eat ey mee Clu siete an enhance your paifitif GOR 2 peer lel eter est laicy Brnicia Yes ew S wet ioe i 7 f * COMPOSING PAINTIN' OST )-\)=) + PET PORTRAIT PROJECT. BMT ea a se © gS ale SNS MURAL WITH ACRYLICS paOne-off course or a \ ; \/ BA(Hons) Painting a Study at your own pace from home and start at a time to suit you. Support from a one to one tutor who is also a practising artist. Be part ofa UK and international student community. MA Fine Art online also available, Find out more from our website. 0800 731 2116 oca-uk.com.Artists TLLUSTRATORS GET IN TOUCH! Wy not drop us an email Send us tweet, ke us on Facebook pins on Pntrest or eto tage [Ei ivcsoritsanistatmcouk El ornansgnine Ej scstsnamasttos sandimagsine Fe) sensnagzne ; 4 3 i JEANES [= s were in Kings Cross this month. to watch Sir Quentin Blake offically open the doors to the House of Illustration (See above) ILfelt like something of a landmark cceasion, not only because there have been precious few public galleries opening over the last few years, but also because this is the world’s frst museum dedicated to the art of illustration twas something of a star-studded occasion with Dame Paula Rego among the guests, while actress Joanna Lumley, as president of the founders’ club, gave a rousing speech claiming the house was atthe heart of, London's newest ‘creative hub” All the area lackedl, she told the crowd with a typically Ab Fab flourish, was “ear parks and ashtrays Sir Quentin was typically sweet and humble as he addressed the crowd, “Is this really happening?” he asked, after more than 10 years of fundraising for the project had finally come to fruition. The House will store the Bl-year-old’s 4000-strong archive of drawings, many of which feature in the inaugural exhibition, Inside Stories, which runs until 2 November. Characters from Roald Dahl's The Twits, David Walliams’ The Boy in the Dress ancl many more burst from the pages, a the captions reveal Blake's “Eureka!” ‘moment came when he first “discovered that a drawing, can fulfil its purpose and sil be scratchy, instinctive and badly-behaved” ustration has finally found a permanent home and iccouldnit have wished for a warmer weleome Steve Pill, Editor ‘Our Artists of the Year 2044 competition closes ths month anc, ifyou needed any further encouragement to enter, ook no further than Mart Jeanes, The Brista-nased watercolourist was named runner upin the 2043 competion and has since become a contibutor tothe magazine. ‘You can folow his pet portrait demonstration on page 65 or view more of his work at www.metthenjeanes co.ukBh let AA dod Le CREATE COLOURS MADE IN SWITZERLAND SINCE 1915 eae Cea RCo Gere ee Ree Cae UCN SD ELON a ty Re eget ea ae CUnN Pad Tel: 020 8445 6376 Fax: 020 8445 2714 email: info@jakar.co.uk ears)CONTENTS 6 YOUR LETTERS ‘Shareyour opinions are artworks 9 THEDIARY News, events and ideas for very creative AUgUSt 22 RURAL RETREATS ‘An arts escape inthe Cons countryside ‘32 ARTISTS OF THE YEAR 2014 ‘ourlast chance a enter our annua competition 36 PORTFOLIO ‘More of te boat Arist ofthe Year entries so far 40 TALKING TECHNIQUES Discover 3 raw pespecive on siife paling 44 BRIEF ENCOUNTER RO! present an Cyer on commissioned work '52 HOW! MADE, ‘53 COLUMNIST \Websteacce om printmaker Laura Bosnal ‘54 LANDSCAPE SHAPES (Create skin compostons from basi backs 60 MAKING A MURAL rghtn your wots with standard atte’ sexys 68 MARTIN KINNEAR’S BIG IDEAS. Understanding warm and ool cobs 74 WHY NOT TRY. ‘Maing series an of pastes er xed texture 76 REVIEWS 82 MY LIFE IN ART With Romantic patter Hugo Grenite 59 rivrovte ernie er G5 riwrcorarcore A. Nesom mone nresYour Letters... LEARNING TO ADAPT RE: Painting Ligh, Issue 340 ‘When Ireceived the July elton of Artists tutators, loved the painting by Peter Wileman on the font cover and ‘was very ented tose that it was featured asa masterclass Thave aways been fascinated by the effet of ight, especialy ‘on water, and was looking forward to trying out the beaut plete that he chose, as I was using acrylics, had wo change some ofthe steps but learnt lot fom the eatorial and was very leased with the outcome. Usa Kagen, via email Yale Thanks for sharing» wondefl panting, Lisa. I's so lovely to see ‘ans adapting our masterclasses to suit ther nee and coming up wih new interpretatons of ourtutors’pantings. you hae flowed. ‘one fou eent step-by-step demonstiations, be suet share your versions wit ws and we print the best ones. BRUSH CLEANING TIPS. Iefiver patnt and cleaning RE: Campaign for Cadmium, | heushes propery usualy clean Issue 340 Drushes repeatedly in white sprit [js read the auc onthe ‘uml icrans cea, pouring the proposed ban of cadmium and | dint sprit imo a container submited my opinion to the The pigment sinks and the EU portal as you suggested, spirit on tap can be poured off {hope tis ban does not happen. | and recycled. Leftover pain can Artists would beat a great, he used to prime other boards or clisadvantage fcadmium were | to.cover over my (lentil) no longer available supply of old paittings which did However, fel there should | not turn out very well, leaving bbe more awareness raised about | them ready foranotber pct theimportanceof disposing of | Mary MaeCabe, ia emall Great adie, Mary, ara rans for ening your support tothe campaign forcadnium. you missed the arte and want to read more abou the sues moved vis wmwartsts andlor. co.uk/eziam LUNDER THE micROSCOPE RE: Find Your Own Style, Issue 339 Iwas originally a biologist and uhink that drawing from a _microscope influenced my near syle of drawing Ihave neatly allvays painted in inks. have tried other mediums and sil reurn to these as like their viv direct colours, Asan atist, I made a second big sep in recent years when jettisoned my peretl and eraser and sarted drawing directly ono the paper with an ink pen, requires a confidence that has enhanced my work, ancl also led fon co my other syle | draw decty ono the paper Inink, then scan this into my ‘computer where Lad eolour in blocks using Photoshop. These become the limite edition pints that sll. [chen rrara to the original ink drawing and paint ‘cin inks, This s the orginal that I ell =the purchaser has painting of ‘which no ane has a copy, asthe prints I produced as limited eaitions are not taken directly from the original This often ‘mean that my Limited edion prints are onsale before the ‘original has even been painted! 1am finding this a successful process and itis interesting 10 see how some people prefer 10 purchase my original paintings, while others prefer the computer coloute limited edition prints Jo Mortimer, via email My IMPERFECT STUDIO RE: Studlo, Issue 340 T'was interested in your article about the perfect sudo Live nan ordinary but comfortable rmodler detached house. The small conservatory isa bit smal fora three-piece suite so I've ‘turned tito a studio, Ihave 19 share it with some other things, such asthe cumble deyer However, there is enough room forme to painc and keep the equipment I need plus there’ bts olightand lean look out onto the garden, need a fan inthe summer and a eater in winter, but thar’ fine,Ftend nett keep finished canvases and works in ‘there because of condensation es not perket but happy! Clare Colins, Maldon, Essex WRITE TO US Send ater or ema tothe agoresses below forte chance + Post Artists strators ‘The Chica Magan Cornpany Ud 2 ue sce london S03 319 + EMAIL Info@artstsonditutrator. couse Tho wrtar for ‘eter ofthe month wrecove a £50 git vousner rom fur partner Grethe, who oer he Ux’ lrgetrango of art matte with over50.000 srt suptios and tor acon an pono remem Great Ant gy (emus Artists & MlustratrAy, ART SACARI See the world in a different way, seeing colour, shape and energy. You will return from our holidays and workshops with unique images and photos which record your own wonderful experiences. \\ Join us here in the UK for one day workshops, short breaks or ask us about ‘our adventure destination painting holidays in Africa, Asia and Europe. On Art Safari you can be assured of expert art tuition, inspiring tours, good food, comfort, style, fun, adrenaline and relaxation. / \ Our tutors include Mary-Anne Bartlett, James Willis, Karen Pearson, Julia Cassels, Jackie Garner and John Threlfall. ARCTIC ANTARCTICA SCOTLAND JERSEY NORWAY VENICE SICILY ENGLAND SPAIN TURKEY MOROCCO BOTSWANA ZAMBIA MALAWI SWAZILAND KENYA NAMIBIA MADAGASCAR INDIA BHUTAN Leading tours since 1999 CAMBODIA E rol 9816 JAPAN Join us today catarcos ()1394 382235 www.artsafari.co.ukyA railbookers plete is ° Exclusive Reader Offer Discover the stunning scenery and dazzling cityscapes of Europe ona tailor made holiday by rail Lavender Provence Emerald Green. Ireland Peary Perret Er Tce er ee once Piste Lc’ Pema rane tht eae ootny Preernent Ireland Explorer - 8 night holiday by rail and aE oe eer rere eae an eer s (Cézanne and Picasso stl tive on inthe landscapes around Aix-en-Provence, rorprer rary ee ere re CC pneu See eee ert cere) Sree Perce nets perry ees aera eee or ees Coens Cece es Pron piece Penta red a ges Tailor made holidays - just Colours of EUPOpe inspiring 2s Terracotta, , alicia for you —adl destinations by rail Si Edelweiss Switzer! Segre ae acy Beate tan) Poser tein eer yore ent cy omen er eset aboard the famous Glacier Express. Crertrrneea tren any steer ‘night holiday by rail from €889 pp Seed palaces, histori sherry bodegas and cobbled eee eeerer Trent omni eno Peery flamenco atthe local cons Granada, Seville and ores eerie corse Railbookers offers tailor made holidays throughout Europe and beyond. Our friendly, experienced travel consultants have an expert knowledge of the rail network and can suggest the best rautas to fit in with your requirements. Make the journey part of your holiday in 2014 with Railbookers and get a 10% discount, exclusive to readers of Artists & Illustrators. Just quote “Europe Offer” when you call To speak to an experienced consultant please call or visit our website. 020 3327 3500 www.railbookers.comTHE DIARY An artist’s guide to the month ahead ' DAILY DOODLES Social media isn't all funny photos of cats. When two artists made a Twitter pledge, they inspired a community of sketchers and made real-life friends between Jean Stevens (@leanStevens4) and Dean Lewis (@OlderThanEul). The two artists both wanted to make moce time for thelr crewing and turned to the social media ‘website ina bid to encourage each other. ‘n August 2013, Jean and Deen pledged tocreate anew drawing every day and post them on Twiter with the hashteg f#OrawingAugust. “it wasnt about creating masterpieces,” says Jean, “twos about picking up. pen and being part of something enjoyable They invited thelr followers to get involved ‘and things snowbaled. More then 200 artists pledged to take part on Jear’s blog, while Countless more posted drawings witn the hashtag, “Im sure in relative terms to Twitter trai It was stl sal, but for 31 days in I= ‘began witha Twitter conversation August, my Twiter food was ust full of variety of drawings, media, colour and styles” says Jean. It took onal of ts oun ‘and suddenly we hed a great community who ete very encouraging and supportive of each othe’ efforts.” ‘Buoyed by the success ofthe project the community folowed it up with ‘#PaintSeptember, #PrintGctober, ‘#PonraitNoverber and more. Many ofthe online participants have since met up and ‘el lendships have fonned. Several members ofthe group even staged an ‘exhibion in Northampton. And tis month, the project comes full cre withthe turn of #DrawingAugust With a second job and other commitments, ‘meatingthe daly deadline has sometimes, proved 2 challenge for Jean but she's showing no signs of stopping yet “The mast important things to enjoy t* For more information, visit Jean's bog at Jeanstovensstudodior wordpress.com #DrawingAugust you want to take patin this years event, here is whet to do: + On 4 August, make a new drawing. ‘The choice of subjects yours, + Take a photo of your drawing or make a scan oft + Post the photo on Twitter using ‘the hashtag WDrawingAugust + Repeat the process every single ay unt 34 August PEN msc BOWIE’ENTER ONLINE www.rwa.org.uk lemy, Engla Mel ES ouae Call For Entries: F RWA 162" Annual Open Exhibition The South West's largest and most prestigious Open Exhibition DEADLINE FOR SUBMISSIONS: 27 AUGUST 2014 fo ceTlct le) B®) USS Aras) a -L) BS oe a ‘ ‘ CAA ./LHE UK’S LEADING FINE ART PRINTERS ei da > > @ Fine Art Giclée Printing, e Photography and Scanning Service @ Hahnemihle Fine Art Papers and. Canvas, @ Professional. and.Friendly Advice, @ Photographic and Watercolaupfagecs —@ The finest Colaue Matehlag. and Aeppaductions. © Greeting Cards, Brochures and More @ Printers to some of the Uk’s Leading Artists @ No Minimum Order Quantity, @ Studio Visits Welcome oN ol T Nya male Re poo SHEE goth Ao SUES MGS doles Saal ale RL Www.geminidigitatcotour. colour.co.uKENTER ‘SWLA Open Exhibition 2014 Submissions close at midday on 24 August for the 5st annual Society of Wile Artists ‘extbition. Submit works that evoke the spit ‘ofthe natural word for the chance to win ight major prizes. wen swia.co.uk Pittenweem Arts Festival Located in the gorgeous Scottish coastal town of Pittenweem, this nine-day festival et ‘opens with an open-air painting competition % (2:30em,2 August). Verius artist talks and Po of practical workshops also feature. wor pitenweemartsfestivaco.uk ART GENDA Five things to see and do in August SEE Views of the Island Artists & Wustrators columnist Laure Boswell ‘ed Sth-century Japanese woodblock techniques to create a erie of se of Wight lerascapes that debut t Quay rs, Newport from 2.30 August wwlouraboswelico.sk ma LEARN EXPLORE Mall Galle Great North Art Show ‘Te anual open exibition a Ripon Cathedral (90 August to 24 September) ‘oer acrosesecton of te North of England’ bet contemporary artist, incuding watercolourst Tm Rose {Towards the Lit pctred rig vow greatnrtarishowco.k 1s Workshops ‘Te London venue hast @ series of one-day workshops this month, with highignts Including pastel mastercias fom Fell House PS (5 August) and Andrew James RP'S guide to portrait sketchingin ols (25 August. \worw maligalleres org.uk Artists @ Mlustratorsathe diary Would you dare to sitona Gruffalo? You'l have your chance this summer as this al Scheffarilustrates BookBench takes ts place st Hays Galleria in London. 50 Bookienches wil De on ‘spay across the captal nti 15 September to reise ‘awareness forthe National Literacy Trust's Books about Tonn cempaign. Other erists taking pan include Charlie & Lola creator Lauren Child ane Ralph Steadman, who took Inspiration from Lewis Call Tofind the Bookenches, download a map ofthe trall at ‘www booksabouttown org.uk Most of you might recognise ‘the portrait onthe left as Gir wit a Pear! Earring but you might be surprised to team who actualy pated it This isnot the Johannes Vermeer orginal but rather a ‘genuine fake by mester art forger John Myatt The paintings one of 47 in his newest collection, Foe, hich aso includes pieces in ‘the strle of Mic, Monet and Lichtenstein, 69.yearol6 Myatt once served a four ‘month prison sentence for hispertina mejorantfreud, | re-opens on 5 August alter butte paintings in Fake wit be sold under his own name Fake runs unt 40 August | Dubbed ‘Britain's answer at Castle Fine Art, London Wa. ‘www.contleglieries.com a period of conservation to the Sistine Chapel’, the Hampshire venue is home to 9 epic Stanle Spencer panel that honour the WWI deac ‘COLOUR Me SCOTTISH PLAN YOUR DEPARTURE FIGURE IT OUT Tocancl hice JO Fegson ep mt bay previesenic Layo’ vender Sais as nounced tshton, Cher ala Hote Cmucrbarrdcaie 2013 calendar | Grey wocope wh Hey Yar an edo Gary tay wok ith pen cltempingpoining beaks | ssson (V3 pure and toe vranced css scrembe) Tuo Clive Westwood Desunansonite orcon neetad, | @-12Scpenie, The Calor bed pra {Spon acd upon the So the eres Tor mote dct lsd ox so beg To ook your ple, coi ENJOY A DAILY DOSE OF ARTISTIC INSPIRATION AT WWW.FACEBOOK.COM/ARTISTSANDILLUSTRATORSJACKSON'S STUDIO SYNTHETIC BRUSHES ‘These high qualty synthetic watercoiour brushes are now avalabi tha the ul price Unt the 1h of August 2014 Don't mise your Fin the form betw and send it to dakar ‘Nt Supple, 1 Friigh Place, London N16 75% ORDER FORM Round Code Sire Was Now _Quantty Total 055/050 058/030 : 5052/0 270 150500 ost 1 Bose 2 5 50533 sot 4 50555 150586 %0 s0s7 7 0 0588 co sost0 10 9 wes0s12 12 > Bs05t4 14 a0 Bsoste 16 800 0524 24 0 Rigger Code Size Was Now Guontity_ Total ‘50500 Bost soe 2 0 50033 sot Flat Goce __size__Was__Now Quantity Total ‘soot 12 7 ws00n/4 8 sooty . 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The holiday includes airport transfers, seven night's ‘accommodation, painting tution, seven dinners, ve lunches and two excursions, Pease note: fights are not includes Visit www.paintingiitaly.com tofind out more about Learning Holidays in aly or call thom foe 0 0808 118 5729, Enter for the chance to enjoy a seven-night art, break courtesy of Learning Holidays in Italy For your chance to win this stunning ‘Umbrian painting holiday, enter onine at wor artistsandiustrators.ca.k/competitions by 46 October 2014. Alternatively, simply filin the form opposite and return itt: Plating in italy Pw Draw, Artists & Mustrators, (Chelsea Magazine Company Lt, Jubilee House, lube Pace, London SW3 310 Te winner wil be announced inthe December 2014 issue of Arists & IMustrators, on sale 7 November 2014, TERMS AND CONDITIONS APPLY. FOR DETAILS, PLEASE VISIT WWW.CHELSEAMAGAZINES.COM/TERMSMALL GALLERIES CALL FOR ENTRIES 2014 OPEN ART EXHIBITIONS ey Deere PPE Oe Pou) English Art Club Coen) gaa Amines, olan Find out more at: www.mallgalleries.org.uk pines et a ene Painting holidays in India tutored by professional artists toe eat Rime atmosphere Is relaxed and stesste, of THE LEADING PAINTING HOLIDAY DESTINATION ite nthe Uma lth em ef ay, ou rae 220 a ae te stunning backdrop fr our painting, sculpture and waiting courses. These residential holidays Include seven days" accommodation in our home, an I8thcentry country house, where the ‘the perfect setting for you to enjoy and d Simon Keeley Halima Washington-Dixon an Jean Haines! Prices stat from £985 fora general course an 1,285 fora Master Clas fly inclusive of ution, all art matesals, full board accommodation, super loalculsin, wine, fe bat and local tours. AlLoneneek courses fer incredible value for money! For more details ofall 2014/2015 courses email: info@arteumbria.com, call Italy: (0039 0763 837347, cellphone: 0039 345 876 8311 or visit: www.arteumbria.com Follow us on Twltter@ArteUmbria and our Facebook page Arte Umbria, AKecipe for Succedsd With her brave attitude, relentless work ethic and no small amount of painterly skill, Cornwall artist Henrietta Graham has produced a collection of Portraits of the UK's greatest chefs that is gaining international recognition ‘Words: TERRI EATON Actsts @ Mlustrators37henrietta graham nt, the priority for most mere mortals isto arrive equipped with proper table manners and a eumbling ‘somach. For Henrietta Graham, a sketchbook and an arti eye ate the most important things required to sally her appetite. The Cornwall-based artists cooking up an ambitious series of portraits of Britains areatestchels, which will clminate withthe publishing of «book to showease the collection Her subjects include Gordon Ramsay, Raymond Blane and Gary Rhodes among, 50 others, while her epiction of TY favourite James Martin features in this year’s BP Awaid exhibition havea beginning and Henrieua’s fascination with the dynamisi af (Of course, all great stories commenced when she was just 12 years ol OVE Herretta puts the finishing touches her otra of Micnel Rou HT James Martin, ion canvas, 20314276 AGE T John Wiis, oon canvas, 4230322m Her grandmother decided one day to whisk her granddaughter to Michel Rous’ famous Watetside Inn ln Bray for lunch. The artist was ralsed into faaly foodies ~"My father practically lived in estanrans, she says ~ but dhs tip was particularly specia Alter we'd finished eating, my grandmother requested to se the kitchens. [wasn really the done thing back hen but sbe was an imposing kay so people usually obeyed her commands the 4Beyearold. “L walled in and I froze. All these chels were rushing around and it was an absolue visual Feast, The memory has stayed with me eve since Growing up, Henrietta affection for all chings sastranomie was only outweighed by her love of palnting, Luclan Freud was her idol, potrats were her passion and attending at school was a given However, conceptual art was dominating British curriculums and life rooms were closing, so shehenrietta graham ‘moved 10 Paris in 1988 10 study’ at Feole Parsons a Paris inthe hopes of learning the classical skills she ‘raved, "Unfortunately, twas exaetly the same there 10" she admis. “L1emember one lesson (in whic] my professor exclaimed that we shouldnt use our hands and [kicked up afass because al | wanted was for someone to show me how to grind pigment Disillusioned, Henrieta moved to London and enrolled atthe Heathetley School of Fine Art. After a short period of travelling and producing lanlscape paintings, she settled in a Chelsea stulio where a chance encounter with the film star Jack Nicholson Jead to him buying one of her paintings. More Importantly, the artist also found herself around the corner from Restaurant Gordon Ramsay on Royal Hospital Road. Prior to his ise to fame as potty mouthed TV personality, Henrieua approached the chef withthe idea of paling him, Tfirst met Gordon in 1997 when he was trying to get his three Michelin stars? she remembers, “The atmosphere in his kitchen was something else and he was fantastic to paint He hasa brilliant face and there was ats of atlon. Ramsay commissioned Hentieta to paint eight pictuzes of him in his restaurant. She learned to become ‘invisible’ inthe kitchen, making notes in her sketchbook and taking photos for reference The paintings later formed the bass ofa solo exhibition in 2005 at lange and proved to be a celebration of superb cuisine and the efforts i akes to prepare it, rather than of Ramsay as an individal Tburst into tears when I found out T was selected for the BP Partract Award 2014. TEs semething Tue wanted since Tusa a child” My emplasis has changed over the yeas," admits Henrietta. “At first, was about the action andl activity ‘nthe kitchen but then | started to get to know the strength ofthe individuals, Their stamina is extraordinary. [ve become friends with alot of ehels now because theres recognition ofthe hard work, ‘imagination and determination involved” Henrieta painted afew more chels in the years to follow, including Antonio Carluecio and Tim Powell, ‘bu i wasnit unl 2010 that she really returned to the series with vigour ‘With the help of chef Nathan Outlaw, Henrietta rated a preliminary list of 20 chels and wrote to ‘hem all. To er surprise, they all sid yes. “When L ‘was with them, Loud ask who else should be on {hiss and it snowballed from there" she says, “Its such a tght industry and some of them aze very close associates so | didnt want to omit any key players, In 2013, she was alflorded the opportunity a paint one of her heroes, Albert Roux. She arrived atthe >henrietta graham “Tue became friends with a lat of chefs nou. because theres recognition of the hard work, imagination and determination invelued in bath painting and food”French restauraier’ house and found him sat in his ollie. "ts amazing o think he 78 and stl hasnt retired. Hea very intense man, As the painting evolved, [elt uncomfortable because this powerhouse ‘was staing right at me.I debated whether to cover up his eyes with masking tape while I painted! Tn the same year, Henvietta was given the chance 0 paint John Williams, head chef at The Ritz, Busy from breakfast wo close, the artist's window of opportunity was miniscule. However, John knew the light inthe Jktchen would be at its best at am so she fraatially drew sketches a that time. “He isthe most ‘magnificent chel Ive painted because he sll wears the tll hat” she explains." wish all chefs dd although Pd have to make my canvases a lot bigge!™ fall of her encounters with the lords and ladies ofthe larder, one ofthe artist’ fondest memories was _meeting Michel Roux Je at Le Gavroche. The Michelin started resaurant was empty and he tnvlted her to have lunch with him, a rate moment when she accepted free meal. "Some ees have been very kind and a lovely glss of wine will appear or an extra course, but [do try and keep it professional. [m not going to give them my panntings so why should they sve me ther food?” Fraternising with experts who strive for perfeclon has raised the bat for Henrietta’ own work, Prior 10 starting the seties, shed debate whether to paint in the evenings or Kick back and relax. “Now i gets to Tpm and [ think, ‘Right, the chet are getting into second service. best get back to work!” she revels Her turbo-charged enthusiasm is proving extremely frulful i her inclusion in thls year’s BP Porn Award hur inte tears when I found out was selected. I's something Ive wanted since was a ciild and, asa portrait painer, ts the dream ABOVESot Bans, lion canvas, 222x910m OPPOSTEPAGE Abort Rou, ot on canvas, 614762 GT Henitta ad Oe, ‘portal ofthe artis by ner husband Tin Hal henrietta graham Iman extra cwist, Henretats artist hushand, Tim. Aiscovered tha his portrait of her painting See below) would also feature inthe BP Portvaic Award exhibition They are thought tobe the fist husband:-and-wife pair to feature in the competitions 28-year history, but she ‘nists there's no rivalry between them, “Were extremely diferent as ats: the way we approach things the way we colour mix and what we want out of our paintings, she says. "Plus, its absolutely great having ewo painters in the house because you speak the same language. Ian say that Im siraggling with the colour orange and my husband will know exactly what Lmean, In any other profession, the other person ‘would look at me like Lwas mad” That support hs helped Henrieta to really focus ner che! series. "Tim tying to hal and record something that i visually stunning bat historically fascinating, Inthe last 40 yeas, this country has gone from the bottom of the culinary’ felt the top and isall down wo them, While theres no denying thatthe series is a celebration of a unique collective of professional, ‘also demonstrates Henrietta’ distinctive courage, skill and inventiveness. I takes certain strength of character to approach and paint more than 50 of the ‘country most intimidating individuals in the culinary sector Her gusto is endearing and her talent Inspiring, All nal, cis a recipe destined for success. eniletta's panting, James Martin, features in BP Porat Award 2014, which runs untll24 September at the National Portralt Gallary, London WC2 then tours. ww henlttagraham.<0.0kA change is as good as a rest, so why not opt for some new scenery this summer? Alice Wright visited Cornwall's Kestle Barton, one of several new multi-purpose rural arts venues, in search of inspiration destination is going 1 be special when the directions include hailing ferry co cross the Cornish river cha inspired a romaauie Daphne du Maurier novel, Frenchmans Geek isa tale of piracy and love, and the approach to Kestle Barton by road isno less magia, winding its way on narrow lanes through the lus hedgerows of West Corns Tn this secluded spot, an ancient farmstead has been lovingly restored ocreate a rutal centre for contemporary aris that offers a exciting programme of exhibitions, ‘workshops and events, all in aseting ‘of stunning natual beauty ‘With top-ofthe-range holiday accommodation aso available on site, itisan idyllic holiday destination arists to discover new work while society presidentsing president ofan are soley sa Tot ike painting in egg tempera ~ both requires ‘copious amounts of patience, astute decision-making and a convincing belie! In what you're working with o achieve ‘primum results. Award-winning tempera painter Robin-Lee Hall fas been acquainted with each of these disciplines since she was elected president ofthe Royal Society of Prcait Painters (RP) in May. ‘evertheles, this col, calm and collected atist is taking herestended to-do list in her stride "My average day stil involves getting up, walking the dog then heading to my studio, although {am gesing aloe ‘more emails," declares Robin, who was first elected to the society in 2008. "I became involved with the counei fay early on and is been a gradual process (o get to where Lam today so the extta work hast ‘come as too much ofa shack.” Robins atentions ate chilly focused on. evordinating the socitys annual exhibition ‘The 52.yearold has fim ideas about what she considers atraclve ina portrait, such as offset ‘compositions, suitably balanced colours and the placing of faces within an environment. She also aalmits to often being enchanted by the mood and lie ofa painting, when it sweeps your imagination of is feet and is atmosphere rematns with you when you ‘walk away: Caravaggio's The Supper at Emmaus is one such work that has had this effect on her “Lalways ‘return toi inthe National Gallery because its beautifully balanced and spectacularly lit” admits the Arist, wha studied fie art at Saint Martin’ School of Art "I one I go back 10 Im order to get ideas for rnyy own portraits and lays find something else to look at” Aswel as knowing what she likes, Robin can distinguish precisely ‘what she does like too and is generally paintings that follow ‘uends rather than an atist’s gut instinct. “Large portraits seem o be fashionable atthe moment but Some are no saying all that much by being big” she remarks, “In conteat,thereS an artist called Clara Drummond who won our Balldog Bursary in 2010 \who works ona small scale and is very skilled at ‘keeping things very loose but creating an atnbience” ‘Robin is well versed in the subject of powerful pictures, Using a matrix of egg tempera layers and ‘washes, she has pained such notable sitters as astronomer Sit Patrick Moore and Harty Gould OBE, ‘former president of the Royal Albert Hall, ‘With the need 10 mix fresh eges with the paint pigment, tempera can be a perplexing medium and ‘one that few artists dare to handle but the jewel-ike ‘ones in Robin's paintings make the effort worthwhile, ‘Tove the fact Ihave control over the eolour and can make as imtense a lke, It does take forever to “You've got to be slightly mad to pursue egg tempera painting but the shades will remain as vibrant today as the day you put them down” ‘make your own paints each time you sit dawn hence youlve gpt tobe slightly mad to pursue tempera but ‘the shades will emain as vibrant today asthe day you pat them down,” she voces “Also, = semi "wansparent and I work on gesso so, when | apply colour, the whiteness comes through and illaminates ‘the painting, almost like stained glass” In 2010, Robin was overjoyed to win the Ondaatje Prize fr Portraiture atthe RP annual exhibition for Dher painting Jy, which was a landmark moment in the years leading up to her presidency. "The picture vas labour of love” she says. "Joy was the mother ‘of my friend from art schaol and she was. fantastic character so was pleased thatthe portrait won” Though the socety historically receives few ‘tempera paintings into their annual exhibition, Rabi. ‘makes a beeline for them ithey are ever included. Raval “Tm fascinated how someone else has used colour and applied the pai,’ she reveals. Tam casting a ertcal ye, hut frst of all I'm casting an eye of interest and fascination at someone working in the same medivm.” ‘sid from the annual exhibition, Rabin other principal abligation isto act as an agent fr the society, ending meetings athe Mall Galleries, visting private views of exhibitions and talaing any ‘opportunity o highlight the work of the RP to ethers, Pri to her ascension to the top, she would often step infor former president Alastair Adams on occasions ‘when he couldnt appear, 0 she's comfortable ‘mingling with people and underlining the good Incentions of the society. its about making sure that people know were Ihere in order wo carry on moving the RP forwatd. Te act, Pe vealy lke 10 develop a series of ‘workshops atthe education centte in the Mall Galleries to encourage the next generation ‘of porteaic painters to step forward sbe says Tr already involved in the young persou's programme at The National Gallery and I know ‘eenagers really love portiits, which i encouraging, Robin is optimistic about the future society. She confesses to harbouring minor concerts about the threat of photography ~ "les lot quicker and cheaper ‘a commission a photo" ~but she needn't worry Portraiture produces unmatchable levels of _tatification for both painter and viewer, a8 tis a severe test for an artist to assume, Unlocking the secret of a peteet portrait sust another one of i's problems that is beter shared and, as Robin can atest, the RP isthe perfect place fr everyone to sha Mombers ofthe RP wil be teaching one-day courses at part ofthe Mall Galleries Summer Workshop series from 4-16 August. woewtherp.co.tk > society presidents ROBIN LEE HALL Tee ee cs ‘oPPosiTEPAG,cLooKWse FROM TOP in My Motor ‘chen, egg tempera on 0850 panel, 9121.5em: Robin in her tie: ‘ad Day at Black Rock. ‘tempera on gesso panel 201180; Jy ea tempera (on ges panel, 71x61em Antsts @ Wustrators29society presidents LUO h WwooD ‘PPOSITEPRGE, LOCA FROM TOP trot atorclour on paper, 351250; iver Haut, watercolour on paper, 25:350m; ‘Shaler, waterclour en oper 35:250m InserAnay proudly woars the rs onsin of os, designed and mace bythe Vetorian| sculptor Aes Gitert 0 Artists & Mhastrators ast Sussex-hased artist Andy Wood has had an incredible range of jobs and roles ‘over the years, rom stage electrician atthe London Palladium to freighter in Dorset to poster designer in Snowdonia, However, his recent appointment as president ofthe Royal Institute of Painters in Water Colours (RI is expected tobe the most fulfilling yet, as rewacds his lifetime of hard work and dedication to painting “Being president is wonderful because it’ giving me the opportunity 10 put into practice all of my weas, such as promoting the society through Twitter and YouTube." explains Andy, who was elected a the Institutes AGM in April "These 21st-century means of adverusing will not only make sue the society ‘survives but, more importantly, that it ubrives Pus, think its an ideal way to encourage and educate people in the use ofthe medium.” Founded in 1831, Andy reveals the RUis surprisingly well known in unexpected! places ike Belgium, China and Australi, thanks In part wo the favourable auitude ‘towards watercolour in those countries ‘Assuuch, he wants to concentrate ‘on raising ts profile in the UK where there ae lots of watercolour pulers Dt isnot always seen as an important medium, “Its crazy opinion that some people sll have especially as we Bris were the great innovators in transforming the use of watercolour in the late 17h and early 18th centuries,” says the 67-year-old, "but ‘youve got to remember that the society was inital established co challenge the atid of the Royal ‘Academy of Arts so pethaps there stil abit of reluctance to take it seriously.” Unlike the naysayers, Andy has always valued using watercolour to express his ideas “It's just so adaptable ‘You can achieve an incredible range of skis, from fine detail to superbly-executed ‘yet into-wet washes.” ‘ays the artist, who Is legendary fr hs sick, realistic landscapes. “Lahinkicallows the individuality ofan artist to shine through The watercolourist studied fine art and film at Croydon and Newport colleges of art belore going ‘on o teach a a ein college in Twiekenbam unt 1977, when he relocated to Dorset to focus full sine ‘on his artwork His efforts were rewarded when he was elected into the Federation of British Artists in 1980 followed by Aaceeptance into the RL. the fllowing year, “It was one ‘ofthe most significant moments of my career” he says ‘ofthe later. “I's exciting and foreboding atthe same time to be accepted into a society because you then ‘have to live up to thet faith n you. Now, I'm “| want to promote the Institute through Twitter and YouTube. an ideal way to encourage and educate people in the use of watercolour” following on from Ronald Maddox who served 25 years as president. ve got big shoes to ill” Andy was appoinced secretary in 2008, working chhiely as an instrument of communication between the council and the members but he also learned ‘valuable lessons from Ronald about leadership that he will carry with him trough his presidency “Ronald realy pulled up the society by their bootstraps and he made it look easy to run a sociesy that’s only something the best ean do” says And wha is also founding academician of the South West ‘Academy of Fine and Applied Arts "He also taught me about responsibility and tobe aware that Im now ina position where I can influence people without meaning wo: Seeing as though the society hosts one ofthe hotest annual open submissions in cown, its understandable Andy is cautious about creating unfair bias towards particular watercolouists. However, scouring for new talen is one of his personal pleasures, whether he vocalises his findings oF no "As Judge, [tend 0 look for technical excellence which includes drawing salls and how people use the paint. However, like to see more young talent ‘emerging he admits. “Ive been lockingat the BA and “Masters shows ofthe local art schools and there are few people using watercolour in painting, I's nota worry, bu is atest to get young people seeing its vibrant, living medium, We have alot of young. ‘members but we need more And)’s enthusiasm to develop the society is abundant and what’ fantastic is that it doesnt come at ‘cost of his own artistic dais. Hes got the balance between ns esponsibilies a a president and his personal goals asa painter just right, Were eager to know his secret “The mare Ihave todo, the more Lwant 1 do, 1 know atists who say they wai tobe inspired and lot of them will wal for months but when youre doing it everyday, the Inspiration comes as part, ofitand i’ the same with the volvement of the RL Ido ty woe disciplined and pur certain days aside for office work, Today was supposed to be one of those days but Ive spent the majority oft paiating!” Andy's confession underlines the fact uaa every president of an art society is at hear a practising autist Institutions as magnanimous as the RE may appear intimidating and untouchable o outsiders but Andy's alm isto mele away those preconceptions to encourage folks ofall ages an levels to explore and enjoy watereolour The An Wes rons unt 17 August at Tenby Museum and Art Gallery, Pembrokeshire. Ri at Liye Register runs from 40.26 September at Lod’ Register, London EC3. vo: royalnstitteofpalntersinwatercolours.org [think it’ssociety presidentsArtists && ILLUSTRATORS ARTISTS OF THE YEAR 2014 Don't miss out! This is your last opportunity to enter this year's search for the best undiscovered artists and win a host of fantastic prizes ver dreamt of hecoming a professional actist Want to spend your days at a easel ‘non office? Think your latest work is ‘eying out co be seen on the walls ofa prestigious gallery? Ifyou've just answered yes, yesand yes, you're im Tuck = Wwe might just have a solution for you ‘The Arts Illustrators Artists of he Year 2014 Is ‘our annual search forthe best undiseavered talent in the UK and beyond. We're looking o give deserving artists leg up on the carer ladder and help them find a whole new audience fo thelr work ‘Submit your best paintings to ou competition before the midday deadline on 4 August and you. could be in with the chance of featuring in our Mall Galleries exhibition from 5-18 January 2015 and perhaps even working towards a solo exhibition with the leading London at dealers Jonathan Cooper Park ‘Walk Galley. Not only that but you could also find yourself taking home £1,000 cash, enjoying a seven night holiday with Thomson Cruises ot ssocking your eupboards with quality rt materials, I'you like the sound of that, what ate you waiting {oy? Follow the instructions on the opposite page and send us your latest masterplece. Like all major art competitions there isa small entry fe see opposite for details, However, all members of out Portfolio Plus scheme ean enter multiple aroworks ee of charge ‘To join out Portfolio Plus scheme today, please vist ‘www artstsanelilisteators.couk register JUDGING When entries close at midday on 14 August 2014, ‘shortlist of artworks will be drawn up by our pane of judges, which wil be led by Artists 6 Ilusrauns editor Steve Pill and gallery director Jonathan Cooper. ‘The judges will be looking for unique, eye-catching 2 Artists & Mhastrators and creative works that demonstrate a good level of amtistc technique. When the shortlists chosen, readers can then vote fr their favourite artworks, a wwwanistsandillustrators.co.0k PRIZES + A £1,000 cash rst prize + A place in our twoeck exibition atthe prestigious Mall Galleries near Buckingham Palace ery representation fromthe Jonathan Cooper Park Walk Galery in West London + A serernight ruse onthe Aegean Sea, with fights and transfers, courtesy of Thomson Cruises + More than £1,200 worth of at products and vouchers courtesy of GreatArt SAA, Daler-Rowney end Canson BELOW Lact year's + National exposure in Artists & Ilustrators magazine shortisted artworks | + Complimentary membership to Portflio Plus on display at Mall + All entrants wl receive exclusive Initatlons to our Galen in Loncon annual exniiton tthe Mall GalleriesHOW TO ENTER ‘There are two ways to enter this years competition: 1. ONLINE Take a digtal photo of your ariwork(9, Go to our website at wwww.artistsandillusteators.co.h/2014 Select whether or not you ate a Portfolio Plus member, You wil be taken to. new sereen, Complete the form, taking care to fillinall requested feds, atch your Aartwories (up toa maximum of nine perform) and ‘complete your payment information tif applicable) Select the "Submit” button to send us your entries. 2. BY POST Complete the entey form apposite and posi along with a photograph or print of your artwork {Gand cheque i applicable) 10: Artists of the Year 2014, Artists & ustracrs, ‘The Chelsea Magazine Company Ltd, Jubilee House, 2 Jubilee Place, London SW3 37Q Entries will only be accepted in one or more of the following mediums: all waer-based mediums Uincloding watercolours), oils aeryies, gouache, all ove Greenwich Steet, San Francisco, s1gcisven sil fe arangement on tre other ‘easel, “foe tke tipping the picture plane or having an unusual angle is 1a great way of waking up the mang. Maybe because Ive worn glasses since Iwas fve, ve always had the choice between having 20/20 vision ‘and rather blurred vision, so that’s ‘another ting that made me realy interested in the nature of how we see. fascinated by the times wen our brain doesn't quite make sense of what we can see." When it comes to actualy beginning 2 larger sil if painting, Alex wil lay VERONESE Alex was “bowled over" by the Renaissance artis’ the Nationel Gallery's recent show. iy works in {round with the compostion fst~ ‘the one constant being that all of ‘these items are chipped, stained or Custy. "There's alt of beauty in an ‘eroded, weathered surface. It alows ‘the eye to travel across the surface Ina way whichis quite sbstract.” With an arrangement setled upon, he wil often begin with a simple tine rawing, “From the drawing, I found ‘the angle andthe proportions,” he ‘908 of his initio study for Three Battles. "Drawing something out of ‘the comer of one’s eve was quite a ew ie to take on, so it was Important to perce the white of the ‘paper anc get into the painting” From here, Alex will start colour blocking, interestingly given the very precise angles and lines in his fished paintings, ne actually sous in the colour quite roughly leaving plenty of space between the diferent colours 50 that he ha room to refine the shapes as he progresses. Alex credits much of his suocess to ‘a two,ear diploma in portrait painting atthe Heatherley School of At eal fll in love wth painting fom ‘observation in general and the rigour ‘Alex mixes seven parts turps tone part stand ol“ want a good range in my darks, I might use more ol”that was brought tothe table bya lot ofthe staff there, many of whom who had been trained at the Slade by Evan Ugiow and Patrick George. “i's rect panting, he explain. "you observe colour, you ut it ‘down then you observe the adjocent colour and put it down next 10.1 reall iked that nuts-and-bolts ‘approach, i's a brillant way to study 1938 well because you can't hide behind snazzy brushstrokes or theon.” The latter comment is telling ven thatthe artist frst endures a rather Lntuling foundation course that ized theory over techniques. “I went to these lectures that were opacue ‘and impenetrable, fll of at jargon ‘and nonsense,” he says “I found it rather depressing because | thought Tymust be me, I must be stupid" ‘The colour mixing staie is as an Important one for Alex. Working witn Michae! Herding oll, he uses @ palette krife ta mix up large, fat slabs of pigment ~"llike to see the larity Inthe colour, He is an advocate of the Heathereys approach to mixing all colours from just six pigments ~ ‘warm and cool vanart of each of the three primavies ~ but he does have 8 silently oiferent way ofloking at them. “I uld not forthe life of me tell vhether Cerulean Blue or Utramarine [Bue is waimer or cooler,” he says { "Forme, theyre both coo! colours! ‘think oft instead as bie that is biased towards red anda blue thet 's biased towards green” {Unie many oil painters, Alex works ‘on @ bright whi ground so thatthe white shows through the thinner ayers of paint and acd luminosity to his colours. “Sometimes it does mean putting on thick washes to block out ‘the white, but its much easier to tone down a colour than isto brighten it” ‘Ate time of our vst, Alexis in the finishing pieces for Stl Alve, a grouD how by members of the Federation of British Artists (ne qualifies as one (ofthe youngest members of the New English Art Clu). After tis, he wants tacear some time to develop a few Ideas and see where they take him, In the meantime, he's sti buzzing off a recent visit 0 The National Gallery's Veronese exhibition. “One of ‘the magical things pout painting is you can look ata pointing mode in 1620 and you're looking at tin 2014 ‘and is as present and impressive today asitwes back then” talking techniques it his inventive approach to ABOVE Alex relaxes classical techniques, thereis every | infrontofh Pree chance that Alex's own works wilbe | Boies paring Bove Me Forth Beige. cilon canvas, T6x726m argo was 9 sructretostand under engineered following the Tay Bridge scat.brief encounters rT Queenstown earn board, 30125¢rn BELOW Second ‘Sever Cassin citon boars Tex660n conmisio, had the lttorng boiow andthe over foreeround ana the race of the bridge against the dusk in 0 Artists @ Tu | think, tothe sense of movement ‘The headlights, the yellow front and the fight striking the side of the ain were the points | picked up on, rather than tying to depict speci train. THE PERFECT BRIEF? Commissions arequitea different matter or at least they can be, depending upon the motivations of ‘the commissioner and their reasons ‘or choosing your syle of panting. Most of my railway commissions have ‘come from companies rather than enthusiasts, who nearly always want a picture that shows every deta every rivet even ‘This sort of picture leaves me cole ‘and, although Ihave tied the ‘easton locomotive portal, the resuits leave me feeling that | have compromised my painting prncipes in ‘favour of the subject. The assumption \when & potential clent aporoaches {you is that they Bke the type of work ‘that you do, but have a specie purpose for that work, After al, if your workhas 8 clear voice then no doubt the client wil have a good idea of where you are coming from as an erst and 90 their expectation should allow you 10 Work in your usual manner. The Forth Bride was one ofa seties of 12 painted forthe English Welsh and Scottish Railway (EWS) Freight tains on bridges across Brain was the theme, my enthusiasm or vncage railway posters finding an ‘outlet on this job 28 I traveled the ‘country in search ofthe right subjects. Alvough quite lar for plein air paintings, the dozen paintings were ‘completed on lacation to retain the freshness | value (atthough cid do ‘extra sittings in ciferent locations ‘where, forinstance, details ofa train ‘were required). There was an ‘obligation to convey a company element in each painting but ‘otherwise | was pretty much free ‘oppaint within my own strictures. aS Mi Lillies ELARSEESTE Ee t aaa a - [Another commission forthe same ‘company was Arpley Junction for Which had a fee har to paint a soene of the shunting yard. This was, ina sense, the perfect painters brief but does not happen very often. My cesidency with Crossrail wos a reat opportunity but working to tomate what was atthe time @ proposed ralway was difficult. The ‘compromises were occasionally a step further than | would have preferred to take. Most ofthe subject matter was taken fom firsthand observations ‘along the proposed routes but the client also asked forthe as yet unbuit twains tobe inserted into@ couple Which left me feeling Imay have bent litle to fr. na made it clear on taking on the commission that | was uncomfortable with creating anist’s impression. In conclusion, would stress that, ‘none of us ive in @ bubble that is sustainable wthout pleasing an ‘audience ~ te trick is surly to work Ina way thats stimulating enough to hold our own attention as well as those we seek to please. To work hard ‘and create success only to then fee bored withthe process is surely a recipe for cisatisfaction. Tackling commissions and self motivated work 'Safine balance then, buts thoroughly enjoyable one at thet. Entry fs now open forthe Royal Institute ‘of Ol Painters” Annual Exhibition 2034. For deals, vst www.hera.co.ak View more ofan’ own work atBEST OF BRITISH Our new monthly showcase explores the UK's rich cultural heritage. Enjoy a great day out for the whole family at these fantastic venues, exhibitions and events on your doorstep advertisement feature The Great British Sculpture Show at Hatfield House The Great Bish Sculpture Show runs uni 30 September in the beaut West Garden of Heteld House and features the ‘ork of some of he UK’ top guratve sculptors rated by Aner Sinclar er Dane Coates fom The Sculpture Schoo, Wendover, the exhibition features thei work and that of 22 other ponent septs. These include ‘seseimed artists Davi Goode, Geotrey Dashwood, Hamish Mackie and Gienne Miler, Over 80 works have been Bout togetner wih the aim of rng beat, technical skid craftsmanship beckto the word of rt. Hotels House, Hatt, erfordshire ALO 5NO 1: (01707) 287010 E: vstorsdhateld owe cok ven hated house caulk Body & Void at The Henry Moore Foundation Until 26 October 2014 Ty Henry Moore's nome for more than 40 years, The Henry Moore Foundation at Perry Green isthe best place in the word ta appreciate the sculptors work. Visitors to the estate can explore his studios, tour his restored femiy home and experience ‘monumental sculpture against the stunning backdrop ofthe Hertfordshire countryside. This year’s summer exhiition, Body & Void: Echoes of Henry Moore bycurrentartists, Jn Contemporary Artis The Foundation's ‘most diverse and exciting exhibition to dete, Body & Void reveals how Moore's key concoms, including tne relationship between the human body and internal ‘space, have influenced contemparary art ‘and cortinue tobe taken in new directions Featurng new works by Richard Deacon ‘end Richard Long and mejor pleces by ‘Antony Gormiey, Anish Kapoor, Rachel ‘Whiteread and Oamien Hist, this ground breaking exibition presents current and ‘ntl iterpretations of Moore's central ‘themes by some ofthe most pivotal artis ofthe last 50 years ‘The Henry Moore Foundation Perry Green, Hertforéshire $610 GEE 1 (01279) 843333 E: shop@henry.noore.org enrymeore1e/Broad brushstrokes In this month's step-by-step demonstration, acrylic artist Hashim Akib shows you how using bigger marks at the start can result in a more painterly finish cndon es ett cone Lsecssiant nie etre oe cortaooray wi ie test saan re sive erg soto The trandal sutras seve nde wash utngortng posta revered geosen sete caee Comatneton vanities of ey thestetacanscert rive pact end Itmedatey eich ae oe enon voverenatognateoningh ont sa Antsts & Mustrators Fortis demonstration, painted the Bank of England in acres. | generally work fom sry own photos end inthis case | combined 2 couple of separate shots to select ihe best ‘iguratwe poses. | used a set of igutex Freestyle paddle brushes for this and | ill be showing teenniques that can reduce the need to detail every rchitecturl feature, ‘8 well 8s some colour moxngtps to create interesting muted tints, Hashin's book, Vibrant Acryl s pubis by ‘Search Press, For deta of bis latest plating holidays and workshops in Essex, Suffolk andYOU WILL NEED * PAINTS Lemon Ylow, Cadmium Yow (He), Yellow dtve, Cadmium Orange, Cadmium Red (hue), But Senn Cocruaum Blue, Cabal Biv (He), Pate Olve Gree, Sap Green, Process yan, Deep Viet, Process Magenta, Pra Green and Taam Wie, al ales Rowney System 3 Heavy Body anes BRUSHES. Lauier Freesile Professional Pade brushes, ses 1% 27,3" and "and Daler Rowe 3 on at IN DOWN YOUR GROUND parceaen er rea LAY DOWN YOUR GROUND |x Proces Magenta with Tarium White for my bese colour, hich * SUPPORT ‘watered down to. soft, smooth, opaque consistency. The dominant tints. ‘tum anes ofthe scene | intended to pat were muted 30 chose witrant gourd to ‘sparkthe painting toife. Likewise | didnt make a crawing and accuracy \was saceiced throughout in favour of the creative flow of paint. ‘When deciding ona starting port for your awn painting, ry to locate large areas ofa similar colour ~ in this case, | noticed a ot ofthe bulcings and roads were al ether achre or rey. PALETTE KNIFE * KITCHEN TOWEL ny HR RATHI CHIL AUIE EHUAIEL OKES BLEND COLOURS IN ONE STROKE ‘Wea stokes made singe damp Paddle Bu eae "Mant uite o sften cla, Yeo Oe, Burt Stra NID WITH YOUR GT BE BOLD WITH YOUR Si When ocnthe brush wi aces, use wate vey sper Onbyourpalete och upgeveowsanounsofeaburend, | = where possibie, appl it direct onto the canvas. Softer tints required anium White and s0| premixed them on a mixing tray to ‘avoid streaks, | used Yellow Ochre forthe oohvebulldings anda mix ‘f Cobalt Blue, Bunt Sienna and Thanlum White forthe prey ones. ‘The mixes were applied withthe paddle brushes, using downward ‘strokes painted in one or two unblended, unfussy stokes, which | ‘also employed small quantities of other colours to create drama, ‘and small dabs of Cobalt Blue, Pale Oive Green, Deep Volt, Sap ‘Green and Cadmium Yellow ~ allon the same brush head. A darker concoction using more blues, greens, Deep Violet, Burt Sienna and ‘a dab of Yellow Ochre went down next. Once had picked up ‘momentum, used 2 combination ofboth af these mixtures to create the shapes ofthe Bank of England and atherbulings. Antists @ Mlustrators49masterclass ‘other detas were stil being completely ignored at this stage, s0 the whole scene looks very astract you try this big stoke ‘technique, remember not to clean your brush regularty~ allow paint to become ‘embedded in the brush hairs instead, Using more erm pressure forthe folowing ‘strokes wil ink the previous layers withthe ew ones. | added more bus edd tothe ‘micfor the strokes that indicate the road inthe foreroure. ) Aterrating between the 3" and 4° U pedal brushes, started acing hashes color the tose ar ood sine ten Swicted iva mature of elon Oca Cari Red Cann elow ond shot ofPae Oe Green re snares The ky wasn wth aru Whit, Process yen anda int of emonYlow Care westaten hereto shape te topo balings os wert The tuk of he pointing Isom compote ane prowess or the boance between one ander | Betore aking swonger tints and sharper deta worked around 1 we scone to apply more pockets of carter tones with a2" pale brush to the windows, signs and figures. Muted shades simiartothe ‘gal cote mixes but with sigh more Titanium White were used topick out the columns, pavement and bung To bing forward ‘te main fue, also added ues and greens to the ochre mixfor the jacket color THINGS IN PROPORTIC ‘As we include more information, certain accuracy issues emerge hich need adjustment or improwsation. Making sure thatthe general proportions or the main perspective lies ere accurate is ‘mare important than a few windows out of place or placing figures In diffront positions. The keys to void obsessing at ary stage of the pantie process and keep the painting 2s Mud as possible. ‘Any dalcate touches can be resolved inthe latter stages.V | spent some time fring up the detalls here, using the 1° } ond 3 1/2" fat brushes withthe same colour mines.as | used in the eater stages. Picking out some edges ofthe builings and random small blocks of more potent tints help to heighten certain ‘areas and ada interest. One ofthe similarities with these marks ‘compared to early brushstrokes isthe norussy aplication, Every mark made wos placed in one or two attempts with ttle ‘or no blending onthe canvas, Rh Thing eo tone ns aed sags orndboetocenetsreet yeas an ‘runt nrg soe org cme owas the fein Antiss @ ostrequires an understandingof plan compositions on canvas. wil, your subject and an observant play with ideas onthe computer until A= equestrian painting something springs out at me. | don't = = eye. Most of he best equestnan find the compostion hat works forme. printings are by atts who ether I werk wth Winsor & Newton's Beach Ball havea great knowedge of horses and Gain Ay fastdnfngll colours as ‘heir anatomy orby people who have Lusedto work with eenes erst Oil on canvas, 61x122em a canal to observe ef con't have the patience reauired to correct even they don't have 120 wat for other ols tod. malay use The Society of Equestrian Artists’ much rsthand inowede ofhorses. synthetic brushes, normaly Winsor & Sally Lancaster on her polo portrait __|Deéns new naming aig lot_ Newton Gate loan ones. ‘of photos, often huneredsin ane The changes how | workon har and ‘session. wl go hrough themuntl__ fu. used 0 paint each resvdual Nair By focusing on the bottom hat af the horses, Say ereates intrigue nthe Al compaction. "ight and shadows sre cuito Lghtingis mportant for me," xpiains Imporant wo mein paimings." se says. ‘aly. "A panting sucnas is woul loved the shapes and shadows that he have the same impact ifthe contast of logs made onthe sand” sunlit ane shadows wasn th 2 Artists & Mhastratorsbut I don't have the patience for that ‘anymore. For the sections with visible, Incvidval hairs, started with base colour and lt that dry. Then | put down strokes that represent the ‘rection ofthe hairs, blending them with dy, clean brush. et this layer cy and then applied a second simiar layer then used a finer brush for painting ina few indivicval hairs on the final top layer. The hardest part of Beach Ball was getting the send right, as fd never Ta crest he cust lous, painted it botore. twas. very itferent prospect to painting the ine tals ofthe horses, so it wasa case cof using a big brush ana just going for Itt tok couple of attempts to get it right started from seratoh on the second attempt and painted over the frst version, Tho Society of Equestrian Artists’ annual ‘exibition, The Horse la Art 2084, runs ftom 26 September at Mall alleries, Londen SW wmatistsand IMustrators.co.k/sally-lancaster Saly manipulate the pair with rag. took counie fevers to make sre thatthe onto of ene cloud wasn't as _2tecthbrush ook paint orto the canvas to represent sand being kicked un” ‘a The Working Artist Laura Boswell explains why every serious artist needs their own website F ‘Creatingyour own = o at least designing one ~ Isn't quite a aifict as you may think, I's possible to get by without a website, but these ays te ist thing people usually do ito check the intemet when they want tnd aut abaut a product or @ person and your own sie wil present you in the Dest Ht There are now mary terplate'sites available hich help you to bulé your ow ste using thelr ‘generic patterns. They are designed to be Usertirenaly and lead you through the process, Te alternative isa bespoke website. Tis, ‘option can costa lot of money (unless you have a web-savvy friend or family member who can help) 80 do shop around fora sensible deal (Choose an e6sy web address or ‘URL'for your site. Your name is probably best itis stil avalable. Search for‘comain name registration’ ‘on Google and one af the many sites wil guide you trough the process. Keep your design ideas simple: the best websites are quick and obvious to se. I designed ry website without an online template soI started With large sheets of paper one per web page, anc roughed out how | wanted ito look. I sketched out the layout, stuck down photos and drew arrows to represent navigation between pages. | ended up witha paper pattem that gave me a clear map of rm entire site. Ths wil be welcomed by any programmer and also keeps costs down, Remember, you need tae able to ada and change content easly by yourself, so make that very clear to anyone designing for you or check ease of use if using a generic design vw lauraboswelco.k | ‘am a frm believer inal artists having a website,ANDSUA nA ‘Seasoned landscape painter Mitchell Albala shows how you can make your compositions resonate more deeply with viewers by reducing a scene to a few simple shapes DEFINING SHAPES Inthe context of hist, shapes doesnot refer to subordinate elements ~ indidual stokes or minor deta = but the lrgest, most basic shapes that serve asthe foundation ofthe compost. oureompostion were a slbe, the shapes that are of greatest intrest tous (and our viewers are the “continents not the incvidual retions cor cities. In Pinnacle Peak, Last Light, forinstance the wide clagonal swathe of sun struck snow is @ continent. The smal res within that ht snow, oF the shard ske fragments of snow atthe top, ae nations. ‘8 seesoned landscape painters well Know, simplifestion and massing are the most essential sis in our toot Without te abityto synthesize the detail and complexty of nature into fewer and simpler shapes, itbecomes nearly impossible to form ‘organised and coherent compositions. Ye, there are times when a painter goes beyond ‘ordinary simplfieation and massing, and realises a composition so simple, with such an economy of shapes, that t can teach viewers na place that is beyond words and subject. ‘hallmark of such paintings is that one is able to apprehend the primary shapes in an Instant ~in one visual sweep, without any analysis. Regardless ofthe narrative or detall that ‘may also appear inthe painting. t's the few primary shapes that are perceived fst. Such an Immediate, nostic impression elicits 2 different emotional response than a painting in which the narrative end deta ~o 2s! he to allt the surface stories’ = ate perceived fst. As landscape painters, we aspire to communicate our emotional experience ofa scene to the viewer. Todo this, we have to apply vsualhierarcty to our compositions that wil ip the scale in favour of simpiied masses. 64 Artists & Mustrators ABOVE Mitchel Able, nnacle Peak, Last Lighten pares, xaSer Simplicity of design and a limited number of shapes go nang in hand. AS with al the atngs inthis arte, Finnie Peak’ compostion Ismade up ofjusta few primary shapes: the sky, the mountain In shade andthe mountain in sunlight ‘Smaler shapes ordeals such asthe tos along the bttom o the patchos of snow towares the op) are always subordinate oor contained wt,THE OUTER AND INNER WORLDS Tofully understara why a limited group of simplited shapes may project a sense of inner ower, we must recognise that a panting exists on two levels. On the most basic level, a paintings abou the narrative or subject ~the surface ‘strls. This s the outer word of things ~ tees, mountains, okes or clouds, for example. tis often the reason ‘we choose to paint subject and we may have stron personel associations with It. ‘On another level, a painting isnot about surface story at al: i's a callecton of aesthetic ‘energies ~ colour shape, form, line, movement and so on orgerised in a beautiful way. This s ot the evel of mental associations, but the Inner word of emotions. Like a body and soul, the narrative subject andthe aesthetic energies coexist ina landscape painting. However, when the balance fevours the aesthetic, when that isthe fst Impression, viewers often have a stronger response. They are touched in a deeper place. ‘Aron-verbal, emotional resporse to @ beautiful aesthetic only reinforces the appreciation ofthe narrative, ‘Andrew Wyeth, one ofthe greatest relist painter of the 20th century, and whose paintings have 2 strong narrative content, said about his work, “think the great weakn In most of my works subject matter. There's too much of" landscape shapes {A100 9 Hen Taachtrn ‘encouraged the viewer treceieDetails can add interest, contol the viewer's focus, oF give us essential information about the subject. However, etal snt carefully controled, fecan bring more attention to tsi then the primary shapes. The Key to managing details tonal zones. There are many gradations of tone in any gven subject but, by grouping them into @ few zones of uniform tone, we can make ‘our compostions more orgarised and coherent. Tonal zones wil ypcally correspond tothe ‘brimary shapes that form the foundation ofthe composition. fwe squint atthe deal frm the lower right comer of Marc Bohne's Heartiand that i pictured nelow, we can see thatthe many ‘mall variations of tone and colour that deserbe the wheat al fal Into one general tonal zone. ‘Much deta and colour can occupy a zone, as longs the tonal veretons never become so ‘reat that they disrupt the uniformity of that zone. ABOVE Mare Bohne, Heartland ton panel, 1274352.4em remrhabe sesthetic tha, on one love nd ‘3 fow primary shapes of varying size an mind may eac to the surface stores ~Tre other aesthetic that may strike viewers as deeply as simplified shapes 's colour. The emotional response to colour is universal. The difference is that vahen viewers are moved by colour, they know it’s the colour. The power of ‘implied shapes in composition much subtler. It touches viewers in 8 deeper, more subconscious pace. ABOVETor Hofmann, Long Day, watercolour on paper, 38356em The broad brustetokesin Lang Day ore so enereees tha they become the very shapes that dive the composition Al ett fs abondcned in fevcur of te shapes ‘he evel of pute orm est, nd nena 2 100 fo ereatnganission of space Even when the viewer atenton i focused on ‘he iluson, at some love! he is obeeving the shapes as an abstract pattem LET/I Carver, Conyen Shagows, ol on board, 28135.50m ‘though the seleof Canyon Shadoms S relatively sma its shape-diven design ows Carverto channel the strength of the subject ime the pain, "Eventhough | mg first be atratedta the colour, try tab very aura of he shapes formed bythe et and shadow patterns rts Carer se ntan theory ny ‘sketchbook when compesing..Tns ves reaver abstract designin Bick ans white ony, which lps identity the Michels the authr of Landscape Pantin Exsental Concepts and Technique for Plln Alt ‘and Studio Practice. Find out ‘more about the painters in thie atole at wwochoffnann watereoors.com, ae wow.marebohnecom, vwillearvercom and wow niteatbala.com, Anists @ Mlustrators7os Protects the surface of your artwork from damage while in transit or in storage Ideal for transporting wet or impasto work on canvas or canvas board up to A2 (16x23") For further information and to order visit www.carriart.co.uk Pern mekec eat cary MINIATURE ART © Lona Painters, Sculptors and Gravers De aE ery Ime ttc} eee td (Revel ON molm steele AU DISTANCE LEARNING DIPLOMA COURSE ol pointing bored on textbooks The At of Botanical Paletle and Botorico! Sketchbook + Assignment-ied two-year course: eleven seperate essignments and caly crac to devolap ond hone skills, + Aunique course in Botonical Pointing, T 2 Diploma porto + Expert guidance and iviton: lear for experianced members of the Soci, spacial inthe fold of perc, coloured pa oveche ond watercolour + Comprehensive marking siructre: crtiques ond marking delivered sand fellow students ofthe Inroductory meeting inthe fst year ond @ Seminar inthe second yeor of the course, both dering the Socity’s Annu Open Exhbton in Landon, Applications being token now forthe 12th course string in Jonuary 2015. Closing date 30 September 2014, =. “Werks on Paper’ shows many of Nadas promod omy enpetan oe Sharma We aut Petes 7 na ‘rerrogate 1 AEE epanate tot ae Seaeiet as CmaoPREPARATION Watercolourist Billy Showell explains how to use this | alternative to masking fluid 3 | LIFTING { paint ono the paper and allow to dry before you start to paint. You can then paint over the top of ttand then lit out the colour completely. Its very useful when you ‘ate using strong or staining colours but want toliftout bright highigns. | ciscovered this, product by chance and have found it ‘extremely useful for areas where sal, bright highigts are requied, but! am sti } ‘experimenting wth larger, more dramatic uses. Tiss an extract from Woterotour Fut & Vegetable Portas published by Search Press, RRP £15.99. wn searchpress.com L= reparation is liquid that you ‘ { / vowel, oesom anderonssern reqired mich deed vert end nel eompotin ¢ oe poly generous Gaze with water este gh eects eens coating of tng and drop in colour. witha wet brush and“ using smater, cer method to add the preparation overthe low ody. paper towel. Alow to dry. mixes. Allow tory. doopest reds. drawing Allow to dry. Antsts @ Mustrators 6eet)THE CHALLENGE ‘Terence Clarke, 64, is a Birmingham. a besed artist whose work is e characterised by strong drawing and ‘ {2 bold use of colour. A collector of his ‘work commissioned him to produce ‘8 mural fr his family home in Provence. The mural would run across the rée back wall and two smaller sides of an outbuilding by 0 ‘swimming pool The ‘main wall measured 5.4 metres by 3.4 metres. Sea ED ; Making a mural Terence Clarke shows you how to brighten up a blank wall with a supersized piece of art FIRST IDEAS I started by developing a eves of small paintings and sketches, then discussing my ‘Ideas with my clients. The mural would be situated bythe sieving p00! and so | Suggested using water as part ofthe imagery Itwas important to have a sting decorative element to the painting, as anything too tealiste would overwhaim the st, DEVELOPING THE DESIGN We agreed thatthe main mural would be ‘based upon a previous study ac made Inthe west of Provence. | 00k te isk of leaving the design of te side pane!s ull Larived on site so that | cout develop sketches from the local Alpes landscape ‘This worked realy well, asthe rocky landscapes were an excellent contrast tothe ‘main lake scene. My wie is also an artst and her input was invaluable, | was able to discuss compositional adjustments with her ang thus seed up the development of the gaining. PRACTICAL CONSIDERATIONS Tre buling was oniy open to the weather on ‘one side, The Provengal weather is generally ‘ry so there shoulan't be any problems with the mura being affected by severe temperatures or dampness. We organised ladders and a small scaffold fr me to work ftom safely, With an enormous project ike this you need to keep your momentum ‘otherwise one could be overwhelmed by the sheer amount of painting required. POSITIVE FEEDBACK m pleased to say Mark and Clare wore absolutely delighted withthe results ‘Tey had lft me very much to my own ‘devices and this gave me te freedom to attack the whole thing witout looking over ry shoulder. Inthe end, it was an exhiarating ‘experience and a thoroughly enjoyable chance to develop my kdeas on such a scale. >MURAL IN STAGES Discover how Terence created his painting in Provence PREPARING THE WALLS. To begin, the walls were re-plastered and Dainted with two coats of acyl based emulsion. [twas important thatthe plaster end underpainting were new ard Nawiess as ths took the paint int its een surface. The acrlic pant then acted not only ‘as the mecium but also as a sealant forthe wal, DRAWING OUT THE DESIGN Usinga thin mix of Pussion Blue, idrew ‘rectly freehand onto the wall, acusting the composition as | went along, The drawing was tree ‘and gestural so that could establish the structure ‘queky. used a mitre of Yellow Ochre and Vermilion to paint a wash over the trees and land, then applied ‘ pinish wash tothe lake area so that it would act as @ contrast tothe blue ayers | added iter HANDLING ACRYLICS I wanted strong colour anc a painterly feel tothe picture but was conscious that thin paint ‘would orate a better tone wth ‘the wal, Thick or impasto paint might have been prone to eeling’ or cracking overtime. Tanks to the wairn temperatures and the slighty absorbent quality of the painted plaster, the acrylic dried reply | used @ waterild plant spray to keep the acrylic wet for longer perods when | was modeling the forms. 4 MODULATING ‘COLOUR though the compesition was ‘at and horizontal, the large trees = give a very three-cimensional feetpainting projects TERENCE ON MATERIALS. mecca) eee sae Pe aan Pee eae image. inted the mural with a range Ogee eiet a ert Pees PEC arte eet Tees Peg ea eee See Bceg ec MAKEYOUR OWN MURAL Brighten your walls with these useful materials ‘Abru 3-read stepladder tothe foreground area The simplicity ofthe foreground: pty £34.98, B&Q ‘composition andthe intense colour scheme also ‘hes the whole image a decorative emphasis, which draws you inte the picture unt it ls your Baker’ brushes The acyl colour wes modules to gue a stor sets decorative quality tothe trees and landscape. , eaccr J ‘also used thin layers of blues and greens to = v enlven the lake area and suggest refectes ight. t I z The distant londscape nas knocked ino ghee a sence of distance and foregound seal fo > Filbert bristle brushes BUILDING THE SIDES ~ From £2.10, Te images onthe side walls were developed — Seawhite of Brighton from sketches ofthe local landscape. Although | 3 inkee the images witha fairy consistent horizon ine, | wanted to create impact by contrasting the colours and composivans ofthe tee walls ‘The door was an cbvous difeuly 0 aided he lghtnand wall into two Images. The use ot theviedngend oni fitaftoee wo mages a helped to pull you Into the space ane det your Estate emulsion ‘eye towards the main wal. Again, the compostion £36 for25 ines, rete was in contrast to the rather stil and open Farrow & Bat nature ofthe take on the main wail. Bdau) Your Perfect Outdoor Companion ed for val As SaAeri nia S/ PS ur FREE copy ofthe SAA Home Shop Catalogue cal corvisit www.saa.co.uk % off our new range of Handmade S Pastels available in 200 colours sds 8va RE A CALLE RL) be inspired MAKE PRINTS summer schools short courses in screenprinting letterpress bookbinding collagraph mode BI «enterprise point ¢melboure at bighan N23 winkspotpress.co.uk info@ikspotpress co.uk 01273 681495 Painting Holidays in Cornwall with Paul Nicholls The Rose in Vale County House Hotel, nesting in a beautiful wooded Cornish Valley, provides the periect venue fo your week of psiting. Enjoy personalised tutorials nthe spinney by Paul Nicholls and then ‘expenence a variety of locations, nclading 3 ay to Falmouth At Caley, or mnmediate inspiration. Vit tne nearby Comish seascapes and, lanicopes wt ring ne tng ad exzerenntng with LT Quick ana ‘the eae, oon canvas, Texd01em iuson of det ABOVELEFT Pein ‘rd, 401306colour temperature IGT JM Tuner The Fetting Temerae, 1839, 90.74121.6em. ‘nm payin room ‘Alf the Naorst ‘Galery Lordon Fi Sty of Moreton, l'on canvas, 76:Stem from the wound study has a coo! RPLACED COOL GL achieved. Tumer gleaned much of his termperature sequencing from his Intense admiration of Thian and Rembrandt as both were masters of the technique. ‘The key idea isto aiternate the temperature of adjacent colours ‘to develop accents ana contrasts within a single passage of painting. Tiy placing coo! impasto marks over warm body colour, for instance. 3. Visual tension ‘Ntermating cool and warm layers of colour can create great visual tension and lneliness in painting, A simple means of expalting temperature isto begin wth either a warm or cool base {and work ontop with colours thet have the opposite temperature. For example, a warm pink or buf ground Is the perfect fl for cool pearlescent northern skies, which is one reason WwArtsts & Must \why youll generally se these colours Under Dutch andscape paintings. I ATES Q| TO CREATE DEPTH AND SUBTLE OVER WARM ONES PTICAL COLOURS” For thisto work, you must allow the ‘ound eolou to show through the ‘subsequent layers and influence the finishes painting, You ean achieve this 0 ether by using translucent colours ‘or simply making sure you don't completely caver the ound so that it shows through at selected paces. While its possible to get good cetfects from this technique in two layers (one warm then one cool for example}, the Masters would repeat the process many times, building passages of cfferent temperatures for the ground, the imprimatur, theblockcin, the working up and then ‘multiple glaze layers. Each layer pays off the last and the cumulative effect |s one of great depth and complexity. 4, Simple modelling Perhops the mast common way employ temperature changes nthe quick and easy modeling of int and shadow planes, | made a 10:minute ol seich ofan oak tree as a quick example, although the principle ought to be refined fora serous sty. ‘Telhase colour forthe tree's foliage was green yet the bright ‘suniigh created strong contrasts within that. Taking green as stating point, simply teeted the It plane es ‘ warmer area and the shadow plane 290 cooler one, Wit this in mind, 1 aces more yellow (warmen and white (higher {onal ve) tothe mie fr the it plane tocreatean opaque tnt of warm freen, and then added blue (cooler) ‘2nd black lower tonal value) tothe colour rixon the shadow sie to create ‘2 translucent shade of cool green. LUkewss, on tne reddish trunk, | added orange and white tothe it side and violet and black tothe sidein shadow. Next month: Martin gets dramatic as we look at ehiarescure and counterchange. mor information on Norfolk Palating Schoo! and the courses available, Jane on (01328) 730203, ‘email jane@norolkpsintngscheol. com ‘or visit ww.nrfolipalntngschoo.com temperature LUFT Tee sero, ot on boa, 23%28¢mPRINT. WITHOUT A PRESS Lavender Print School's Tabby Booth guides you through a simple introduction to linocut printmakit artists Izzy Moreau end Nick Basha In today’s busy, technologically ven word, they both believe that there is strong sire for people tana escape in the hands-on methods of waditional ars and crafts. AS such, they offer individual tition in radltionaltecaniques to beginners and experienced artists ake. IF you've never attempted to make @ print Detar, the folowing demonstration shows, ‘a cheap and very simple way to give ta ep. With just basic tools, you ean create a stylish lnoprin in a matter of minutes. And if you enjoy the process, you can tnd out more ‘bout the workshops offered by Lavender Print School at www lavenderprntschoolcom ps rit School was founded by MATERIALS + Apiece of glass or acetateprint without a press PAYING THE PRESSURE SLOW AEA PAPER FROM ONE CORNER AUB THE SPOON OVER T THE PRINT ACI Wi METHOD An LineAcrylics and oil pastel Artist Jo Salter explains why these two mediums are a match made in heaven. a less messy and more portable alteratve tools ~ carrying turos Corwhite spit out in te fed can be ‘a nuisance ater all And ikewise, zens provide more body than watercolour whi retaining some ofthat medium’s transparency Being water based, acrylics hhave some major advantages and csadvantages. Firstly, they dry quickly ‘and, aecause ofthis, ther consistency can be hugely versatile. You can apoly thin glazes, oragged transparent | Imagine ali were vented 35 waAnists @ Masta ABOVE Jo Sater, Phmautn Sound cris and paste brushstrokes and thick impasto ‘marks. There are some limitations worth bearing in mind ~ the ‘plastic’ consistency of aryles softens Inpasto matks o they lack the “grit of ol, while dilute washes wil not soak into the paper atleast not more than once) = but you have t pay to the mediums many advantages and experiment to find out what they are, This is why | make much of soraped ‘brushwork that shows though to what 's underneath ano why indulge in very watery overiays, which dry in a manner oftheir own, The other main advantage of acrylos 's they ae water-based, so they combine wel with many other media, Bivngrise to real experimentation and fun. Most importantly of al, we cancraw in various media on top of acres ~ and this is where oil pastels come in Ol pastels provide the one main element tat i lacking in acrylies texture. As such, | poly pastels before, during and after ayers of ‘erylicina single painting. Ifthe pastels under the acy It shows texture through glazes and you can seratch through the pant before iis completely dry to reveal the pastes or {stain ofthe pastel on the ground, ‘And when the paints ary, you can raw ontop in oil pastels to touch up highligis or enjoy the near anc textural qualities. Experiment! So which oll pastels and acrylics work best together? Acryl have 2 habit of drying darker than they ‘appear when apolied wet. There are several high-end acrylic brands on the ‘market that are designed to overcome this. However, naving experimented @ litte with one expensive brand, Iaid not tnd sufficient ctference to change from the cheaper ranges. ‘The rene in price of pastels is simlary vast ~ you can spend £600 2 pack of 25 ol pastels or £6 on a single pastel depending onthe brand When mixing with acrylic, the ligter pastels (wnites and yellows In particular) need tobe ofa good ‘quality to work over the top of darker ‘enyics so supplement your cheap set witha few better quality ones. In ‘general, you are ooking for pastels that are very opaque end have e soft, buttery quai. The images included here show ‘some of he possibites. n Plymouth Sound, pictured opposite, iked the ‘extremes of contrast and all the subtlaties in between ~ cameras can't o this. Scratching through the drying ‘engi laid ontop revealed purple and turquoise sparkles. Some white pastel was also added an top. Sereped iryrush strokes (as opposed to Palette knife scrapes) onthe right also slowed the pastels to show through, Jo will be teaching in Tuscany forthe Stlves Schoo! of Painting from 13-23, ‘September, want. schoolofpalatng.ca.ok Te see more of o's own wor, vist wor esaite org.uk se10W st Este, Lat teross tne Lamecurn vote, oper, 45x45 why not try, HOW IT WORKS Bein witha base of ol pastels. Work with apparent carelessness and pullback from choos. Apply more pastel to darker areas, ‘Ads aor, either thickly witha dry brush or in thin washes. When dry, scrape ito the paint wth palete knife. Acryl dry quickly so you can add pastels on top and then more aciyc, endlessly buliding up the texture. |Add a spattenng of a ‘donse yet runny white acrylic using toothbrush. (i pastels can also be used topick out highlights,CI PROTESSIONAL WATER COLOUR MARKERS = NO £3.99 each, Winsor & Newton ~ = THE NEW COLORED PENCIL Kristy Ann Kuteh £16.99, Watson-Gupt Despite the best efforts ofthe UK Coloured Pen Society remains ‘an underappreciated median in ‘Bitsn. However, rss the Ali, ans such as Kristy Ann Kath nave 2 much higher profi, as her second ‘book underines. cher topics are ‘taolled in watercolour pond, wax pastel and moe, underning the gun standards, whe als afowing us to ‘ridge the gap somewhat Our verdict on all the latest practical art books and materials TWEPICTURE BOOK MAKER Karenanno Knight £24.99, Trentham Books, Ityou'¥e evr dreamt the Dvn rom BBC's The fe, of becoming a chides bok itstrator this might just be ‘the bok fr you. While twa gv you a course in drawing cuter faces, wil over al of ‘the pocical elements required to produce a Professional product. ‘Author Karnanne Knights an tlustaton lecturer a Falmouth University andofes Useful exereses and casestudies on every ing ‘fom poting stoves to approaching publishers.Ilkley Art Show ilkleyartshow.co.uk + Many free art demonstrations More art workshops {An exhibition & sale of works by some ofthe regions finest artists Advance chats £3.90, concesion £20, On the door £350, coneemion £250. Tekets vad for both dy Cee sah peer Artists demonetratingindude rete, Chares Evans ery Haron Fina Peart. Aare eeT Tory Hegan, Jeremy Talo Nigel Overton, Peter Woolley and many marel ‘Supported: Pp Seymour Acres Winsor & Newton, Derwent xl armaster Hahnem he Caran O'Ache, remiim at brands ee aed am IO tmaker The Specialist Suppliers of Equipment & Materials to Artist Printmakers Intalio Primate supplies an unpaid ange of prrimakng matils souroad wd, ae earnus to esearch a provide ew products. We are ‘team of practising ptr printmakers ong ela mal err sonice We ae open \woraistaghoprntmakercom ema infoSintagloprintmaker.com 9 Bayheuse Cout €2 Sounwark Bdge Road Lardon SE1 CAT er say Free Caligo ink sample ‘vatano tering oF Toilet on request ART HOLIDAYS & COURSES Sree ern) Ree IES cr) Dae cue igs ect a UMN Cao? Oils, Ceramics. & Printmaking Idyllic studios with residential facilities Dees ae RCD ERP Ly) YOUR INSPIRING PLACE IN THE GARDEN. ‘Your own private space to relax, create or workin all year round. We offer the perfect solution - without the need to extend your property. is alpen mine ar T0800) 160 1888 _e:enquiries@myplaceinthegarden.co.uk WWW.MYPLACEINTHEGARDEN.CO.UKTHE CLASSIFIED DIRECTORY nes “Tes not just a brush, its an experience A ritual. 1s life changing © Bushes and its your life” Request your = — catalogue FESTSESUN) Pee Kaley Se RANDOLPH KELLMAN, Contemporary ats. Vist my ontne ently ot Other rath ns Stu rkeort cast enqes and commistons welcome Telephone — a [208889 474 Noble 07979842456 use Sgr Halr Mop -Scres 170-Sie¢ "mada Gas Hot Bed Press REE CATALOGUE 5 SE 01453 886560 > —— De, ; cae egasus Art Shop Te Handmade in brase colour Paintboxes Canvases en nba 8 Pere cacy \ BP sce Harris Moore www. classicpaintboxes.com Coors ec poe! 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Meee To advertise here please call 020 7349 3739Seeing Eugene Delacroixs Liberty Leading the Pople inthe Louvre when Twas 1. It was the most eseiing thing had ever seen Yes. My great, great uncle was the celebrated garden designer Haro Peto My father was a talented drayghusman and amateur architet and my mosher ‘ook up paincng in later hie Tsold my'an. dealing busines a the age of 30 and had enough money o survive for a single year [booked a gallery space for the end of that year and started work on my his exhibition MY LIFE IN ART To coincide with the opening of his new art, school, the leading Romantic painter shares Being spotted by ‘Mesum’ in 1995 The founder David Messe kee my gity reals paintings his love of Matisse and Mahler INTERVEN: TERR EATON ‘one-day a week programme in Bristol. [feel that itis acl a ‘deal proposition. allows time for ideas to be absorbed and ‘nurtured by students, and it ‘eps my teaching fresh ‘Thete isa shortage of schools ‘where students can go and learn about the ar of maleing pairings. ‘Many of our students inform us [eur always to Pierre Bonnard that they later more on one of | love sharingthe experience of and Hentt Matisse, Ther work Is cour weekly courses than overa | lookingat great art.and seeing, revelatory it changes the way you ‘whole Uree-year degree how istll reaches out tous see We also admire the English down the centuries, We cat tradition of storyteling especialy learn so much from the masters Dante Gabriel Rosset, Walter bout how to respond with ter Sickert and Stanley Spencer. commitment and emotional honesty 1 the world around us, snd indeed to our own feng. John Miller said to me shorly boelore he dled, “Paint the pictures you really wart paint” We are mroducing a new Ty alive by thisadete, In dhe studio listening vo Mahler wit de light from the huge west window falling over a reclining rude igure. Life doesnt get better than that! aumer (1808-1 aris atthe Royal Academy of As, He took complicated subjects, pared them down to thelr essence, nel presented them strongly and simpy 9): Visions of L. Comelissen & Son isthe pretties but if want a wider range of products, go to jackson’ People think iis soft option ‘but t's one ofthe roughest ways fn which wo ear living [think it always willbe dilficl But without the disappoint, ‘one’s att vould become complacent ard banal. The journey is wha itis all about ke growing lowers, The Grenle Schoo of Painting recepent in Septomber on Bristol's Merton Road. For mere detail, ist wo hugogrenvile.coma) & DANIEL SMITH Extra Fine Watercolours Fe indansnrone y Agia? Making a Difference! Innovations in Watercolour It started with pigments... eee era oe eee eect ar ee Qinacridone and Pelee. Thee lie know sytheti igmencs were ee eee ree ae et eee neverseen, We knew we had something great. = Colours from the past Sane eee ental etter een resuteting some of the classic i ieee ae eee eer ea eet ere eel ea s used by artists fom antiquity Earth were among some of the early colours made us Next, se intradhced the Hematite pigments and journeyed into the Southwest for Sedona. In che lst fifien years we have formulated 38 new pigments, all mined from unusual gemstones and minerals, some old classics and some previously unknown to watercolour = Watercolour Tubes to Sticks (Our next big jump came with Watercolour Sticks, putting the power of our colours into a convenient, take anywhere stick format. Today we manufacture 51 amazing colours that combine the best of drawing and painting, These beautiful handmade sticks have remarkably rich, vibrane colour and ate truly ike nothing else = Now for something amazing... ae eee ete ee eee eae ree coe creme ene eae eee Gjusc abou anything) taking watercolour of the paper and ito the pace eeeeeeeeres We love what we do and we ae so proud thar we can make a difference in the work you produce. Paine & Enjoy! EXCLUSIVE DISTRIBUTOR OF DANIEL SMITH PRODUCTS FOR THE UK AND EUROPE. FOR YOUR NEAREST STOCKIST, VISIT WWW.PREMIUMARTBRANDS.COM © y, Cem tol: +44 (0)1926 492213 « email: Info@premiumartbrands.com + web: www.premiumartbrands.comNEW WATER COLOUR MARKERS Designed for precision. - Just add water. Se, WINSOR = NEWTON’ REVOLUTIONISING ARTISTS’ MATERIALS www.winsornewton.com