demonstration on pages 23 to 25). Sometimes fast and loose just
Sarah Poole
doesn’t cut it and if you want to settle down for a more prolonged
Leisure Painter is published
every four weeks by: period of quiet industry, I hope the detail in this painting will
The Artists’ Publishing Company
Limited (TAPC), Caxton House, appeal. By popular demand Steve Strode is covering knife painting
63-65 High Street, Tenterden,
Kent TN30 6BD in acrylics this month. Look back at the last issue for the techniques
(Tel: 01580 763315)
and materials he uses then find a knife and celebrate impasto with
Managing Editor
Dr Sally Bulgin, Hon VPRBSA us! As with all the projects and tutorials within these pages, please
Publication of an article or inclusion of don’t forget to share your finished work with other readers and our
an advertisement does not necessarily
imply that TAPC is in agreement with wider community of artists by creating your own portfolio on our
the views expressed, or represents
endorsement of products, materials website at www.painters-online.co.uk or emailing dawn@tapc.co.uk
or techniques. TAPC does not accept
responsibility for errors, omissions with finished paintings inspired by our monthly painting projects.
or images received in good faith
Annual subscription rates: We are delighted to launch this year’s charity Christmas card
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member competition on page 6. I’m looking forward to seeing your seasonal
countries €67; all other countries
(sterling rate) £50 entries and showing off the winning work in our Christmas issue,
Foreign currency prices include when we will also donate £200 to the charity of our winner’s
bank charges. Payments made
by credit card are taken in sterling choosing.
at the rate of £50
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Newstrade distribution by
Warners Group Publications plc INGRID LYON Editor
(Tel: 01778 391000)
53
30
47
23 Texture in watercolour
IN EVERY ISSUE Ian Pethers exploits the wet-in-dry
watercolour technique to paint aging
7 Diary 58 Art clubs wood, rusty metal and flaking paint from
Things to do this month News, profiles and exhibition a photograph
listings
8 Exhibitions 26 Soft sunset
Some of the best shows 65 Books Part 1 Anne Kerr discusses painting
around the country Some of the best practical art from three photographs and explains the
books are reviewed techniques and colours she uses to tackle
10 Letters the project in soft pastel
Your tips, suggestions, 66 Online gallery
ideas and questions Jane Stroud chooses two 30 Fruits of autumn
paintings from PaintersOnline Practise watercolour techniques, including
wet on wet, wet on dry and negative painting
to produce a beautiful study of rose hips,
with Julie King
FEATURES 34 Understanding colour
On the cover
Flaking Paint 12 The autumn landscape Part 12 How to use the cool greens in your
and Wood, Techniques and colours to capture palette, by Tony Paul
watercolour, the fleeting light of autumn in oils,
1112⁄ x834⁄ in.
(29x22cm). by Christine Pybus 39 Brilliant sunshine
Ian Pethers How to paint sun-filled, back-lit watercolour
depicts metal, 16 Painting project landscapes that simply ooze atmosphere,
wood and Part 1 Paint an autumnal riverbank scene using glazing and wet-in-wet techniques,
paint in detail from a photograph, with Jem Bowden by Jo Louca
on pages 23
to 25 of this
month’s issue 18 Painting project 40 Oil problem solver
Part 2 Follow Tony Underhill as he takes Elena Parashko tackles four commonly
you step by step through the simplifying experienced problems when oil painting
and painting of boats in Guernsey to help develop confidence and style
12
Coming
next month
Celebrate another month of painting with
Leisure Painter. Here are just some of the
highlights to be found in our December issue
ON SALE 4 NOVEMBER
n Understanding colour:
how to use the yellow
earths in your palette
n Follow the painting of
a bird in watercolour
n How to draw and
paint holly (perfect
for this year’s
Christmas cards)
n Be inspired by
sgraffito, Chinese
brush & ink, felt-tip
pens and line &
wash ideas
26 56 n Paint a sunset using
soft pastel
n Drawing masterclass:
Tony Paul Music at Phillips
t
47 Celebrate impasto
Part 2 Having followed the exercises set by Steve Strode
last month, it’s time to complete a painting using just
painting knives and acrylics
53 Nature’s textures
Add life to your paintings as you depict a variety of textures
using liquid acrylics, with Linda Wain
CHRISTMAS GREETINGS
LYNN PAINTER-
STAINERS PRIZE
CHARITY EXHIBITION 2017
Enter online:
lps.artopps.co.uk
Tel: 01372 462190
Email: lps@parkerharris.co.uk
Winner of last year’s competition for Leisure Painter
M
Diary
THINGS TO DO THIS MONTH
t Paint realistic botanical paintings with
Helen Campbell at her Leisure Painter and The Artist
workshop at Art Materials Live on 4 November
NEWS
Kenneth Sacki (1925-2016)
We are sad to report the recent
death of Kenneth Sacki of Jakar t
Vanessa Jayne The Face of Alzheimer’s, oil, 241⁄2x281⁄4in. (62x72cm)
International Ltd whose life’s work
was the art materials and drawing In the Frame
industry. Kenneth joined Jakar in Competition winner
1952, two years after it was founded Kent-based artist, Vanessa Jayne, has been awarded the National Open Art’s
by his mother, Lydia. The current World Art Vote 2016 for her work The Face of Alzheimer’s. The painting portrays
MD, Paul Sacki, started working for the artist’s father-in-law who died in September and touched the heart of the
the company in 1979, the third public. “Most of us know someone who is affected by Alzheimer’s,” says
generation to do so. Kenneth Vanessa, “so it really seems to have connected with people.” Vanessa’s painting
remained involved in the business will go on show at Mercers’ Hall in the City of London from 27 October until
until as recently as 2015 and will be 4 November, alongside 160 selected works from the National Open Art
missed by many in the art industry. competition. For more information visit www.nationalopenart.org
Ray Campbell
Smith (1916-2016)
A final exhibition of work by
Leisure Painter’s editorial
consultant and friend, Ray
Campbell Smith, goes on show at
St. Julians Club in Sevenoaks this
autumn. For many years, Ray ran
weekly courses at St. Julian’s Club
so it’s a fitting venue for this
special exhibition. Born in
January 1916 in Lewisham,
London Ray’s interest in painting
started early and continued for
all of his life, resulting in a
wealth of exhibitions, books,
DVDs, art club lectures and
articles on painting. This
exhibition will include many
original illustrations from Ray’s
numerous best-selling books, as
well as previously unseen works.
Ray died in January this year,
one week short of his 100th
birthday. All profits will be
donated to Barnado’s children’s
charity in accordance with his
wishes.
Ray Campbell Smith 1916-2016:
His Final Collection goes on show
at St Julians Club, Underriver,
Sevenoaks TN15 0RX from 13
October to 24 November. Open
daily until late.
Letters
YOUR COMMENTS, IDEAS, TIPS AND QUESTIONS
PAINTERSONLINE
and Search Press Competition
PaintersOnline, the online home
of Leisure Painter and The Artist ENTER NOW
magazines, has teamed up with
Search Press to offer you the To win one of ten copies
chance to win one of ten copies of The Art of Papercutting from
of The Art of Papercutting by Jessica Search Press please visit
Palmer, worth £14.99(rrp) each
www.painters-online.co.uk
In The Art of Papercutting, renowned
papercutter Jessica Palmer shares her art the online home of
from inspiration to conclusion. Learn how to and
separate the visual world into positive and magazines, and click on the links
negative shapes and design gorgeous images
with pattern, texture and impact. A practical
to competitions. Closing date
section shows step by step how to ‘draw with for entries is December 15, 2016.
a knife’ safely and effectively. Then Jessica provides artistic insights into an inspiring Winners will be selected at
selection of her paper artworks, including silhouettes, portraits, landscapes, fashion random from all online entries.
images, illustrations, life drawing and more.
G Twelve templates provided. When completing your details please
G Step-by-step techniques, tips and safety advice. make sure you opt in to receive our
G Dozens of beautiful, inspiring papercuts. great regular email newsletters so that
Search Press is the leading art and craft publisher in the UK, specialising in fine art, we can keep you up to date with what’s
textiles, general crafts and children’s crafts. For more information visit new at PaintersOnline, including the
www.searchpress.com latest features, images in the galleries,
new competitions and other great offers.
t
Autumn near Goldsborough, oil on board, 9x11in. (23x29cm). Those gorgeous flashes of fleeting light through the now thinning hedgerows
are synonymous with autumn and so useful for defining the contours of the landscape.
t
Autumn Near Newholm, oil on board, 11x14in. (29x37cm). There’s a lot of the burnt sienna ground in evidence in this picture, giving the
effect of autumn leaves on the foreground trees, whilst the background trees are in the main unpainted. The sheep, positioned at thirds and
contrasted against the background trees, are the subject of the painting with just a few touches of colour suggesting a figure to reinforce them.
contrasted against powerful, billowing opposites though are invaluable to painting where used. Conversely, mix
blue skies. It’s a perfect excuse to use know, essentially red and green, blue them together and they will produce a
both techniques to create depth and and orange, purple and yellow, and dead, neutral colour, which can also be
vibrancy in one picture. If you haven’t myriad shades in between. useful to contrast that vibrancy, perhaps
already discovered the paintings of Place them next to each other and they used in a loose foreground intended only
Alfred Sisley, look up The Lane from will be vibrant, lifting any part of the to lead the viewer into the picture. LP
By to Bois des Roches-Courtaut: Indian
Summer for further inspiration.
The downside of painting autumn
landscapes is the unpredictability of
the weather. Days of overcast skies
with wind and rain can strip that
majestic colour almost overnight. In
reality paintable days in autumn can
be counted on one hand during some
years so when the light’s good, forget
the dusting, e-mails and lunch invitations,
grab the oils and get out there to paint.
Complementary colours
Colour wheels are available in books,
from art shops and online. Colours
adjacent to each other on the wheel sit
well together and are harmonious. The
Oils
Demonstration
An Autumn Morning, You will need
Whitby n Surface n Daler-Rowney Artists’ oils** n Miscellaneous
When painting in autumn it’s almost l Gesso-primed MDF l Naples yellow 1 l A large, clean cloth
always about making the most of board*, primed and l Lemon yellow (hue) l Turpentine or
complementary colours; it’s just a washed with burnt sienna l Yellow ochre Sansodor***
question of how to use them in your or ground colour of your l Raw sienna
composition. This demonstration painting choice, 10x12in. l Burnt sienna *Alternatively, oil board,
is all about creating distance, by including (25x30cm) l Light red pad or canvas would
l Ultramarine blue be suitable.
n
a warm foreground and cool background, Brushes
and by the use of perspective, which will l Cerulean blue ** Student quality oils
l 3 x long flat hogs,
lead the viewer’s eye through the painting l Cobalt violet (Student quality and water-soluble oils
between No. 2 and 8
and into the distance. is more affordable) are fine to use.
l Rigger No. 2
Next come those colours – orange and l Cadmium orange *** I use Sansodor to
l Watercolour type
brown trees are placed against a blue sea l Roberson’s or Mike Harding’s keep brushes clean only;
brush No. 2
with purple and yellow combinations used titanium white it’s not for mixing
in the foreground. Put together they create
vibrancy throughout the picture.
Step 1
t
Step 2
t
1 With the board now covered you can see
which areas need lightening or altering.
In this case and as part of the painting’s
development, I’d made the common mistake
of fitting the picture to the board and decided
that this composition could be enhanced by
re-formatting it and losing an inch from the
left-hand side. You know instinctively when
it’s not right so be ruthless.
2 Still using a larger brush and bearing in
mind the direction of light, add the cloud
highlights using white mixed with a little
yellow ochre then soften the shadow side of
the clouds using cerulean blue with a touch
of violet and yellow ochre. Next come some of
those flashes of light through the gaps in the
right-hand trees using yellow ochre and white.
t Step 3
1 Now is a process of gradual refinement.
Pick up those smaller brushes and using 3 Next lose some of those more obvious
short marks, almost printing, and in rounded foreground marks, which will lead the viewer
movements, add the highlights to the trees. gently through the picture, as opposed to Christine Pybus
These marks placed next to each other give dragging them, kicking and screaming. Find out about Christine’s work
vibrancy as opposed to blending them all 4 A few cloud reflections in the sea indicate a at www.pybusfinearts.co.uk
together and risking muddy colours. still day and a mark on the horizon suggests a
2 Soften the buildings in the middle distance, boat as a focal point on which the eye can settle.
which are in reality just blocks of pink purple 5 Finally, use your smallest brushes and touches t The finished painting An Autumn
and white. Also soften a little in the middle of yellow ochre and white at the base of the Morning, Whitby near Sneatonthorpe,
distance fields to create the illusion of trees to suggest gaps with the fields twinkling oil on primed MDF board, 10x12in.
distance. through. (25x30cm)
Painting project
Part 1 Paint an autumnal riverbank scene from a photograph, with Jem Bowden
t
The original photograph was then cropped to make a better composition for the painting
Winning composition
First and foremost you need a sound
composition. The composition underlies
everything else so is always worth
spending a good deal of time considering
it. A well-painted picture, which is badly
composed, can never be great, but a
picture that may not be brilliantly painted
in parts can still be very successful
overall, if the composition is a winner.
Although I have here the necessary
elements to make a painting, they need
putting together, and again this is where t
Time spent considering composition is essential. Here is the finished composition
the sketchbook is essential. Thinking sketch from my sketchbook after elements were moved, omitted and developed.
about the largest areas in the photo – the
sky, hillsides and water – I felt it would
make a fairly good overall composition
if I cropped it down to cut out some of
the expanse of water and right-hand
woodland. This brought the most distant
area of hillside about one-third into the
composition from the right-hand side.
Having key parts of a composition at
points of a third often work well, but
then all the other component shapes
need to be considered in relation to this
at the same time. You’re aiming for an
overall balance that’s pleasing on the
eye and draws you in and around the
painting. Always check that there isn’t
a part that seems to be squeezed in too Make it a habit to scribble impressions of
much, or which occupies more space trees in your sketchbook; they will build
than it deserves. Sky and foreground up your understanding of the subject
commonly fall victim to being squeezed
too much. Again, allowing about one
third for each of these areas can be a
useful guide to consider. Simplification is a key part of A few birds to the right of the centre,
Symmetry can also be a problem, as it interpreting a subject. In the which were indicated as simple dot
will often make a landscape composition compositional sketch I made the marks, help to draw us even further
look unnatural. Be wary of having a remaining ground foliage and distant into the picture and towards the far
horizon line (or anything else) slap bang woodland of this area more clearly distance.
in the middle of the composition. divided as two distinct sections. Also in Next month I will take you stage by
the interests of simplification I reduced stage through how I painted the scene
The composition sketch the two swans to one. I also moved the in watercolour. During the process
Having cropped the photo (left) and swan in a bit to the right to ensure its we will be considering tone, colour,
considered my new trees and other shadow is clearly visible. The shadow is brushmarks, wet and dry techniques,
aspects of composition, I created the very useful, as it gives a clear indication negative painting, order of approach,
small sketch (above right), which tells of the direction of light. The sun is lower and the methods you can use to help
you how my painting will be laid out. in autumn and shadows are therefore capture light whilst simplifying complex
I decided to move the small island of longer and often starker. If we can jumbles of foliage! Don’t forget to send
reeds off to the right and slightly forward capture such things, it should add to your finished painting to
in the picture. This helps the sense of the sense of time and place. dawn@tapc.co.uk for inclusion on the
depth, and leaves good space in the Having the left-hand tree closer means it painting project area of Leisure Painter’s
water for me to place the reflections now goes off the top of the composition. website at www.painters-online.co.uk.
of my central tree. As well as the visual interest in having I hope you enjoy the seasonal theme
Another important aspect of elements at different heights in the of this month’s challenge. LP
composition and painting is picture, a closer tree also helps in creating
interpretation. Much of the ground depth. Finally, I included a couple more
foliage in the photograph is an indistinct
jumble of dying back autumnal grasses
willow trees, which are variations of the
small sketches, and added reeds right up
Jem Bowden
Find out about Jem, his work and
and young trees. To paint this is tricky. close to break up the line of water a little. courses by visiting www.jembowden
I decided to include one of my sketched The idea is that the swan and trees carry watercolour.co.uk or email
willows up close on the left bank, which our eye into the scene and along the jembowdenwatercolour@gmail.com
provides a stronger feature in this area. curve of the bank.
Painting project
Part 2 Follow Tony Underhill step by step as he uses his ‘easy-win’
rules to draw and paint from last month’s photograph of Guernsey boats
Concept
Usual composition rules favour having
inward-looking subjects, but I liked the
way the blue and red boats were
facing in opposite directions and out
of the photo. They looked as if they’d
turned their backs on each other after
an argument so I decided to use that
as my concept.
t
Step 2 Tonal pattern
1 I copied the composition into new one each for the back, mid and foregrounds 2 I then finessed the pattern a little to
rectangles. Using the white of the paper to find a basic pattern that worked for my make it more interesting and effective.
and mid and dark tone markers, I used concept
Demonstration continued
t Step 4 Ink drawing
1 With my pencil lines as a guide (rather
than ‘tracing’ over them) I used my pen
to draw the main shapes. I worked freely
and loosely again, aiming for energy and
enjoyment rather than precision.
2 I added the windows and aerials in the
same impressionistic style then included
stones and mooring ropes in the foreground
to help direct attention to the boats,
remembering to keep it simple and
to stop before I went too far.
t
1 I mixed a weak wash of French
ultramarine and quinacridone
red, keeping it on the blue side.
2 Using my Round brush, I added
shadow to the side of the blue
boat’s cabin and to the two smaller
boats, leaving the back of the
white one untouched.
3 Adding more French ultramarine
to strengthen the mix, I darkened
the front half of the blue boat
softening the wash with more
water towards the back end.
t
The finished painting Guernsey Boats, watercolour, 11x15in. (28x38cm)
CALL FOR
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Watercolour
Texture in watercolour
Ian Pethers exploits the wet-in-dry watercolour technique
to paint aging wood, rusty metal and flaking paint in detail
t
Your reference material for this project
t
Step 1 sections with vertical lines corresponding archipelago with large and small islands.
1 As all the work here involves wet in dry, 3 Once you are happy with your drawing,
to the panels of your door or shutter then
I worked straight onto the pad for this painting carefully paint the lines using a No. 1 brush
draw features, such as locks and bolts.
and didn’t need to stretch the paper. Begin and a medium solution of raw sienna, which
2 Draw the areas of flaking paint; this is
your pencil drawing by dividing the paper into
t
something like charting a newly discovered will give you a good sharp image to work on.
Watercolour
Step 2
t
As with most watercolour, we will be working from light to dark so in
this case the bare wood should be tackled first using a weak solution
of burnt sienna and a stiff 12⁄ in. brush, lightly applied in downward
strokes, picking up the rough surface of the paper to resemble a
grain. It’s a good idea to practise this technique on a piece of scrap
paper to achieve the desired result. Let the brush miss parts of the
paper where the timber has been bleached white by the sun.
t Step 3
Using a medium strength solution of burnt sienna and your No. 2
brush, paint the darker grain of the wood as vertical curving and
rippling lines.
Step 4
t
Step 5
t
Step 6
t
Watercolour
Step 7
t
1 Using a stronger mix of the same colour, add a glaze lightly over the
existing green areas. Be sure you go heavier to the left of a shape and
leave it light on the right; this will make each flake of paint curl up
towards you.
2 Make the curling effect even more apparent with a strong mix of the
two greens carefully applied with a No. 2 brush to the left-hand edges
of each ‘continent’ and island-like areas, and to the shadows of the
locks. Add a little shadow to any white spots left to turn them into
pimples of paint; this will really bring your painting to life.
t Step 8
Drawing and painting locks, bolts and screws deserve their own article,
but on this occasion I would simply say: study the feature carefully and
work with a fine brush from light to dark. The locks in my reference
photo are of dull brass so I applied successive layers of raw sienna
sharpened with Payne’s grey and the No. 1 brush.
t Step 9
With Payne’s grey and finer brushes add a
darker tone to the deep grooves between the Ian Pethers
door panels, add splits and cracks in the timber
Find out more about Ian and
and darken the shading to the edges of raised
his work by visiting his website
features. Don’t get too carried away. If in doubt,
at www.glenrockstudio.co.uk
stop, take a break and come to it afresh; it will
tell you if it needs any extra definition.
Pastel
Soft sunset
Part 1 Anne Kerr introduces a painting from three photographs and explains
the techniques and colours she will use to tackle a sunset in pastel next month
Composition
I loved this sunset photograph (Photo 1,
left) and decided on orange, yellow and
purple for my palette of colours. Apart
from the sun and its reflection in the
water, there was little else in the photo
to excite me. I decided to omit the
horizontal power lines from the painting
and possibly use one of the small boats,
but slightly larger to give the picture
more interest, but it still wasn’t enough.
Looking at the photograph with the
two large trees (Photo 2, below left), I
immediately saw these as a framework
for the painting. If I painted them in
silhouette, my main point of interest
would still be the stunning sunset. I was
not keen on the plain looking area in
front of the trees or the stubby bushes
by the big trees.
I found another photograph with
interesting foliage that I felt I could adapt
for the foreground of my painting (Photo
3, above right). As the sunset was so
t
Photo 1 The main sunset, but do you want more foreground interest? striking, but lacking in detail, I felt I
could afford to give the foreground a
little more interest. However, this did
not necessarily mean I had to introduce
too many colours into the painting;
a fairly dark silhouette can still show
detail. I also wanted the foreground to
lead into the picture rather than forming
a horizontal barrier so I decided to
vary the height of the foliage to give
this effect.
Playing around with combining the
photographs was fun, but it also
presented problems. First of all, I knew
I had to be careful to ensure the light
source was coming from the same
direction in my finished painting or
I’d have to make allowances for this.
Photo 3 I used the bushes in this photograph to add another layer of interest to the composition
t
Choosing materials
The vibrancy of the sunset against the
silhouetted trees lent itself to the rich
colours of soft pastels. This gave me
the dramatic effect I was looking for.
I wanted to capture not only the
beautiful colours but also the peaceful
mood of the scene.
I chose Clairefontaine Pastelmat paper
as I knew this would allow me to build
up many layers of pastel, something that
is not as easy on thinner pastel papers.
Pastelmat paper releases very little
pastel dust whilst you are working and
does not require fixing with pastel spray
when finished. When using Pastelmat,
remember that the first layer of pastel is
difficult to move. Push it well down
into the paper and you will find that
subsequent layers are easier to blend.
I chose the colours for my sunset then
built my palette of other colours around
my initial selection. I kept my choice to
a minimum to unify the painting and
give it a more dramatic effect.
Having chosen my colour palette,
I then put the rest of my pastels away. It
Figure 1 Three possible compositions and tonal effects from combining the three photos
t
Pastel
t Figure 2 Which do you prefer: fully t Figure 3 Effects of unblended and t Figure 4 Leaving some areas
blended (top) or a mix of blended and blended pastels. The pastel on the right unblended,including the foreground,
unblended (below)? sides of the two swatches (below) have is useful.
been blended. The left sides show
layered pastel without blending.
painting progresses, but you run the about two thirds of the paper. Leave colour range for your picture. I chose
risk of losing the harmonious effect. areas of paper showing through here oranges, yellows and purples, but
and there. When you blend everything you may decide to do something
Mixing pastel colours together, you should find that you completely different. You may use the
Pastels can’t be mixed together in a have just enough. You can always boat as a larger feature or change the
palette as you would mix paint. If you add more, but it is more difficult to foreground, possibly adding a little
don’t have the exact colour, you can remove it. bench or a few rocks, or possibly
achieve the shade you want by adding Finally, look at Figure 2 (above left) a figure sitting on the grassy bank.
one layer of pastel over another and where I have used exactly the same Always bear in mind your main focal
gently blending, or leaving some of colours on both examples. The top point and make everything else
the lower layer of pastel showing example has been totally blended; the secondary to this. Too many focal
through a subsequent layer example below is a mixture of partial points in a picture will make it
(Figure 3, above right). blending and rough texture. Which difficult for the viewer to rest the
Texture is also important when one do you think looks more eye on where they should look.
using pastels. If you carefully blend interesting? Next month I will show you how
everything to a smooth finish, the I painted this picture step by step and
painting can take on a rather dull matt The painting process I will discuss the problems I came
appearance. By all means do lots of The composition I finally chose meant across on the way. I would love to see
blending where you need a smooth I began with the brightest tones of the your finished work from this project
look, but leave some of the pastel in sunset first. The brightness of these so please send an image of your
its rough state to give more texture then determined the tones for the rest finished painting in any medium to
and interest to other areas of your of the painting. Remember that the sun dawn@tapc.co.uk and she will include
painting (Figure 4, above). This would is the source of light so nothing in the it in the special painting project area
be particularly useful in the picture can be as bright as the light of Leisure Painter’s website at
foreground where detail is more source. Nearest colours were stronger www.painters-online.co.uk. LP
apparent than in the far distance. and deeper in tone than those in the
When covering large areas that distance. Detail was not seen in the
you intend to blend, use chunky soft distance, but could be seen in the
pastels that lay down a fair amount foreground. Although the sun was Anne Kerr
of pastel in one go. Cover the area, warm in colour, objects in the far Anne teaches on painting holidays in
making sure you overlap the different distance retained their basic cool tones, the UK, Italy and Spain. She also runs
colours so that you avoid making hard just warming slightly the closer they watercolour, pastel and picture-framing
lines where one colour ends and were to the sun. classes at her home studio in Spain.
another begins. A good guide to the When you tackle this project, Full details can be found on
amount of pastel you need for a large don’t necessarily copy my overall www.annekerrartstudio.com
area is to lay down enough to cover composition. By all means change the
Art Materials
LIVE BIRMINGHAM NEC
November 3rd to 6th
Up to 25% discount off RRP on all products See us on stand N03
Watercolour
Fruits of autumn
Practise a variety of techniques, including wet on wet, wet on dry and
negative painting to produce a beautiful study of rose hips, with Julie King
l Paper towel Sketch the rose hips and the leaves using a B pencil. To retain a neat
edge to the rosehips before painting, apply a fine line of masking
fluid with the tip of a feather or fine brush just on the inside of the
Quinacridone magenta line and on the highlights of the leaves. Leave to dry thoroughly.
Watercolour
COLOUR MIXES 1
FOR STEP 3
Prepare four new, 2
stronger pools of
colour in readiness Backrun
to paint the negative
background spaces
surrounding the stem
foliage and hips.
1 A yellow green 3
from new gamboge
with a tiny amount 4
of phthalo turquoise. New gamboge Phthalo blue
2 Phthalo turquoise
t
Step 2 on its own. + = 1
1 Prepare two pools of dilute green: 1) a yellow green mix of 3 A stronger mix of
new gamboge yellow with phthalo turquoise and 2) a blue green equal parts of new
mix of the same two colours, but with more blue in the mix. gamboge and 2
2 Wet the entire paper surrounding the rosehips using a No. 16 phthalo turquoise.
Round or pointed mop brush. Apply varying pools of the two 4 A stronger mix of
greens. Add a little more pigment in the mixes if required to make phthalo turquoise
slightly stronger tones and apply on the left and top right of the and new gamboge + = 3
painting beneath the foliage. combined with a
3 Lift paint out of the stem by applying some pressure with the touch of pyrrole
edge of a folded paper towel and dab out a few more soft highlights red to add depth.
on the leaves on the bottom left. Leave to dry thoroughly. + = + = 4
Step 3
1 Wet the paper, working one section at a Round brush. Allow the colours to run 2 Continue until the background
t t
time, beginning with the top two segments. together to create a suggestion of distant is complete. The occasional back run,
Begin with the yellow green and work in the hazy leaves. If the surface is really wet, when a lighter watery paint is applied,
indicated sequence of colours using a No. 10 tip your board to let the paint move. can add to the naturalness of the foliage.
Step 4
1 Add a little strength and definition to the negative leaf shapes. Working wet
t
on dry, apply a wash of the yellow green mix either side of the central vein. Add
variation by applying the blue green with the point of the brush while still damp.
highlighted areas. Apply the yellow green wet damp brush and drop in the blue green mix.
t
Watercolour
Demonstration continued
Step 5
t
Step 6
t 1 Prepare three pools of colour: 1) new
gamboge, 2) quinacridone magenta and 3) pyrrole
red. Wet the central rose hip leaving an area of white
paper for the shiny highlight. Apply new gamboge followed
by quinacridone magenta, allowing them to blend together.
2 Whilst still
t
t Step 7
1 Continue painting the remaining hips with the same method, making
sure to wait for each one to dry before working on the adjacent one.
2 To add more depth in shaded areas make a purple using quinacridone
magenta and phthalo turquoise. When applied to an orange base it
produces a warm brown and on a hot red it becomes a cool purple.
Step 8
1 Continue
t
to apply wet
on dry stronger
tones of either
quincridone
magenta or
pyrrole red.
2 Quickly
t
diffuse with
clean water and
continue adding
the purple mix
of quinacridone
magenta and
phthalo
turquoise to
the shadowed
areas as before.
Step 9
1 Use the tip of the No. 6 brush to add
t
t
Step 10
Complete the remaining stems
and add any final touches. Julie King
Julie runs art classes and workshops
2 Add detailing by using stronger tones t The finished painting throughout most of the year. Visit
t
of a pink purple and a blue purple made from Fruits of Autumn, watercolour, www.juliehking.co.uk for details.
quinacridone magenta and phthalo turquoise. 814⁄ x1134⁄ in. (21x29.5cm)
Back to basics
Understanding colour
Part 12 How to use the cool greens in your palette, by Tony Paul
Back to basics
t
Maiden Castle, Dorset, egg tempera, 18x28in. (45.5x71cm). Viridian green was used throughout this tempera painting. Where mixed,
cadmium yellow, yellow ochre or burnt umber were added, but otherwise pinks, oranges, blues and violets were added around and
among the greens to provide optical mixing in the eyes.
Tinting strength Low. Colour bias To blue. media, where it will be substituted by
Watercolour Granulates in washes, but its Transparent/opaque Transparent. phthalo green.
opacity and subdued colour makes it less Staining No.
useful than viridian or phthalo green. Tinting strength Medium, but may be OXIDE OF CHROMIUM
Oil Its low oil absorption and fast-drying weakened by padding with filler to PG17
speed makes it ideal for use in reduce costs in certain ranges. Roasting the lovely,
underpainting. Blended with Venetian or Watercolour More subtle than transparent viridian
Indian red (see colour mixing chart on phthalocyanine green, which it pigment creates the
page 36), it makes a great grisaille colour resembles, it is almost the perfect pleasant, but rather
for underpainting a portrait, nearly black transparent green pigment, capable of bland, oxide of
in dense mixes and good greys when making a variety of further greens from chromium. Roasting makes the colour
reduced with white. The grisaille can sharp yellow greens with lemon yellow, densely opaque and a more natural
then be overpainted in flesh colours. to deep warm greens, with burnt sienna green. It came into use in the 1860s
Other media It is not widely used in (see colour mixing chart, page 36). Its and, although it never achieved a ‘must-
other media, because of its expense and low tinting character means that darks have’ status, it can be found in most
if named in pastels will be a ‘hue’ colour. may be harder to achieve. However, in Artists’ quality ranges.
watercolour I prefer the power of Lightfastness ASTM D4302, Class I,
VIRIDIAN GREEN PG18 phthalo green to viridian, which I find excellent lightfastness.
This rather unnatural cold too weak. In Student ranges phthalo Colour bias Blue grey.
green has proved to be green will be substituted, often labelled Transparent/opaque Densely opaque.
almost essential in any as viridian hue. Staining Slightly.
palette or medium. Brought Oil Viridian works beautifully in oil. Best Tinting strength High.
into use in 1862, it can be used in glazes or mixes, if applied Watercolour Its limited effects and
used in all media except thickly it will appear blackish, and opacity make it a less popular choice
acrylic, with which it is incompatible, because of its high oil content can than other greens. In mixes it can be
and pastel and other dry media because, wrinkle, particularly if too much oil is useful and it is good in small opaque
in company with other heavy metals, its added to the colour. If used in touches over darker areas. Oxide of
chromium composition is not permitted underlayers it should be mixed with chromium in washes is finely granular
by The Pencils and Graphic Instruments pigments of lower oil absorption. and will be translucent rather than
(Safety) Regulations 1998. Viridian is a medium drier creating a transparent. A heavy pigment, it can
Lightfstness ASTM D4302, Class I, hard, flexible paint film. separate out in mixes with lighter
excellent lightfastness. Other media Not used in acrylic or dry
t
weight pigments.
Back to basics
t
Moroccan Goatherd, watercolour, 11x15in. (28x38cm). All the green mixes were based on oxide of chromium. The light tops of the
trees had gamboge hue added, whereas in the undersides of the trees burnt sienna was blended with the green. For the goatherd’s
tunic I mixed ultramarine blue with the green. The background trees were mainly of the natural colour from the tube; the darkened
areas were created by adding dilute burnt umber.
Oil Its low oil absorption and medium to PHTHALOCYANINE throughout the colour ranges. Very
fast drying speed make it ideal for use in GREEN (blue shade) powerful and a tad brighter than viridian,
the underlayers of a painting. It dries to Introduced to the artists’ it has to be worked with carefully and,
give a hard and fairly flexible paint film. palette in 1938, ‘phthalo’ in oil, I find it just too garish, preferring
Other media It can be used in all media green has proved a very the quieter viridian. Unlike viridian, it is
other than pastel, where it will be important colour, used not capable of producing a strong black with
replaced by a hue colour. only on its own, but also in mixes permanent rose, alizarin crimson hue or
+ = + =
+ = + =
Back to basics
permanent magenta.
Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias To blue.
Transparent/opaque Very transparent.
Staining Very staining. Hello green brushes!
Tinting strength Very high – always add
phthalo green by degrees to weaker
colours in mixes.
Watercolour Vibrant and clear, but
unnatural. I always tell students that it
shouldn’t be allowed out on its own, and
that isn’t a bad maxim, because its power
can take over a painting. Like viridian,
mixes with earth colours from ochres to
umbers will produce a wonderful range
of subtle greens, while blends with cool
yellows will give the sharpest of lime
greens possible.
Oil Phthalo green has high oil absorption
and a medium to slow drying speed,
making it more appropriate to the upper
layers of a painting in the form of thinly
applied glazes. Thus applied it is streaky
and, if applied thickly, appears black.
In acrylic, you can reduce the streaky
effect by admixing a little white.
Other media Phthalo green is widely
used in all media. LP
Tony Paul
Tony is the author of four popular
practical art books, still available on
Amazon. Find out about Tony and his
work at www.courtenaysfineart.com
Adding alizarin crimson hue to oxide of chromium creates Burnt umber and phthalo green give a natural deep
an interesting, almost purplish neutral colour. green, full of character.
+ = + =
+ = + =
A B
holiday
June
11 to 24,
2017
B
elgium’s Open Garden’s scheme is similar
to our own except that the collection of
private gardens is only open to
members. We have joined the scheme, making
this trip possible and very special. Being able to
paint in these rarely seen and personal
gardens is an exceptional opportunity and many
will be open exclusively for us, enabling you to
paint without any distractions.
We have handpicked a selection of the most
aesthetic and colourful gardens with the help of
the Secrétaire Générale of Jardins Ouverts de
Belgique. They will include chateau, cottage,
potager, rose, romantic, architectural and polder
gardens. These gardens open for a few days in Spring Flowers in the Studio,
t
century Chateau Hex will be most impressive as
June when they are at their best and the roses will the stunning gardens at De Heerenhof in oil by Pamela Kay
are in full bloom. The wonderful gardens of 18th Holland. You’ll also visit Rubens’ house and
garden in Antwerp and the cathedral where four
P
amela Kay NEAC, RBA, RWS
of his canvases can be seen. is an accomplished and
This is a unique painting tour of the best-kept versatile artist. She is an
secret places in the Low Countries. There’ll be a extremely conscientious teacher
tremendous amount of variety to paint and the and will help you get started and
programme will be carefully paced so your understand how to work with the
painting time is not rushed. In addition to subject matter. There will be
fabulous gardens, there’ll be picturesque tutorial sessions, talks and
villages, canals, old windmills, polder demonstrations back at the hotels,
landscapes and seascapes to paint. which will help you develop your
Travel is by luxury coach throughout (from London style and complete some of your
Gatwick) enabling you to take as much painting paintings. Pamela will be working
equipment as you like. Special and unusual hotels in watercolour and gouache.
will enhance the holiday. You’ll stay four nights in
old almshouses, six nights in a hotel built around
an historical windmill and three nights on a l Number of students 8 to 12
traditional polders farm. Breakfast and dinners l Price £3,995 per person
are included. All the arrangements are taken care l Single supplement £550
of for you by an accompanying travel escort.
t
Woodland Light, watercolour, 12x19in. (30.5x48cm). In this painting I wanted to create a strong sense of sunlight and so used contrast
with the dappled shadows. It also has a more open and airy feel, which is produced by keeping the distant area very light and giving the
eye an escape, helping to stop the painting feeling a little claustrophobic.
Brilliant sunshine
How to paint sun-filled, back-lit landscapes that simply ooze
atmosphere using glazing and wet-in-wet techniques, by Jo Louca
Watercolour
A note on brushes
I use a mix of both synthetic and sable. Winsor blue Brown madder
A No. 20 Pro Arte synthetic is my You will need
favourite, but I also use a No. 16 and n
W
Surface
M or b
in
l
or lu
a No. 8 Rigger both in sable. These
s
Bockingford Rough 200lb watercolour
e e
three brushes do me for most paintings paper 11x15in. (28x38cm)
but, of course, I have a huge array of
n Artists’ watercolour Winsor
M si e
brushes, particularly large ones to
or n
See colours, right blue +
e b na
dip into. burnt sienna Burnt sienna
ur
nt
t
Step 1 t
Step 2
1 After making a sketch, paint wet into wet with lemon yellow 1 Once the first stage is dry, define the middle distance trees on
for the distant trees and a green mix (Winsor blue and burnt the left by rewetting the top yellow area of foliage, immediately
sienna) for the base of the distant trees, leaving the foreground running in dark green at the base of that foliage and letting it
tree and the figures white paper, or use masking fluid. spread upwards so that it is soft edged, keeping the bottom of
2 Paint wet into wet across the ground area with lemon yellow, the tree foliage crisp (wet onto dry) and irregular in shape.
blending into cadmium yellow for the foreground. Colours 2 Create the bushes at the base of the trees by rewetting the
become warmer the closer they are, and cooler the further away. yellow at the top of them, running in darker green at the base
While the paint is still wet, dabble in darker green to create and leaving an irregular shape, which will become the top
backruns in the front. Remember, it is essential for the paint to leafy edge of the next bushes in front.
have reached the matt damp stage on the paper for this to work. 3 Paint the trunks in the same dark green.
4 For the trees on the right, re-dampen with water and paint
them, only damp not wet so they spread a little, becoming
fuzzy edged, this will help to push them back a little.
Step 3
t
Step 4
t
t Step 5
1 Continue with the negative painting 4 Next start on the trunk of the main tree. works well. Alternatively use the same
around the foreground bushes and leaves, Having first painted the dark green along the blue and brown from elsewhere in the
remembering to soften with water along middle of the trunk, immediately drop in painting or two opposite colours (if you
the edge. cadmium yellow along the side edges of the are using appropriate pigments) can
2 Then rewet the rest of the foreground at trunk, wet in wet, allowing the yellow to help to retain a sense of unity.
the very front and drop in strong pigment, creep into the dark green like tiny fingers. 6 Finally, add the shadows from each
the dark green mix, cadmium yellow and Remember the light, being backlight, will figure in the same blue grey. This is
brown madder. Allow the colours to blend creep around objects, hence I placed important, as figures – or any object for
and move around, helping them to spread yellow both sides of the tree trunk. that matter – can look as though they
by tipping the paper. 5 Finally, the two figures can be finished. are floating without a shadow to hold
3 Once the paint has become matt damp, Remember to leave a halo of white paper them down.
use a small Rigger loaded with clean water around their heads, shoulders and a little
and run the brush up through the darkest along the sides of their bodies. Otherwise
part of the undergrowth to create grassy they can appear pretty well monotone, just
shapes. This is a useful technique, in which silhouettes of blue grey with only a little
Jo Louca
the water deposited by the Rigger simply darker tone in the full shadow areas to help To contact Jo and see more of her
pushes the dark paint aside, leaving give a sense of form. For the blue grey mix, paintings visit www.jolouca.com
a fuzzy edge to the mark. ultramarine and a cool brown such as sepia
t
The finished painting Light on the Land, watercolour, 11x15in. (28x38cm)
Oils
Oils
Elena
Parashko
Visit Elena’s website at
www.elenaparashko.com
for details on her work,
classes, demonstrations
and critiques. Elena has
also developed interactive
painting demonstrations
that include personal
consultations on painting
progress via email or
telephone. Read her blog at
www.survivalguideforartists.
com for inspiration and
ideas on developing your
own work.
PROBLEM 4 Direction
of brushstrokes
One of the most common mistakes
with beginners in oil painting is
underestimating the power of directional
brushstrokes. Students tend to paint
everything with sweeping horizontal
brushstrokes.
Solutions
The subtle texture of brushstrokes
is visible so change their direction to
describe the form you are painting.
Even in an underpainting where you
are simply blocking in a solid colour
that will later be painted over, thinking
about the direction of brushstrokes to
apply this underpainting can work to
your advantage.
When you apply paint, the brush lands
more firmly in some areas, which creates
a slightly thinner coverage of paint and
therefore a lighter effect, whereas in
other areas it glides more gently, which
results in a slightly thicker coverage of
paint which has a darker appearance.
If you have applied brushstrokes
deliberately to indicate the form of your
subject, the illusion of texture will appear
even in the blocking in of a single colour
as an underpainting. In this painting of
Bora Bora (right), even though the same
dark purple was used to underpaint the
whole island, the changing direction of
brushstrokes already begins to indicate
the vertical rock face and diagonal rise
and fall of vegetation covered ridges
and valleys. LP t
The finished painting Bora Bora, oil, 16x2212⁄ in. (41x57cm)
Colour mixing
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t
The finished painting Beach Scene, System 3 acrylics, 8x8in. (20.5x20.5cm). Follow Steve as he paints this scene over the page.
Celebrate impasto
Part 2 Having followed the exercises set by Steve Strode last month,
it’s time to complete a painting using just painting knives
Acrylics
t Step 1
Squinting at the picture reduces it to simple shapes,
which will help you to map out your design.
Step 2
t
1 Looking into
the sun makes
colours appear
more tonal so
keep your
colours greyed
down. Mix ultramarine blue
with a touch of burnt umber
and white for the sky then use TIP Mix the colours on a palette,
the same blue with ochre for but finish them off on the canvas.
the green hill. It’s important not 2 Mix burnt umber, ultramarine
to lose sight of the main colour; and white for the mid-grey seawall;
don’t add so much umber to the lighten with more white to place
sky, for instance, that you lose where the buildings will go. I
the blue. Use a well-loaded softened some edges with my finger.
knife to block in the larger
areas, laying the
blade flat as if you
were buttering
bread.
Step 3
t
TIP Wipe the 1 Add a little of the mix you used for the wall
knife between and houses to yellow ochre and white to lay in
colour and tonal the beach. So long as you keep this mix biased
changes with to ochre, the greyed down paint keeps vibrant
kitchen towel. colour at bay. Do the same for the sea, pulling
There’s no need a little of this mix into cobalt blue and lots of
for water as a white; again don’t lose sight of the blue.
solvent, but keep 2 Using the knife, pull paint away from the figures.
a jar nearby. I like If you’re worried about losing the underdrawing,
to dip the blade quickly soften the edges of the figures with a wet
in now and then finger. If like me you have fingers like Cumberland
to ease the flow sausages, use a damp cotton bud to shape the
of the knife over negative space around them. Remember, we’re not
the surface, or going for a photographic reproduction so all you
wet my finger to want is an estimation of their size and placement.
soften the edges. Don’t worry, enjoy the process and let go. If all
else fails, let it dry and draw them in again.
Acrylics
Step 4
t
1 Use mixes of crimson red, yellow ochre and TIP Use a small knife
ultramarine blue as your primaries on all the loaded at the tip to draw
figures. So long as these mixes lean to the the figures. If you’re aware
colour you want, they’ll remain subdued. of how much paint is on
For instance, this figure’s top leans to purple there and where it is, you’ll
made by 45 per cent red, 45 per cent blue have more control over the
and 10 per cent ochre. Soften the edges techniques and gradually
with a cotton bud to make it lighter. build your confidence.
2 Then lean the mix to a brown colour
for the
flesh, and
darken
this for the
trousers.
Step 5
t
Step 6
t
Step 7
t
1 Straight edges and shapes that suggest manmade structures are all
you’ll need to keep the painting loose. Holding the knife at an angle
and pulling away lightly gives a clean straight edge where the blade
makes initial contact with the surface; this is ideal for crisp finishes.
2 Working on the water, integrate the rocks in the sea by allowing
wet greyed cobalt and white paint to cover part of them. Use the
tip of the blade to speckle white highlights on the water.
Steve Strode
Steve tutors on a painting degree and delivers his own courses,
workshops and demonstrations in painting and drawing. His
work can be found on stevestrode.blogspot.co.uk on LP’s website
at www.painters-online.co.uk. While Steve is working on his t
The finished painting Beach Scene, System 3 acrylics,
website, follow him on twitter.com/stevestrodeart 8x8in. (20.5x20.5cm)
Inspiration
t
Birch Trees, acrylic, 1134⁄ x1534⁄ in. (30x40cm). The acrylic was applied using a painting knife and pieces of card.
now lay fewer eggs. My cat, Alice, prefers with acrylics, a palette knife and pieces Home and interiors
the stay indoors. The landscape reduces of card, which were used in the same It is warmer to work in the kitchen near
in colour to soft browns, olive and grey. way as a painting knife. These pieces of the range on some days, and looking
Some mornings though, the sky is duck card are a useful alternative if you do not around for something to draw I realised
egg blue and the frost softens the winter have a knife, as you can use them on the how interesting the textures were around
grass to the colour of green Chinese side to pick up paint, angle them to apply the room. I live in an old house and the
porcelain. lines and drag paint across the surface. ceiling of the kitchen is beamed and
In the forest they are logging; bringing Mountboard can also be used. wooden throughout. Hanging from the
out the coniferous firs and replacing Negative spaces are a prevalent part beams is a collection of baskets in which
with a planting of deciduous trees; this of this composition with the trunks and are stored receipts, guarantees,
means vast empty areas of windy land branches intersecting the sky. The term appointment cards, pens, spare reading
punctuated with the few remaining ‘negative spaces’ is really misnamed, for glasses and a handmade nativity set.
deciduous birches. These trees stand they are crucial to the making of pictures. There is also an old cupboard rescued
gleaming on sunny days and waving fine If you draw the spaces, you have the from the Baptist Chapel which now stores
Firework night
Fireworks are let off in the early part of
November and I wanted to see how this
could be explored pictorially using salt
with watercolour (see page 52). Most
painters in watercolour are familiar with
using salt and exploit its fantastic pattern-
making abilities. Salt sprinkled onto wet
areas of colour draws the pigment to
itself, creating spectacular results. This is
often included in watercolour courses as
a way of adding interesting texture to
landscapes. Here I wanted to recreate the
memory of the sky lit momentarily not so
much by the fireworks themselves as the
lingering smoky light and the land after
the initial flares of the rockets have died.
I used three colour washes of
watercolour: Indian yellow, burnt sienna
and French ultramarine. Sea salt, which
is a little coarser than table salt, was
used, and the paper was NOT surface
watercolour paper. Indigo was also used
to paint the buildings and trees. Why not
try the simple exericse I set out for you
on page 52?
Historical methods
Recently I spent a day with students
exploring Indian miniatures at the Bowes
Museum. These small portable pictures
evolved around the 10th century as
devotional or literary works rather like the
Books of Hours used about the same time
in England. The pictures were painted in
watercolour originally on palm leaves, but
later cartridge paper was used and the
works were mounted on wood and richly
gilded. The art form achieved its highest t
Autumn Trees, watercolour and coloured pencil, 12x9in. (30.5x23cm).
form during the British Raj, which may Late autumn weather softens the colours of the landscape.
Inspiration
TRY THIS!
t
November Village Scene, watercolour, 812⁄ x15in. (21.5x38cm). Salt was used on watercolour to create a dazzling explosion of fireworks.
If you have never tried salt and watercolour l Watercolour paper NOT (cold-pressed) 2 Whilst still wet, scatter plenty of salt
you will need the following: or Rough surface. across the surface and allow to dry.
l Watercolour to include either Indian 3 Add the land – yellow and blue to
yellow, gamboge, aureolin or azo yellow Method create a pale green – and the buildings
(these are transparent), plus French 1 Mix three strong washes of yellow, and trees, using indigo for the buildings
ultramarine, alizarin crimson and indigo. red and blue across the sky. Apply in in the foreground.
l Salt, table or coarse sea salt. that order and quickly.
Linda Birch
Find out about Linda’s courses,
workshops and events by emailing
lindajoycepitt@aol.com.
Liquid acrylics
Nature’s texture
Develop your skillset and add life to your paintings as you depict
a variety of textures using liquid acrylics, with Linda Wain
Demonstration 1 Ground Debris
Step 1
You will need t
1 Wet the paper with clean water
n
and apply the palest colours
Surface
here and there (cadmium yellow
l Hahnemühle Cornwall Matt
deep and burnt orange). Add
paper, 71⁄4x43⁄4in. (18.5x12cm)
these colours individually and
n Brushes sometimes as a mix using different
l Large stippler brushes to make a variation of
l Large mop shapes and marks. Let this dry.
l Round sable No. 8 2 Re-wet and apply two or
l Round Prolene No. 4 three similar layers, but each
n Procolour Liquid Acrylic time darken the colour with
l Cadmium yellow deep burnt sienna and burnt umber.
l Burnt orange 3 Finally place a few punchy darks
l Payne’s grey by adding a touch of Payne’s grey.
l Burnt sienna 4 When dry, apply a darkish
l Burnt umber wash overall of burnt umber
l Pro White mixed with a touch of
Payne’s grey.
t Step 2
1 Begin looking for shapes in the random grass to brighten local areas. Just keep or branch. Such little touches add more
colours, which could be worked up into darkening and building up the shapes impact to the finished piece.
twigs, dead leaves, weeds or moss. to make them stand out even more.
2 Mix Payne’s grey and cadmium yellow 3 Add pro white to the yellow to make areas t The finished painting Ground Debris,
to make green and use this in various places of leaves stand out from the darks. Add Procolour Liquid Acrylic on Hahnemühle
such as on the odd leaf or add blades of shadows here and there under the odd leaf Cornwall Matt paper, 434⁄ x714⁄ in. (12x18.5cm)
Liquid acrylics
Step 1
t
Step 3
t
This stage shows the foreground snow. Soften down pro white
to a near single cream consistency and flick this on in a similar
way to that previously described. As the paint hits the dry
surface, it produces a sharper effect. This makes the foreground
snow stand out far more from the diffused background snow, t
The finished painting Diffused Snow, Procolour Liquid Acrylic
which helps to produce a very lifelike three-dimensional effect. on Hahnemühle Cornwall Matt paper, 11x812⁄ in. (28cmx21.5cm)
Liquid acrylics
Demonstration 3 Pebbles
You will need
n Surface n Brushes
l Hahnemuühle l Large stippler
Cornwall Matt or toothbrush
paper, 5x7in. l Large mop
(12.5x18cm) l Large flat
l Round sable
n Procolour
Liquid Acrylic No. 6
l Prolene Round
l Payne’s grey
l Pro white
Nos. 2 & 6
l Sepia n Miscellaneous
l Burnt sienna l White tile
l Raw sienna l Palette knife
Step 1
t
t
The finished painting Pebbles, Procolour Liquid Acrylic on Hahnemühle Cornwall Matt paper, 5x7in. (12.5x18cm)
&
Art Club of the Year 2016
LP presents the award-winning paintings and a short history of Guildford Art
Society, runner-up in this summer’s inaugural Art Club of the Year competition
t
Juliet Renny Busty, pastel, 19x17in. (48x43cm) t
Nathaniel Fowles Past Masters, egg tempera, 2312⁄ x36in. (60x91cm)
GUILDFORD ART SOCIETY General Lord Baden Powell. From then until old and our eldest is 100 years old and still
Guildford Art Society must be one of the 1937 the Society was active and apart from the painting. Talent abounds and many of our
oldest creative societies in the country war years continued with annual exhibitions. members exhibit at national exhibitions,
with its early beginnings in 1923. The first For 1960 the annual exhibition arrived at its including Roger Dellar ROI RIPS, John Bryce
exhibition was held in November 1925. The present home at Guildford House Gallery, 155 SWE RE, Christine Charlesworth RBS SWA,
annual subscription was five shillings. The High Street, a fascinating 17th century Grade 1 Jo Quigley MA, Sera Knight SWA and
exhibition was opened by Mrs Watts from Listed town house, where it has remained until Rosemary Miller SWA, to name but a few.
Compton and two paintings by her late today. The new chairman was Edward Wesson, We have a busy programme of talks,
husband, Mr G.F. Watts, were exhibited for one of the greatest watercolourists of the demonstrations and workshops during the
the first time. The most expensive painting 20th century. winter months and outdoor painting days
at £30 was by Mr S.H. Sime. It is interesting Ted Wesson remained as chairman for in the summer. Two meetings are held
to note that there is an exhibition of works many years. Several of his paintings are now weekly for members to paint together and
by Mr S.H. Sime permanently on display in the Guildford Borough Collection. Other many are active on our Facebook page.
at the Sime Memorial Gallery in members of the society also have work in the We hang two exhibitions annually for
Worplesdon, a Guildford parish. Borough Collection, including Pauline Dean, artwork in all media.
Other exhibitors in 1925 included botanical artist and holder of seven gold The spring exhibition is open to all our
Mr E.H. Shepard and his wife. Mr Shepard medals from the RHS; Margaret Howarth and members and an opportunity for them to
is famous, of course, for his illustrations her superb drawings of old Guildford; Margaret exhibit their work at Guildford House. A
in Winnie the Pooh and Punch magazine. Palmer, portraitist; Juliet Renny, local artist, panel of external professional artists selects
Another exhibitor was Margaret Tarrant, book designer and illustrator; and our the autumn exhibition. Both exhibitions are
a talented illustrator, well recognised for president, Jane Allison, a national portraitist, acknowledged by selectors, visitors and press
her fairy-like images in children’s books having recently completed works of Camilla, to be of a very high standard and are both
and postcard designs for Medici Cards. Duchess of Cornwall and Archbishop Sentamu. eagerly anticipated and well attended. The
In 1928, it was agreed that as the annual five selected paintings for the Art Club of the
exhibition was now so popular that nothing The society today Year 2016 are the work of artists who exhibit
smaller than the Borough Hall would do. Today the society has approximately with us regularly and show the level of
It is worth noting that six entries were by 300 members, including painters, sculptors, members’ skills in a variety of media and
Sir Edwin Lutyens, but were not for sale! ceramicists and craftsmen, both professional subjects. Suffice to say the subscription
In 1930 the exhibition was opened by and amateur. Our youngest member is 15 years has now increased!
t
Judy
Coleman Field
Edge, acrylic,
16x20in.
(41x51cm)
t
Jean Ellis Cow Parsley, watercolour, 1812⁄ x15in. (47x38cm)
Fiona
t
?
and attractively covered in a mulberry
leather finish with gold-lettered spines.
Prices (including VAT and p&p)
UK £7.95 or two for £15.00
Europe £14.00
Rest of world £16.00
Only £2.92 an issue and
enjoy FREE home delivery
Only l
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£7.95
w ife TYLE
Kn UR S P
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ma ur m
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inc VAT & Colo
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p&p es
See
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IN & te OLO
tips TERC
AZ WA
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pages 44
0
M £4.2
2016
T BER
AR NOV
EM
G
IN
LL
SE
T-
BE
S & 45
’S
UK
E
TH
CLUB EXHIBITIONS
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Alsager Arts Association
Exhibition at Alsager Community Church on
4 and 5 November, 10am to 4pm daily. Visit
www.alsagerartassociation.co.uk
n Bedford Art Society
Autumn exhibition at Bedford Borough
EXHIBITIONS AND ACTIVITIES Hall, Cauldwell Street, Bedford MK42 9AP
from 10 to 21 October.
n Breaston Art Group
21st exhibition at the Methodist Church
Hall, Blind Lane, Breaston, Derbyshire DE72
but new members are welcome, 3DX on Thursday 10 November, 2 to 5pm;
provided they live within a ten-mile Friday 11 November, 10am to 5pm and
radius of Ambleside. For more Saturday 12 November, 10am to 4pm.
information contact Patsy Derry 01539 n Caston Art Club
436180 or email her at Exhibition at Caston Village Hall, Norfolk on
patsyderry@hotmail.co.uk 8 and 9 October, 10am to 4pm daily.
Bathampton Art Group n Ham Art Group
The Bathampton Art Group will be Autumn exhibition at St. Thomas Aquinas
holding an exhibition and sale of Church Hall, Ham Street, Ham, Richmond
paintings at Bathampton Village TW10 7HT on 5 and 6 November, 10am to
Hall, Holcombe Lane, Bathampton 4pm daily. Enquiries to 020 8940 5725.
BA2 6UL on Saturday 19 November n Horsforth Arts Society
Sally Kindness Anemones, watercolour,
t
9x91⁄2in. (23x24cm) on show at the Ambleside from 10am until 5pm. Members will Autumn exhibition at The Studio, 15 Back
and District Art Society’s 40th annual be demonstrating throughout the Lane, Horsforth, Leeds LS18 4RF from 22 to
exhibition 30 October. Open weekdays from 1 to 3pm;
day and the public are invited to
vote for their favourite painting. weekends 10am to 5pm. Visit
Highlights Refreshments will be available. For
www.horsforthartsociety.workpress.com
Ambleside and District Art n Kineton Art Group
more information visit
Society www.bathamptonart.co.uk Members’ art exhibition at Kineton Village
The Ambleside and District Art Hall on 8 and 9 October, 10am to 5pm
daily. Visit www.kinetonartgroup.co.uk
Society will be holding its 40th
annual exhibition at Ambleside n Market Harborough Art Club
Parish Centre between 19 and 30 Annual exhibition at the Harborough
October, featuring the diverse Theatre on 8 October, from 10am until 5pm
and 9 October, 10am until 4pm. Visit
talent of Cumbrian artists, www.marketharboroughartclub.co.uk
including the work of popular
n Muskham Art Group
artists, Sally Kindness, Don Bastow,
Annual exhibition at South Muskham
Jackie Hadwin and Ron Ward. The
Village Hall, Newark NG23 6EE on 5 and 6
exhibition will be open daily from November, 10am to 4pm daily. Enquiries to
10am to 5pm, excluding both 01636 605875 or visit
Sundays, when it will open at www.muskhamartgroup.co.uk
10.30am and on the final day, n Nettleham Art Group
Jackie Hadwin First Snow, watercolour,
t
when it closes at 2.30pm. The Annual exhibition at the Old School (near
231⁄2x271⁄2in. (60x70cm) on show at the
society, which began in 1974, Ambleside and District Art Society’s 40th the church), Nettleham, near Lincoln LN2
currently has over 100 members annual exhibition 2PE on Saturday 12 November, 10am to
3pm. Enquiries to Ian Straw 01522 753558.
n Rosemary Hale’s Art Group
Exhibition at Derrington Village Hall,
Staffordshire ST18 9LR on 29 and 30
Demonstrations & classes October, 10am to 4pm daily.
Bedford Art Society n Weald of Sussex Art Club
On Friday 4 November, Paul Nicholson will give a talk to the Bedford Art Society Annual exhibition at The Martlets Hall, Civic
on The Statues of Bedford at Putnoe Heights Church, Bedford MK41 8EB, meeting Way, Burgell Hill RH15 9NNfrom 19 to 22
at 7.15pm for a 7.30 start. Entry is free for members; £5 for visitors. Contact Jean October. Open daily, 10am to 5pm; closing
Paterson 01234 307210 or visit www.bedsartsociety.co.uk at 3.45pm on final day.
Brighouse Art Circle n Woking Society of Arts
Artist, John Harrison, will lead a line & wash demonstration workshop for the Autumn exhibition at The Lightbox Gallery,
Brighouse Art Circle on Saturday 22 October from 12noon until 4pm at Waring Victoria Way, Woking from 18 to 23 October.
Green Community Centre, Brighouse. Tickets are priced at £12 to include drinks. Open daily, 10.30am to 5pm; from 11am to
4pm on Sunday 23 October. Visit
To book, or for more information visit www.brighouseartcircle.co.uk
www.wokingartsociety.org.uk
t
Caterham Art Group Yvonne Allen River Clough, Sedburgh,
oil on box canvas, 24x18in. (60x45cm). The Caterham Art Group
meets on the third Wednesday evening of the month at the
Douglas Brunton Centre, Caterham on the Hill, but will move
to a new day and venue in January as it has outgrown the
current one. From January, meetings will take place at the
United Reformed Church, Caterham CR3 6SX on the fourth
Wednesday of the month. For more information visit
www.caterhamartgroup.org.uk
t
Allen Samuels List to Starboard,
oil on canvas, 271⁄2x213⁄4in.
(70x55cm). The Salisbury
Group of Artists was established
40 years ago and is made up of
a mix of professional and
amateur artists who meet on
a regular basis. The next
exhibition will be at Salisbury
District Hospital in Salisbury
from 25 November until
6 January 2017. For more
information visit
www.salisburygroupofartists.co.uk
THE SKY’S
rfu. The Watermill in Tuscany, July 15-22
• Studio based in large, well-lit room Beautiful village in heart of Tuscany.
7702 069300 Email suefordartist@icloud.com
Details at: www.davidwebbart.co.uk World class tuition. May - Sept 2017.
@gmail.com Mobile 07718076942
THE LIMIT
Email: mail@davidwebbart.co.uk www.verrocchio.co.uk 0117 330 4973
Email: info@watermill.net 01642 712926
Call Bill or Lois: +39 366 488 2587
01803 846321 office@verrocchio.co.uk
ay of the month
TAKE ADVANTAGE OF OUR EARLY-BIRD SPECIAL 10% DISCOUNT ON BOOKINGS
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In addition to the workshop programme, Val and local tutor, • Starter packs for beginners
Lesley Rumble, run ‘Drop-in & Paint Days’ on Thursdays and
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easels are provided at the school, together with drawing boards, EVALUATION AND HELP
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Tel: 01493 393639 or 07702 069300 better. Tel: 01433 621546.
t: 01348 840 177 Andrew and Maggie Brown Email: janblanchartist@gmail.com email: alanhearsum@btinternet.com
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magazine
is available Watercolour
Inspired by nature
digitally
Here’s an easy-to-follow watercolour demonstration to practise applying light,
fluid washes while reserving the white, by Rachel McNaughton
Surface
Saunders Waterford High
White 200lb Rough paper Cobalt Neutral Quinacridone Burnt Burnt Payne’s Aureolin Daniel
15x22in. (38x56cm) turquoise tint gold umber sienna grey Smith
light (or light red) moonglow
Winsor & Newton
Professinal Water Colour
See colours, right
Miscellaneous
Daniel Smith moonglow
White gouache
White gel pen
White pastel (not oil pastel)
Old toothbrush
Step 1
magazine
Step 3
Books
WHAT TO READ THIS MONTH
Water in
watercolour
Well-known artist,
Joe Francis Dowden
turns his attention
to painting water in
watercolour for this
Visit www.painters-online.co.uk/store and click on the sparkling new
link to books to buy the latest practical art books addition to Search
available from LP’s online bookshop Press’s How to Paint
series. Aimed at the
more established painter, Joe has put together a
collection of in-depth exercises and practical projects
From cave that explore ways of effectively painting water. The
book features work included in two of Joe’s previously
to computer published titles.
Based on the premise
How to Paint Water in Watercolour by Joe Francis Dowden.
that all representations
Search Press, (s/b), £12.99.
of life are pictures,
whether they are
paintings, photographs
or films, David
Hockney and Martin
Capturing a likeness
Recently elected as a member of
Gayford have put
the New English Art Club, Daniel
together a global
Shadbolt teaches painting and
history of pictures –
drawing at The Heatherley School
from the cave to the
of Fine Art, so is well aware of the
computer screen.
challenges faced by the portrait
Divided into 18
painter. Painting and Drawing the
chapters, starting with pictures and reality and finishing
Head gives a refreshing take on
with movies and stills, each includes a broad and
portraiture, following the process
carefully selected group of paintings and comments made
of painting a head in five sittings,
by the authors. These form a dialogue of the subject
with plenty of practical
being explored, with the authors crossing the usual
commentary along the way.
boundaries that have traditionally constrained the way
From choosing the ground for your picture, through lighting and
we look at pictures.
background decisions, colour, tone and perspective, there’s
A History of Pictures by David Hockney and Martin Gayford.
something of interest for all painters, not just portraitists.
Thames and Hudson, (h/b), £29.95.
Painting and Drawing the Head by Daniel Shadbolt. Crowood Press, (s/b),
£16.99.
Essential poses
This beginner’s guide to
figure drawing by Botanical
Christopher Hart will help drawing
to make your figures more Using the very precise
lifelike, capturing them in nature of graphite and
everyday poses. With easy- coloured pencils, award-
to-follow techniques, winning author, Sue Vize,
Christopher shows you shows you how to
how to identify the capture the details of
mechanics of the moving plants in minute detail.
figure so that you are able Each chapter
to draw them in a concentrates on a
convincing way. Starting different aspect of the
with a chapter on drawing plant, with instruction on
the male and female composition, colour charts and mixing. There’s plenty of
body, the book moves on to drawing the body at different tips and advice and step-by-step projects to work
angles, including foreshortening, sitting and standing and alongside, building confidence and skill.
dramatic poses. Botanical Drawing using Graphite and Coloured Pencils by Sue Vize.
Figure it Out! Drawing Essential Poses by Christopher Hart. Sterling (s/b), Crowood Press, (s/b), £16.99
£14.99.
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
Different eyes
Self-taught artist, Fran Russell, works in oils en plein air.
Although she always had an interest in art, it wasn’t until she
took early retirement in 2005 that she started painting in
earnest. She now runs oil painting and en plein air workshops
from Weavers Studio in Sutton Valence, Kent. “Smallhythe Sky
was painted alla prima from a friend’s garden. I was there with t
Fran Russell Smallhythe Sky, oil on board, 5x7in. (12.5x18cm)
a group of artists called Different Eyes. We meet up once a
month to exchange ideas and do something creative. The big sky and made colour notes to include them later. I paint using the
and cloud formations attracted me to the subject. With limited fat-over-lean method with thinned darks followed by mid-tones
time, I decided to use a small canvas-wrapped board, which had then lights, building up to the part I love doing most – making
been primed at home with a tinted acrylic gesso. This allowed expressive impasto marks on the clouds with a palette knife.”
me to work quickly and avoid too much fiddly detail. I sketched This painting and works by other local artists, including
out the composition in my sketchpad then made my first brush Different Eyes, will be on show in Small is Still Beautiful at
marks on the board with thinned paint to ‘draw’ out the Smallhythe Studio, Tenterden, Kent from 29 October to 16
composition. I noticed the cloud shadows on the fields early on December. Visit www.franrussellart.co.uk
33x36in. (84x91.5cm)
Reader holiday
Paint on the
Greek Island
of Symi with
Hazel Soan
May
3 to 13,
2017