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Our
50th
year!
DAVID BELLAMY
Watercolour pencils Paint wildlife
tips & techniques
with Hazel Soan
SKY HIGH
Skies & clouds
in watercolour
ON THE BEACH
How to make
your colours sing
Paint trees
the easy way
BE CREATIVE
Paint your own
Christmas cards
!
Untitled-3 1
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09:04:31
December welcome_Layout 1 19/10/2017 09:06 Page 3
Editor
Ingrid Lyon
Contributing Editor
W ith Christmas less than two
months away, how many of you
are preparing to paint your own
Jane Stroud
Editorial Consultants greetings cards this year? We have included a couple of
Diana Armfield RA, NEAC (Hon), RWS
David Bellamy tutorials to inspire you in your quest for the perfect subject.
Tony Paul STP
Advertising Sales Charles Evans no doubt will have you reaching for your
Anna-Marie Brown 01778 392048
annamarieb@warnersgroup.co.uk acrylics to follow the painting of his snow scene (pages 50
Advertising Copy
Sue Woodgates 01778 392062 to 53), while Judith Milne’s look at seasonal flower painting
suewoodgates@warnersgroup.co.uk
Accounts
in watercolour, ideas for strong composition and practical
creditcontrol@warnersgroup.co.uk
card-making tips (pages 20 to 21) are all aimed at inspiring
Events Manager
Caroline Griffiths your own seasonal creativity.
Subscriptions & Marketing Manager
Wendy Gregory Build your confidence as you follow the advice and
Subscriptions
Nicci Salmon & Liza Kitney practise the techniques you see here then take out your
01580 763315/763673
subscriptions@tapc.co.uk own reference material or use your imagination to paint
Online Editor
Dawn Farley an original card of your own. What better gift can
Designers
Alison Renno
you give someone you care about?
Sarah Poole
As always there’s a wealth of ideas, subject matter,
Leisure Painter is published
every four weeks by: techniques and media to try within these pages. If there’s
The Artists’ Publishing Company
Limited (TAPC), Caxton House, something you feel that we’re not covering, please contact
63-65 High Street, Tenterden,
Kent TN30 6BD me. Leisure Painter is here to help you make the most
01580 763315
www.painters-online.co.uk of your talent and originality, and if I can’t answer the
Publisher
Dr Sally Bulgin, Hon VPRBSA question myself, I certainly will know someone who
Publication of an article or inclusion of can. Keep sending emails and letters for inclusion on
an advertisement does not necessarily
imply that TAPC is in agreement with your letters’ page (page 10), and don’t forget to enter
the views expressed, or represents
endorsement of products, materials our final 50th anniversary competition (page 6) for your
or techniques. TAPC does not accept
responsibility for errors, omissions chance to win art materials vouchers from GreatArt – we
or images received in good faith
Annual subscription rates: will be featuring all the winning paintings in the spring
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member of next year. Enjoy your month of painting.
countries €67; all other countries
(sterling rate) £50
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH INGRID LYON Editor
Newstrade distribution by
Warners Group Publications plc
(Tel: 01778 391000) JANUARY 2017 issue on sale 1 December
20
46 1
23 Sky high
IN EVERY ISSUE Understand the effect of light on the
landscape as you paint compelling skies in
7 Diary 73 Books watercolour, with David Webb
Things to do this month Some of the best practical
art books are reviewed 28 First impressions
8 Exhibitions How to paint reflections in wet sand, and
Some of the best shows 74 Art clubs moving, still and disturbed water in oils and
around the country News, highlights, exhibition acrylics, by Elena Parashko
listings and ‘best in show’ gallery
10 Letters 32 Layers of colour
Your tips, suggestions, 78 Online gallery Part 2 Michelle Campbell introduces a
ideas and questions Jane Stroud chooses two delightful robin as the subject of her four-
paintings from PaintersOnline colour watercolour demonstration
36 Focus on trees
Part 2 Having practised last month’s exercises,
FEATURES follow Stephen Coates step by step as you paint
a landscape from a photograph
12 Pencil works
Tips and techniques to produce effective 39 Index 2017
landscape sketches using watercolour Pull out and keep reference guide to the
pencils, by David Bellamy features and information within this year’s
Leisure Painter
16 Free your style
Make the most of your acrylics as you 43 How to paint a winner
paint along with Brendan Smith to Part 2 Complete your painting of an
complete a harbour scene from a photo atmospheric Yorkshire landscape, with oil
painter Martin Kinnear
On the cover 20 Festive florals
Hazel Soan Lion, watercolour, 12x12in. Techniques and inspiration for painting 46 Wildlife in watercolour
(30.5x30.5cm). Practise painting animals floral Christmas cards, plus ideas for best Part 3 How to paint animals on the move,
with a limited palette on pages 46 to 49 compositions, with Judith Milne quickly and fluently, with Hazel Soan
Coming
next month
From step-by-step demos and illustrated
techniques to working from photos and sketches,
enjoy a new year of painting with Leisure Painter
0
17
ON SALE 1 DECEMBER
NEW SERIES BEGINNING
THIS MONTH...
n Watercolour – back
to basics and beyond,
with David Webb
n Beginners’ guide to
painting abstracts,
by Linda Birch
ALSO IN THIS ISSUE...
n How to paint texture
in watercolour
n Seasonal landscapes
step by step
6 12 n Top tips for painting
skies in acrylics
n Try new approaches
t
David Webb Nasturtium,
watercolour, 13x912⁄ in. (33x24cm).
OFFERS, NEWS AND COMPETITIONS to portraiture David begins a year-long series
n Develop your colour
on watercolour techniques,
6 Enter Leisure Painter’s final 50th anniversary beginning with the flat wash
competition in association with GreatArt as we confidence
invite you to paint a subject that you love PLUS save
n Five-minute exercises
money when you buy Complete Guide to Watercolour
by David Webb from our bookshop at PaintersOnline
to sketch animals LEISURE PAINTER
n Practise oil-painting ON-SALE DATES
34 Save money when you subscribe to Leisure Painter techniques with Issue On sale
this month and take out a special gift subscription January 1 December
Noel Greogry
February 29 December
62 Take advantage of a fantastic offer on Eddie Armer’s n Award-winning work March 26 January
new book from Search Press
on show... and more!
70 Your chance to win paper from Clairefontaine,
worth £27(rrp)
72 More special offers on books from Search Press
54 Flower fun
Enjoy the challenge as you paint a study of a geranium in
watercolour, with Julie King
58 On the beach
How to paint seasonal beach scenes using complementary
colours that simply ‘sing’, with Christine Pybus
62 In the frame t
Charles Evans Midhurst, acrylic, 1112⁄ x814⁄ in. (29x21cm). Follow Charles
Part 3 Develop better compositional skills with Tony Paul step by step as you brush up your acrylic techniques next month
Save £2 on this
book and enjoy
FREE UK P&P using
RRP promo code DEC17
£12.99 Closing date:
£10.99 25th December 2017
EACH
& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To conclude LP’s 50th and PaintersOnline’s 10th anniversaries
we offer the final painting challenge for Leisure Painter readers
Diary
THINGS TO DO THIS MONTH
Paul Banning The Port Le Croisic France, watercolour, 1534⁄ x2012⁄ in. (40x52cm)
t
In the frame
Folio at seventy
The Artful Book at the V&A Museum, and present examples from such artists as
London, celebrates the 70th anniversary of Quentin Blake, Angela Barrett, Charles Keeping
The Folio Society. The world’s foremost and Harry Brockway.
publisher of illustrated books, The Folio The Artful Book continues at the National Art
Society first published an illustrated edition Library, the Victoria & Albert Museum,
of Tales of Tolstoy in October 1947. Since Cromwell Road, Knightsbridge, London SW7
then it has published books based on the until 28 January. Visit www.vam.ac.uk
premise that the literary content of a book
should be matched by its physical form. The
Illustration by Neil Packer from The Folio Society
t
exhibition will include original artwork edition of One Hundred Years of Solitude by Gabriel Garcia
from the society’s archives, including past Márquez, translated by Gregory Rabassa, 2006
t
Rossetti, Millais, William
watercolour, 13x20in. (33x51cm)
Holman Hunt and more
from the Tate Collection as
well as loans from other
museums. n National Portrait Gallery
Reflections: Van Eyck and St Martin’s Place WC2. 020 7306 0055.
the Pre-Raphaelites, ‘Cézanne Portraits’, until 11 February.
continues at the National n Royal Academy of Arts
Gallery, London, until 2 Piccadilly W1. 020 7300 8000. ‘Jasper Johns:
April 2018. For more Something Resembling Truth’, including
information telephone paintings, prints, drawings and sculpture,
020 7747 2885 or visit until 10 December.
www.nationalgallery.org.uk
REGIONAL
t
Mark Gertler Still Life with Self-Portrait, oil on canvas, 20x16in. (50.8x40.6cm) n The Gallery Upstairs
Upton Country Park, Poole. 07906 759620.
‘Inside Dorset’: selected work from artists
living within 15 miles of Poole working on
LONDON n Llewellyn Alexander Gallery
artwork inspired by the county of Dorset,
n Bankside Gallery 2 to 19 December.
124-126 The Cut, Waterloo SE1. 020 7620
48 Hopton Street SE1. 020 7928 7521. ‘Mini n Harbour House
1322. Four-man exhibition of watercolours
Picture Show’: works on a small scale by and acrylics by Peter Graham, Lisa Graa The Promenade, Kingsbridge, Devon. 01548
members of the Royal Watercolour Society Jenson, Geoffrey Wynne and John Yardley, 854708. ‘Two Dimensions’: landscape and
and the Royal Society of Painter- until 15 November. ‘Christmas Exhibition’: marine paintings in watercolour and oil by
Printmakers, 1 December to 21 January. featuring new work by Chris Kendrick, Nick Bremer and contemporary collages,
n Dulwich Picture Gallery Nancy Petley-Jones and other gallery artists, prints and portraits by Patrick Bremer, 21
21 November to 3 January. November to 3 December.
Gallery Road SE21. 020 8693 5254. ‘Tove
Jansson 1914-2001’: paintings by one of the n Mall Galleries n The John Russell Gallery
most celebrated illustrators of the 20th The Mall SW1. 020 7930 6844. ‘British 4-6 Wherry Lane, Ipswich, Suffolk. 01473
century, until 28 January. Wildlife Photography Awards 2017’, 7 to 12 212051. ‘The Festive Season’: recent
n The Gallery @ Soan Studio November. ‘The ING Discerning Eye paintings by Suffolk-based artists, Graham
Exhibition 2017’, 16 to 26 November. ‘Royal and Julie Giles, 10 December to 20 January.
Crookham Road, SW6. Exhibition of recent
work by Hazel Soan including many of Institute of Oil Painters’: annual exhibition, n Laing Art Gallery
her African watercolours, 29 November to 27 November to 10 December. Peter New Bridge Street, Newcastle upon Tyne.
7 December. Open daily, 12 noon to 7pm. Graham will lead a tour of the exhbition on 0191 278 1611. ‘Paul Nash’, until 14
Visit www.hazelsoan.com 30 November (12 to 1pm). ‘Art for Youth January.
2017’, 13 to 15 December.
n Jonathan Cooper Park Walk Gallery n Manchester Art Gallery
20 Park Walk SW10. 020 7351 0410.’James n National Gallery Mosley Street, Manchester. 0161 235 8888.
Lynch’, until 11 November. ‘An American Trafalgar Square WC2. 020 7747 2885. ‘The Edwardians’: exploring the glamour
Vision: from Wyoming to Maine’: T. Allen ‘Drawn in Colour: Degas from the Burrell’, and rural nostalgia of the 1900s, until 31
Lawson, 16 November to 16 December. until April. December.
n Millennium Gallery
Arundel Gate, Sheffield. 0114 278 2600.
‘Ravilious & Co: The Pattern of Friendship’,
exploring the influence the artist had on
visual culture in 1930s Britain, until 7
January.
n Norwich Castle Museum & Art
Gallery
Castle Hill, Norwich. 01603 495897.
‘Rembrandt: Lightening the Darkness’,
focusing on Rembrandt’s use of
printmaking, until 7 January.
n Patchings Art Centre
(The Barn Gallery), Calverton,
Nottinghamshire. 0115 965 3479. ‘A5
Christmas Exhibition’: open invitation
exhibition, 2 to 24 December.
n Royal Scottish Academy
The Mound, Edinburgh. 0131 624 6110.
‘Ages of Wonder: Scotland’s Art 1540 to
Now’, 4 November to 7 January.
n Tate Liverpool
Albert Dock, Liverpool Waterfront, Liverpool.
0151 702 7400. ‘John Piper’: paintings and
James Tissot The Ball on Shipboard, oil on canvas, 391⁄3x58in. (101x147.5cm)
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collages, 17 November to 18 March.
n Victoria Art Gallery
Bridge Street, Bath. 01225 477233. ‘Howard Artists in Exile
Hodgkin: India on Paper’, until 7 January. Impressionists in London: French Artists in Exile (1870-1904) brings together the
work of artists such as Monet, Tissot and Pissarro who sought refuge in England
from war-torn France during the 1870s Franco-Prussian war. The exhibition
All information given here is correct at provides an insight into the way French artists perceived London at that time.
the time of going to press, but you are Various events have been organised to coincide. Check the website for details.
advised to check details and opening Impressionists in London can be seen at Tate Britain, Millbank, London, from 2
times with the galleries prior to your visit
November until 7 May 2018. For more information telephone 020 7887 8888 or
in case of unavoidable alterations to
their exhibition schedules visit www.tate.org.uk
Letters
SHARE YOUR TIPS, SUGGESTIONS, IDEAS
AND QUESTIONS WITH OTHER READERS
The making of a new art event From the editor: Turn to pages 50 to 53 Beaver or butterfly
Members of Brampton and District of this issue for a step-by-step tutorial May I add some comfort to Marlene
Business Association – Steve and by Charles Evans. Griffin (LP, October 2017) by directing
Nancy Church, Emma Goodman and her to the most helpful article by
Nick Turner – had a vision of creating an Copyright issue John Mitchell in Leisure Painter’s June
event to coincide with the annual As we are holding a small exhibition 2017 issue in which he suggests how to
countywide C-Art event. Expanding on of our work next week, one query find and develop a personal style.
the local studios and artists who were that has arisen is whether any of the I would also like to assure Marlene that
taking part in C-Art, their vision was paintings we have produced as a it is often others who recognise one’s
to incorporate businesses within the result of using examples of projects personal style before the artist herself.
town to display artwork from local artists and step-by-step demonstrations Go to it! Try out lots of media. Have fun.
and to invite Brampton Arts & Crafts found in Leisure Painter can be put Your style will develop even before you
Club, a flourishing and pro-active club, to in the exhibition. know it.
participate. We do try to sell our paintings as Jan Messent (www.janmessent.co.uk)
Lots of ideas were circulated and, after it always feels good to have talent
a few hiccups and teething troubles, they recognised by the public, even though Left-handed artists
also managed to include in the event a we are still beginners. May I suggest the following solution to
cartoonist, a town crier, a tea lady with We would be grateful to hear from Val Rayner (LP, November 2017)? Scan
her vintage caravan (her cakes were very you whether we are breaking the the image or photograph it and transfer
nice, too!), as well as local art workshops. copyright law in displaying work it into the computer. Print the image,
Artwork appeared in many of the shops inspired by photographs and selecting the Transfer Paper option from
of Brampton and they created Central demonstrations found in the the paper selection menu. This will
Hub Art Gallery in an unused restaurant, magazine. reverse the image. This is more
just behind the town's Moothall, where Heather Teather permanent and easier to use than
they also hosted a Moot200 competition, looking at the image in a mirror.
celebrating the 200th anniversary of the From the editor: Leisure Painter’s Joan Norton
building of the Moothall. tutorials and demonstrations are for
With a lot of advertising through the teaching purposes only and the
local media, Brampton had many copyright remains with the author and
Send your letters to
visitors, as well as the locals. The artist. If you only wish to exhibit the
Leisure Painter, 63-65 High Street,
weekend provided a lot of interest in the work from a tutor’s demonstration or
Tenterden, Kent TN30 6BD.
town and attracted several sales tutorial, please ensure you include on
Alternatively, email the editor at
of paintings, too. The Hub Art Gallery was the labels – on the back of the frame
leisurepainterletters@tapc.co.uk.
visited by over 400 people throughout and on the wall – the words ‘Inspired
All letters published here win a set
the three days! by (name of artist)’. In this way you are
of 24 Van Gogh Oil Pastels. Find
The Moot200 competition focused on openly acknowledging the originator of
out more about Royal Talens art
the artwork of Brampton and the the image.
materials by visiting
distinctive building of the Moothall. If you wish to sell the work, you will
www.royaltalens.com
Davina Halliday need to ask permission from the artist.
As the originator of the image, he or
Watercolour pencil technique she has every right to refuse or ask for
I would like to reply to Malcolm Brooks’ a percentage of the profits of the sale.
letter (LP, October 2017) regarding the If the artist agrees, you still need to
use of watercolour pencils to draw acknowledge them on the labels.
outlines. I first learned this technique I recommend that readers think of
many years ago whilst watching one of the demonstrations and projects within
Charles Evans’ television programmes these pages as learning tools only. Once
and I have used watercolour pencils you’ve built confidence by practising
to make initial outlines before painting the techniques, try again with your own
in watercolour with varying degrees photographs, copyright-free images
of success over the years. (there are many on our website at
Martyn J. White www.painters-online.co.uk) or from life.
sh £40
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*
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READER
OFFER
£5
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your first order
when you quote: LPMF5
* See shipping policy for full details † No minimum spend, one use for new customers only
Watercolour pencils
Pencil works
Make the most of watercolour pencils and a variety of techniques
to produce effective landscapes with ease, by David Bellamy
not quite sure what to do with them? darker watercolour pencils drawn
LEARNING OBJECTIVES After all, how can they possibly into wet washes as in the Marloes’
n Practise handling watercolour compete with true watercolour paints sketch (right), although sometimes
pencils using a variety of with their exciting, flowing washes? I work entirely with the pencils.
methods Watercolour pencils have been part They are especially useful when
of my sketching kit for many years. working overseas, supplementing
n Try sketching ideas to build There is no reason at all, however, my usual watercolours, and vital
confidence and fluency why you cannot use them to create to my techniques in the Arctic
n How to mix watercolour pencils a full painting, apart perhaps from and other places where I may be
with watercolour and ink large-scale work. You may well feel working in below-zero temperatures.
that the pencils give you greater Should I lose my watercolour box,
control over the work than pure I can still work effectively in colour.
t
Lively Seas on the Naxian Coast, Museum Aquarelle on A4 cartridge paper. This is a rapid sketch where I scrubbed pencil work across
roughly to retain the mood of the moment. I worked quickly because I wanted to capture the strong early evening light on the cliffs.
The main whites are simply the untouched paper, but enhanced in places by speckles of white touched in with a damp white pencil.
One of the advantages many feel with watercolour pencils is that they provide greater control over much of the detail, which they
sometimes find difficult with watercolour paints. This is especially true for those who prefer drawing to painting.
Watercolour pencils
t
Marloes Beach, Prismalo watercolour pencils on A4 cartridge paper. This little sketch on cartridge paper was started with ordinary
watercolour paints without a preliminary drawing. I then drew into the wet wash using an indigo Caran d’Ache Prismalo watercolour
pencil on the more distant cliffs and a black one on the nearer rocks. This is a marvellous method when you want to sketch quickly
or in wet weather.
by limiting your range to those colours with me just for this purpose. They produce striking results when drawn into a wet wash.
t
Boulder Field, Museum Aquarelle on A4 cartridge paper. Splatter works well with a vignetted foreground and here I created the
splatter on a wild mountain summit by wetting a No. 8 Round sable with a strong spring in the hairs then flicking it downwards
over the tips of red and blue watercolour pencils. This works exceptionally well on the soft Museum Aquarelle pencils.
TRY THIS!
Sprinkle method
t
Watercolour pencils
t
Lochside Cottage, Museum Aquarelle on Waterford HP paper, 4x6in. (10x15cm). For this I used Waterford hot-pressed paper, laying
on the background yellow watercolour pencil with a few streaks of yellow ochre, then blending this in with a No. 10 sable brush.
Once this wash was dry I drew in the various features, mixing colours on the paper and, when all this had been achieved, I brushed
water over each part of the composition. I then sharpened some of the edges and darkened tones around the building mainly
with a black watercolour pencil. Finally I added linear emphasis with a fine pen.
in the same section of the colour For minor touches, pick up colour a chart of all the colours you use
wheel. This will give a more with a damp brush directly off the so that you can see exactly how they
harmonious result. In this article I pencil then apply it to the paper. appear, as it is almost impossible to
have used the excellent Caran d’Ache Splattering with a springy sable, as be accurate when trying to assess the
Museum Aquarelle pencils which have shown in Boulder Field (top left), colour from that on the pencil casing.
a range of exciting colours and superb can be effective, or try using a Then you can test all the various
blending qualities, vital for mixing the toothbrush. Simply wet the toothbrush, colour combinations and highlight,
colours. hold it over the area you wish to splatter or note which mixtures appeal most
and draw the bristles back with your to you and your chosen subject. Try
Techniques thumb to fire it across the pencil tip. all the techniques out on scrap paper
If the subject is complicated, it is worth Watercolour pencil work can also first. Once you are confident, go for
starting your drawing with a lightly be combined with pen drawing, a the real thing.
applied ordinary graphite pencil – technique that is superb for enhancing You can have a lot of fun with
a 3B or 4B is fine. It is then easier to detail. I used a pen in a limited way watercolour pencils so dig them out
make changes to the composition in Lochside Cottage (above). of that box and make the most of
before you commit yourself with their special qualities. LP
colour. If the composition is simple, Troubleshooting
however, you may feel happy to dive If you are unhappy with the results of
straight in with the watercolour pencils. a work carried out with watercolour
Using these pencils doesn’t mean that paints you might well be able to rescue
you have to restrict yourself to drawing detailed areas with a few well-pointed David Bellamy
techniques. Choose whether you wish watercolour pencils. You can gently Find out about David’s work, his
to apply the colour on dry paper, re-wet the parts that need a bit of help workshops and travels by visiting
blending in other colours before laying then draw into them or apply the pencil www.davidbellamy.co.uk. Buy his
on the washes of clear water, or first to the dry paper then use a wet latest book, David Bellamy’s Arctic
picking up colour from a paper palette. brush. The harder Prismalo pencils work Light (Search Press, 2017) from
Try also blending colour mixtures on well in this drawing role for detail work. LP’s bookshop at PaintersOnline.
the palette with a wet brush before If in doubt, test the proposed rescue Go to page 72 for details.
you lay the wash on the painting or technique on scrap paper first.
or sketch. You will find that it helps to construct
t
Acrylics
LEARNING OBJECTIVES
n Practise techniques with
masking tape, mountboard
and painting knives
n How to paint boats, buildings,
water and reflections
Acrylics
Use a
t
Dry-
t
brush to painting
create a knife
ragged to add
tree line. texture.
Masking
t
Use the
t
tape is used mountboard
to create to drag the
sharp edges. boat colour
This is into the
especially water. Only
useful a little
around the additional
focal area. detail is
Gently needed
remove it to make a
before the convincing
paint dries. boat shape.
Step 1
t
Acrylics
Demonstration continued
t
Step 2
1 Using a thin, but not watery, mix of cerulean blue with titanium
white block in the sky to create the far tree line and the top edges
of the roofs. There is no need to cover the entire underlayer, as the
sky will be painted again and this will add variety. The rough paper
should allow you to create a more natural ragged edge for the trees.
2 Add a little of the sky colour to the distant water.
3 Introduce some local colour to the trees with the 1in. brush
and painting knife, using cadmium yellow mixed with various blues.
Allow the dark underlayer to show through as shadows, taking
into account that the light is coming from the top right.
4 Begin to add warmer colours to the near buildings, using the
painting knife and a credit card to create random areas of texture.
Step 3
t
the shed and cottage roofs and walls. using smaller, more subtle marks
Try to maintain perspective, but suggest and increasingly light tones without
rather than overstate. obliterating the lower layers completely.
4 In the same way add lighter details to 3 Place a few windows and doors in the
the shadow areas using mixes of mid-grey buildings using the 1in. brush.
and blue to suggest planks and openings. 4 Mix titanium white with a little burnt
Generally speaking, all ‘lights’ in shadow sienna and ultramarine and start to add
should be cool and bluish, while those a few cloud shapes with the painting
in lit areas are warm and paler in tone. knife. I also used my fingers.
I added almost pure white with a touch
of yellow to the corner of the shed
above to show how it jumps out.
5 Making a variety of dragged
marks with the 1in. brush,
painting knife and mountboard
add some detail to the distant
trees. Over-paint a little of the
greens on the tree line into the
t
Step 4 sky to knit them together.
1 Describe the roof shapes more
clearly by cutting in with the sky colour.
2 Use pieces of masking tape to make Step 5
t
sharp edges on the roof and corners of 1 By this stage all the main
the main shed. Ensure the lower layer tonal areas should be virtually
is dry first! complete.
3 Make linear marks with the knife 2 Continue to build up the
and mountboard edges to suggest textures and definition with the
corrugations, gutters and the like on same group of colours, gradually
Step 6
t
1 Use grey-blues to hint at buildings and boats on
the far shore, with a slightly lighter tone for the roofs
catching the sunlight. Avoid including detail. I used
a knife for this.
2 With the 1in. brush add detail to the top edges and
hint of a water line on the boats.
3 Finish the water using mixes of white, ultramarine
and phthalo blue with the painting knife, and use
mountboard in a dragging motion to suggest cloud
reflections and ripples. Take care to leave darks for
the reflections of the boats and buildings.
4 Using the mountboard edge and a stamping motion
indicate a water line along the base of the wharf in
a mid-blue colour.
5 Highlight fence posts, steps and other small details
using the mountboard, credit card and ¾in. brush
with burnt sienna, cadmium yellow and a little white.
These tend to look better if not wholly stated,
as if disappearing into mysterious shadow.
t
The finished painting Old Wharves, Fowey, acrylic on paper, 12x16in. (30x41cm)
Inspiration
Festive florals
Tips, techniques and inspiration for designing your
own Christmas cards this year, by Judith Milne
Floral subjects
W ith Christmas fast
approaching, we turn our
thoughts to connecting with
family and friends, and what better way
of doing this than using our skills as
As I have always had an affinity with
flowers and foliage, my Christmas
designs often follow that theme,
although from time to time, I opt for
painters to produce our own Christmas a landscape. Obviously the choice of
cards. Today’s modern technology Christmas-related blooms is limited;
makes this even easier, as duplicates the most obvious choices being
can be photocopied, or scanned and poinsettia, snowdrops, winter jasmine
printed on our PCs, allowing us and hellebores, along with holly, ivy
t
If you intend to reproduce your card from to circulate more of our designs. and mistletoe. Your design and layout
an actual-size painting so reducing the image Creating a card is not about using an is important as you need to create
to fit the card size, you will need to ensure image you have already painted, but a pleasing composition. Placement is
that the proportions are correct and fit
within the shape. This diagram will help you designing an image that suits the size key, as the design should have impact
decide on the right size and proportion of and shape of the card you choose to – a tiny image floating in space is
your paper. First, decide on your card size; create impact. Any shape or size can not suitable.
6x4in., 5x5in. and 7x5in. are standard. On be used providing you can purchase How you execute your painting is
a sheet of paper draw your required size envelopes of the correct size. You can personal, whether you paint freely
then run a diagonal line from one corner to choose watercolour paper, scored and or in detail, your end result will reflect
the opposite one, until you reach the desired folded, or buy packets of plain cards your methods. Sometimes working
size for that composition. Your image will with envelopes in every shape and size on a small scale can be challenging,
then reduce down accurately. imaginable. The surfaces of these vary but reproducing your image through
t
I have used colourful poinsettias many
times over the years, configuring them in
varied compositions. Close ups of the head
fits well into a square with foliage a rich
contrast to the flower. You will notice that
this composition fits well into this portrait
shape with sufficient white border as t
This is a freer and bolder rendition, showing the snowdrops
a surround. The light and dark contrast as they would be growing in their environment, and designed
gives depth and impact to the painting. to fit a square shape.
printing, reduction is not a problem. out of season, try either working from The flowers
t
Watercolour
Sky high
How to ensure your skies and clouds work with
the landscapes beneath, by David Webb
t
Richard Thorn Cool Avenue. The contre-jour view of this woodland path causes the leaves to become transparent and take on a green and
yellow glow. The trunks and branches, though, are silhouetted against the light.
LEARNING OBJECTIVES
n How to show depth in your
landscapes
n Colour mixing for sky studies
n Practise watercolour techniques
t
Fernand Thienpondt The English Convent. The predominantly cool, dark blues and the silhouette of the buildings are offset by the
small patch of warm, bright sun in the lower right corner.
Watercolour
t
Robert Highsmith Sky Studies. These four sky images illustrate several features that are useful for painting skies. Linear perspective
is evident in the way the larger clouds are foremost, with the smaller ones nearer the horizon. Wet into wet is also in play, and there
are combinations of hard and soft edges.
windswept marshes with huge skies to Colour of light of the angle of the light and the
bustling cityscapes dominated by tall Even if you choose to include very length of any shadows when you first
buildings, and may also include coastal little sky in your painting, the effect of start sketching or painting, so that you
scenes and seascapes. the light on the landscape below sets can maintain consistency over a long
The medium of watercolour, too, the whole mood. The colour of light painting session.
continues to be a favourite choice for is affected by the time of day. As the Wherever you are on the planet,
painting landscapes. The transparency sun sets it has to travel through a opportunities for painting the
of the paint and the way the whiteness thicker layer of atmosphere to reach landscape in watercolour are never
of the paper shines through enable you us, which contains dust particles that very far away. The land and sea
to create landscapes with a sense of act like a filter, giving the light a provide a never-ending source
luminosity that is unrivalled in any reddish tinge. At midday, the sun of inspiration.
other medium, while the quick drying is directly overhead and has only
time allows you to work speedily to a narrow band of atmosphere to Skies and clouds
capture the often fast-changing light penetrate, making the light whiter Skies are as many and varied as
and weather conditions. Being so and cooler. So a landscape dominated the landscapes below them, and
portable, it is also perfect for painting by trees and shrubs may appear quite watercolour is ideally suited to tackle
on location. A limited palette of eight cool around midday but, as the sun the soft, airy nature of the subject.
to 12 colours is all you need to obtain sets, the greens will become steadily A few simple watercolour techniques
a wide range of colour mixes, to cope more red and appear warmer in tone. are all you need: you can exploit the
with any painting possibilities. Certain colour choices and whiteness of the paper to create
combinations lend themselves to billowing cumulus clouds, use a wet-
Richard Thorn Chagford Sky. The particular conditions. Cold, cloudy into-wet approach for grey, stormy
t
strong dark forms in the landscape weather will be dominated by cool skies, lift off paint with paper towel
contrast with the lightness of the sky. blues and greys, while warm, sunny or a cotton bud to create thin streaks
The artist has succeeded in portraying weather may include reds and of cloud, and capture the glorious
the ‘silver lining’ effect, caused by the yellows. However, the light can colours of a sunset with a simple
t
position of the sun behind the clouds. change very quickly, so make a note variegated wash. LP
Watercolour
t
Eva Bartel Morning, Bowron Lake. The mountains reflected in the lake are almost mirror-like. A slight ripple, caused by a breeze,
provides a little movement in the water, along with a thin line of reflected sky.
t
Step 1
t
Step 2
Tape your watercolour paper to a board with masking tape. Wet the entire surface of the paper. Working quickly, dip your brush
Sketch the outline of the main features, including the rocks into the cobalt blue and paint in the sky, leaving white areas for
and footpath. Position the horizon quite low, so that most clouds. Brush burnt sienna into some blue areas to make grey. Add
of the space is reserved for the sky. Make separate dilutions smaller amounts of alizarin crimson and raw sienna to the lower
of each of the four colours. parts of sky. Wash raw sienna onto the land mass, adding cobalt
blue in places to make a soft sage green. You should now have
a soft, atmospheric foundation wash. Allow to dry completely.
Watercolour
t Step 4
t
Step 3 Mix a pale grey from cobalt blue and burnt
Using cobalt blue on dry paper, create area and mixing cobalt blue and burnt sienna, and paint the rocks, using a stronger
negative cloud shapes by painting the sky sienna on the paper to make a darker grey. mix for the shaded sides. Paint the moors
up to the cloud edges. Wet some edges of the Build form into the cloud areas by wetting by mixing raw sienna and cobalt blue on
clouds to allow paint to bleed in to create some parts and adding more burnt sienna the paper. The final result is a cloudscape
softer edges in places. Add more weight to and cobalt blue. Keep your board at an angle that is full of light and movement, anchored
the darker cloud on the left by re-wetting the to allow the washes to flow down smoothly. by the thin strip of land at the base.
t
The finished painting David Webb Moorland Sky
First impressions
Discover how to paint reflections in wet sand, and in moving, still and disturbed
water using a variety of techniques for oils and acrylics, with Elena Parashko
LEARNING OBJECTIVES the colour of the water and nature of colour of the water and details of the floor.
the floor under the water. To paint water 4 Dark objects usually reflect lighter and
n Seven principles of painting convincingly, you have to observe the light objects usually reflect a bit darker.
reflections details of what is happening in every In other words, there is less contrast in
n Practise back-to-basics reflection situation, as there is not one technique the tone of reflections than in the subject
techniques that always applies. However, it does help being reflected.
to understand these basic principles: 5 Reflections are less detailed, more
n Understand different types 1 Reflections change depending on the diffused and the edges are softer than
of reflections surface of the water in every moment the actual subject.
(how smooth or rough it is due to the 6 Reflections lean in the same direction
current or disturbance by the wind). as the object they reflect.
1 Paint the scene above the horizon line. Firstly, mix all your
In this demonstration, I used ultramarine reflection colours first.
blue and titanium white for the sky, I just added a touch
ultramarine blue and cadmium yellow of sky colour to slightly
medium for the coconut tree fronds, tone down the intensity
ultramarine blue and cadmium yellow of each colour.
light for the low vegetation, burnt sienna Secondly, add a few
and titanium white for the trunks, and drops of retarder
raw umber and titanium white for the medium into each
sand. colour. Thirdly, if you
2 Then paint the water section very are painting on a large
quickly as this technique requires canvas, dampen the
blending of wet colours. If you are using reflection area of the
oils, this is no problem, as they will stay canvas slightly with
wet and workable for a long time. If you retarder medium.
are using acrylics, which dry much faster, 3 When you are ready,
there are a couple of things you can do block in the reflection
to keep the paint workable for longer. colours with loose
vertical bands. If your scene
t
Step 1 Block in the reflection colours
has very still water where the
sky and clouds are also being the gently moving water of a lagoon
reflected, then you would where the sea is quite a different colour
continue blocking in vertical to the sky so I painted the sea with
bands of blue and white across phthalo blue and titanium white using
the whole water area. horizontal strokes and added streaks
However, here I am portraying of sky colour throughout.
Step 2
t
While the reflection is still wet, use a clean and dry soft flat
brush or fan brush to drag the reflected colours vertically.
Try to keep a steady hand. Start at the top of the reflection,
and with one sweep, blend through the greens and into the
blue. Have a paper towel on hand to wipe the picked up
colour off the brush after each stroke.
Step 3
t
While the paint is still wet, use a clean flat or fan brush to gently
drag horizontal strokes across the whole water section. Keep a
very steady hand and don’t go over the same spot twice to avoid
over blending the colours. Again, wipe off the brush after each
horizontal sweep across the canvas. Start at the top of the
reflection and work your way down the canvas in horizontal bands.
t
Step 3 Drag the paint horizontally
Step 4
t
After blending, you should have a fuzzy reflection of basic form
and colour without detail of the reflected subject.
t Step 5
If fine tuning with colour or shape is required, just blend in
adjustments; here I gently blended in a hint of burnt sienna for the
reflected coconut tree trunks. Then indicate the surface of the water
through ripples, sparkles or floating objects, such as weed, water
birds or boats. Here I used the sky colour to indicate surface ripples.
I streaked these lines from left to right to ensure some of the green
t
Step 4 The reflection so far reflection colour continued into the blue sea colour.
t
Step 5 Add an indication of water surface with ripples and you’re finished!
Still water
Reflections in still water occur in there is no wind or current to disturb mirror effect. When reflections
puddles, ponds and lakes when the water surface. This creates a mirror the landscape closely as
seen in Long Jetty II (left), it is
compositionally more effective
not to have the waterline exactly
in the middle of the canvas, as
this cuts the painting in half and
gives equal weight to the scene
as well as the reflection of the
scene. Decide which area is the
main focus of the painting – the
scene or the reflection, and give
greater space to your focal point
by raising or lowering the
waterline accordingly.
In Long Jetty II, the focus was
the lake so the waterline was
raised to give the reflection more
space than the sky. You can also
see how the colour of the very
dark landmass on the opposite
bank was lightened in its
reflection, which was painted
with vertical brushstrokes. Then
the flat surface of the water was
implied through the use of gentle
horizontal ripples, floating weed
and ducks.
t
canvas, 18x24in. (46x61cm)
Disturbed water
When there is a lot of movement in You can see in The Farm (below) approaches the shore. It is really
water from strong currents or wind, that the only reflection present in only in the thin film of still water
it becomes aerated, turns white and the ocean comes from slivers of sky on the shoreline that the green and
loses its reflective quality. This is colour in the troughs of the waves brown of the headland is reflected
common in seascapes with lots of and some brown reflection of rocks strongly on the right and the blue
wave movement and large bodies in the lower right section where the sky is reflected on the left.
of water on a windy day. wave movement is calmer as it
t
The Farm, oil on canvas, 18x3534⁄ in. (46x91cm)
Moving water
When water is moving, the ripples
or waves that are present will
break up and lengthen the
reflection. The more movement in
the water, the longer the reflection
will be.
The pattern of reflection is
interesting in the painting, Time
of Reflection (right). The water in
the upper right side of the scene
is fairly still so a lot of the green
vegetation is mirrored into the
water. However, in the upper left
side, the water surface is disturbed
by wind so the angle of the ripples
reflect the sky rather than the
background vegetation. The
current in the mid-ground breaks
up the edge of the green reflection
with chinks of sky reflection.
Take a look at the shape of the
reflection of the small rowing boat
in the foreground. The shape of
the reflected image is not an
upside-down version of the side
view of the boat that you have
as a viewer; the reflection shows
more of the underside of the boat.
Wet sand
When water recedes and leaves a thin elements in the scene, such as figures the light blue of the sky, dark blue
clear film on the shoreline, it has a strong and landforms. This effect is utilised in of the mountain range and white of
mirror effect that reflects sky and other From Here to Eternity (below) where the clouds are reflected in the wet
sand of the beach.
Water that is close to the
viewer is a weaker reflector
of images than water that is
further away. You can see
this here where the light
blue reflection of the sky
close to the viewer is much
more subtle than its stronger
reflection further away
down the beach. LP
Elena
Parashko
Elena is the author of the
empowering book Survival
Guide for Artists: How to
Thrive in the Creative Arts,
available on Amazon.
She also runs painting
retreats in Fiji and Tuscany.
For more information
about her work visit
www.elenaparashko.com
or email info@elena
parashko.com. Her blog
www.survivalguideforartists.
com has a wealth of
information for artists.
t
From Here to Eternity, oil on canvas, 16x20in. (41x51cm)
Watercolour
Layers of colour
Part 2 Here’s an easy-to-follow demonstration using a limited palette to help you
paint a popular garden visitor in loose and lively washes, by Michelle Campbell
LEARNING OBJECTIVES
n
n
Practise wet-on-dry technique
Draw and paint loosely
T o help you practise using my
watercolour technique (see LP,
November 2017), I hope you enjoy
working on this robin. Before I started
painting this, I laid the watercolour
paper flat on my work board but,
because this is a small painting, I didn’t
mask it to the board. I usually mask the
paper to a board or table, however,
when I work on larger paintings. LP
Surface
l Saunders Waterford 640gsm 1 Sketch the
Rough natural white subject loosely
watercolour paper 8x11in. in pencil.
(20x28cm) 2 Loosely draw
over the sketch
n Watercolour with a pen.
l Payne’s grey 3 With the No. 8
l Cadmium orange brush apply a
l Burnt umber loose wash of
l Cadmium red Payne’s grey –
n Gouache two parts water
l Permanent white to one part
pigment – over
n Brushes the head, beak
l Daler-Rowney No. 1 and right-hand
l Bluecoat sable mix No. 8 side of the
body. Leave
n Miscellaneous
to dry.
l Koh-i-noor pencil (H or HB)
l Faber-Castell Pitt pen (black
with small nib)
l Jar for water
l Paper towel
t
Step 2 t
Step 3
1 Once dry, use the No. 8 brush to apply cadmium red – two parts Loosely apply a wash of cadmium orange over the
water and one part pigment – on the front of the robin’s breast. cadmium red on the robin’s breast. Leave to dry.
2 When dry, apply burnt umber over the wings and leave to dry.
Watercolour
t
Step 4
1 Mix Payne’s grey and burnt umber so
the colour becomes dark and apply over t
Step 5
the wings. Don’t apply too much water to 1 Paint the legs with a mix of cadmium red and Payne’s grey.
the brush, as it should be dryer – we only 2 Using the pen, work cross-hatching across the body. To do this,
want to make a suggestion of the wings. draw two or more sets of parallel lines that cross one another.
2 Colour the black eye with the pen, 3 Use the pen to squiggle loose hairs lightly around the body
leaving a little white dot for where area, and add the suggestion of the branch.
you want the pupil to be.
Step 6
t
Michelle
Campbell
Find out more about
Michelle by visiting
www.michelleccamp
bellart.com
t
The finished painting Robin, watercolour, 8x11in. (20x28cm)
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Watercolour
Focus on trees
Part 2 Having practised last month’s exercises, follow Stephen Coates
step by step as you paint your own landscape with trees the easy way
LEARNING OBJECTIVES 2 Spend time testing and practise be aware of before rushing into the
painting the trees in the composition painting. I deliberately planned the
n How to use brushes to create before committing them to the finished sky with light tones immediately behind
various effects and textures painting. where the trees were going to be
n Make sense of green in a 3 Choose a landscape where the green painted, as it is almost impossible
tree-filled landscape areas are broken up with features that to paint light greens over previously
have contrasting colours, such as walls, painted dark areas.
n Colour mixing for landscapes paths and buildings. Furthermore, I also made alterations to the structure
limit the size of areas of green foliage, of the composition. First, I widened the
t
My final compositional sketch of the scene t
Your reference photograph. Photograph courtesy of Andrew Locking
Watercolour
t
Step 1 The sky t
Step 2 The hill
Painting a good sky shouldn’t take longer sketch, adding a little more at the top to 1 The distant hill was painted with the 2in.
than two minutes. I used a 2in. Hake and strengthen the colour. I then picked up Hake full of the prepared purple. I moved
wet the entire the sky area. I picked up the a little of the light grey with the No. 8 Round the brush swiftly then left it well alone.
smallest amount of raw sienna and swept it brush and, holding it at a low angle, swiftly 2 Using a No. 8 Round brush, I immediately
across the wet paper, leaving it quite patchy. feathered it across the lower parts of the dropped a little of the light grey onto the
Without washing the brush, I immediately white spaces. Once dry, the rest of the right side of the peak and drifted it across
picked up a little ultramarine and gently drawing was completed using a 2B pencil to blend into the purple. Again this only
feathered it into the areas planned in my and soft eraser. took a matter of seconds.
TIP I overlapped the building, meadow and wall with the purple;
some may query why I didn’t mask first. Bockingford paper, which
doesn’t readily absorb the paint, allowed me to lift unwanted
colour afterwards. This was done by gently scrubbing with a small
wet flat brush and dabbing off with kitchen paper. I did this as
necessary throughout the painting.
Watercolour
Demonstration continued
Step 5 Adding detail
t
1 To simulate gravel, I sprayed speckles onto it by
pulling a small plastic ruler through the bristles of
a toothbrush loaded with purple. I did the same
with grey, ensuring the previous layer was dry first
to avoid the paint spots building up into splodges.
2 I prepared a loose puddle of light grey and used the
No. 8 Round to run the paint quickly across the whole
area of the building and walls, leaving little dry white
spaces. Once this was dry, I ran over it again using
the same paint leaving rock-shaped spaces.
3 I also dropped purple and loose burnt umber
in whilst wet to blend and granulate with the grey.
I concentrated the darker paint on the gable end of
the building to create a sense of light from the left,
something that was not evident in the original
photograph. When this was dry, I added a few
more dark patches here and there taking care not to
overdo it. I then painted the roof timbers and gate
using the light purple mix and burnt umber.
index 2017
Pull out and keep reference guide to the features
and information within this year’s issues
Nelson, Mark Daniel, Learn to Paint in collage May 9 May 45; Jun 12–16; Jul 58–9; Oct 47
Acrylics with 50 Small Paintings colour see also pencils and crayons
Aug 63 blacks Apr 31–3 DVDs
Newton, William, Learn to Paint in browns Mar 37–40; Apr 31–2 Brown, Peter, Painting Arles Mar 57
Watercolour Step by Step May 61 green mixes Jun 20–1 Dellar, Roger, A Simple Approach in Oils
Nickelsen, Alyona, Colored Pencil mixing colour Jan 20–3; Apr 24–6, Jun 59
Painting Portraits Aug 63 32, 41; May 12–13; Jun 21; Hopkinson, Paul, Harvest Mouse in
Pavilion Books, Colour Your Own Jul 58–60; Aug 16–18; Sep 46–7, Watercolour: A Step-by-Step Tutorial
Klimt, Monet, Van Gogh and Dutch 53; Oct 32; Dec 23–7, 36–8 Feb 57
Masters Jan 57 red earths Feb 36–9 Mansur, Georgia, Watercolour Tips &
Peck, Robert McCracken, The Natural whites Apr 32–3 Techniques Mar 57
History of Edward Lear Jan 57 competitions readers’ tips Aug 10; Sep 10
Peng & Hu, Hirameki: Draw What You Art Club of the Year Oct 62
See Jan 57 LP Open Competition Oct 74–9; Nov 7
E
egg tempera Apr 31; May 41; Oct 39–41;
Sanders, Rosie, Rosie Sanders’ Flowers: composition Jan 19; Feb 17, 29–30; Nov 37; Dec 62–4
A Celebration of Botanical Art Mar 34–5; Jun 37; Jul 59; Elliott, Helen Apr 14–17; Nov 32–5
Jan 57 Summ 23–5; Aug 11, 28–9, 31; equipment
Sayn-Wittgenstein, Old Masters Rock: Sep 24–5, 47; Oct 20, 32, 38–41; acrylic ink Sep 34
How to Look at Art with Children Nov 36–7, 43–5, 47; Dec 62–4 drawing materials Feb 24
Summ 61 photographs, drawing/painting from line and wash kit Jul 40
Scarfe, Fraser, How to Paint Jan 25–6; May 22–3; Jun 20–1 linocutting Mar 50, 52
Atmospheric Landscapes in Acrylics Cooper, Amanda Jun 36–7; Oct 56–7 palettes Jul 28–9; Aug 40; Sep 52–3
Apr 61 courses see holidays and courses sketching kits Nov 52–4
Scobie, Lorna, 365 Days of Art Oct 67 creativity tips Feb 12–15; Apr 14–17; etching May 40, 42
Scriberia, How to Draw Anything Jun 10, 39–41 Evans, Charles Dec 50–3
Dec 73 Croxford, Cat Aug 12–15; Sep 45–8
Scully, Kevin, Drawing and Painting
D F
on Location Jun 59 Fennell, Alison Apr 27–9; May 25–7
Darlow, Les Jun 42–5 Fenner, Michael Summ 53–5
Soan, Hazel, Learn to Paint People digital art May 10; Jul 10; Aug 34–7;
Quickly May 61 figure drawing/painting Jan 28–31, 50–3;
Sep 30–3 Feb 21–3; May 62; Jun 61; Summ 39;
Stich, Jon, Sketch Your Stuff: 200 disability Jul 10; Aug 10
Things to Draw and How to Draw Oct 12–15, 20–1
drawing and sketching Feb 17; Fisher, Tim Jan 39–42; Feb 43–5;
Them Jan 57 Jun 22–3; Summ 23–5; Aug 28–9,
Summers, Haidee-Jo, Vibrant Oils Mar 44–6; May 30–2; Jun 50–2;
47; Sep 24–6; Nov 30–1, 36–7 Jul 40–3; Summ 15–19; Aug 20–3;
Nov 73 animals Jun 12–16
White, Barbara Ehrlich, Renoir: Sep 34–7; Oct 28–31; Nov 28–31,
apps Aug 34–7; Sep 30–3 52–4
An Intimate Biography Dec 73 buildings Mar 24; Apr 50; May 22–4,
Whittle, Janet, How to Paint Flowers flower painting Apr 48; May 9, 16–20;
52–5; Jun 22–3, 51–2; Jul 21–3, Aug 23; Nov 55–7
& Plants in Watercolour Jun 59 40–3; Aug 34–7; Sep 30–3; Oct 57;
Woodcock, Keith, Drawing and anemones Summ 64
Nov 29 chrysanthemums May 13
Painting Cars Sep 59 cartoons Nov 58–60
Woollett, Alan, Bird Art: Drawing Birds clematis Aug 70
churches Apr 50; Jun 52; Oct 57 daffodils Jan 42
using Graphite & Coloured Pencils figures Jan 28–31, 50–3
May 61 foxgloves Oct 49–51
graphite drawing Feb 24–6; freesias Oct 72
botanical illustration Summ 56–9 Mar 24–7; Jul 21–3; Summ 16;
see also flower painting geraniums Summ 70; Dec 54–7
Sep 56–7 irises Summ 56–9
Bowden, Jem Feb 16–17; Mar 16–18; ink Apr 50
Jun 20–1; Jul 17–19; Aug 28–30; lilies Mar 36
line and wash Feb 38–9; May 28–9, poppies May 18–19; Summ 70; Sep 48
Sep 20–3 52–5, 70; Jun 17–19, 50–2; Jul 21–3,
Bradley, Sue Aug 60–1 roses May 16–17, 58; Sep 28
40–3; Summ 15–19; Sep 12–15 rudbeckia Jul 64; Aug 31–3
Bramble, Paul Apr 18 oils Nov 44, 66
brushes Jun 34–5; Aug 12–13, 40; snowdrops Mar 19–23
pens Apr 10, 48; May 23, 29; Jun 10, tulips May 19; Oct 9; Nov 65–7
Sep 42–4, 53; Nov 13 50
Byrne, John Nov 58–60 wisteria Jul 32–5
portraits Jun 8; Nov 52 Friend, Trudy Feb 46–7; Sep 50–1
C sketchbooks Feb 12; Jul 13
G
Campbell, Michelle Nov 16–19 supports Jun 50
cards Dec 32–3 techniques Jan 50–3; Feb 24–6; Godwin, Jarnie Summ 56–9
Chaderton, Liz Aug 38–40; Sep 38–41; Mar 24–7; Aug 28–9; Nov 52–4 gouache May 9; Jun 46, 60; Nov 16–19
Oct 52–5 tonal awareness Sep 56–7 H
charcoal Jan 32–4; Apr 47; May 42; tracing paper Jan 30; Sep 10 Hales, Ev May 12–15; Jun 28–31
Nov 53 trees Jun 52; Sep 56–7 Harman, Heather Jan 32–5
Coates, Stephen Nov 24–7; Dec 36–8 watercolours Jan 53; Mar 32–3; Harrison, Terry, tribute Aug 11
Henchell, Paula Nov 47–51 pastels Jan 32, 33, 35 mounts Jan 10; Feb 10
Hogan, Tony Feb [supp. 20–1], 51–3; watercolours Jan 13–17, 21; Feb 18–20; night scenes Aug 52–5
May 48–51; Summ 42–5; Oct 34–7 Mar 16–18, 37, 44, 47–9; Apr 8, perspective Jul 59
holidays and courses 19–23; May 25–7; Jul 17–19, 24–7, photographs, painting from Apr 51–3,
2017 guide Feb [supp. 3–22] 55–7, 62–3; Summ 38–41, 50–2; 58–9; May 56–8; Summ 30–3
2017/18 guide Oct [supp. 3–14] Sep 20–3, 52; Oct 56–7; portraits Feb 8
Carole Baker May 71 Nov 47–51; Dec 13–17, 23–7, reflections, depicting Jun 54–7, 70;
Hazel Soan Apr 57 36–8 Aug 52–5; Dec 28–31, 58–61
Judi Whitton Apr 71 left-handed artists Nov 10 seascapes Jan 36–8; Mar 40; Jun 54–7
Lachlan Goudie May 21 lino printing Mar 50–3; Jun 10 still life Feb 13, 27–31, 66; Mar 34–5;
Pamela Kay Apr 38 Louca, Jo Summ 38–41 May 18; Jun 9, 47; Sep 17
Paul Talbot-Greaves Jun 71 Lyon, Ingrid Aug 11 techniques Jan 36–8; Apr 58–9;
Holland, Richard Feb 48–9; Jul 58–60 Jun 54–7; Jul 12–15
Hooper, Lisa Mar 50–3; Apr 54–6 M trains Sep 9
McNaughton, Rachel Jan 47–9; Feb 33–5;
Hopkinson, Paul Jul 49–53; Summ 46–9; Venice Mar 41–3; Nov 37
Apr 10; Jul 32–5; Aug 31–3;
Oct 46–8; Nov 61–3 outdoor drawing/painting Feb [supp.
Oct 49–51
12–14, 20–1], 12, 15; Mar 41–3;
I Martin, Claire Aug 57–9
Summ 20–2, 53–5
inks masking fluid/tape Summ 18; Oct 47;
acrylic ink Apr 33; Jun 51; Aug 20–3; Dec 18–21 P
Sep 34–7; Nov 16–19 Meier-Pauken, Klaus Jan 50–3 painting projects Feb 16–17;
and coloured pencil Nov 28–31 Mendonça, Rebecca de Apr 44–7; Mar 16–18; May 22–4; Jun 17–19;
fountain pens Jan 51 May 34–8 Oct 16–21
Indian ink Apr 32 Milne, Judith Oct 32–3; Dec 20–21 coastal scene Jan 18–19; Feb 18–20
line and wash Feb 38–9; May 28–9, Mitchell, John Jun 46–9 harbour scene Summ 23–5; Aug 24–7
52–5, 70; Jun 17–19, 50–2; Jul 21–3, mixed media Jan 9, 28–31; Feb 14, 21–3; shopping parade scene Oct 20–1;
40–3; Summ 15–19; Sep 12–15 Aug 59 Nov 20–2
and pastel Oct 28–31 acrylics Summ 37; Aug 20–3; spring landscape Jul 17–19
sepia ink May 23, 29 Nov 16–19 summer landscape Sep 20–3
supports/tools Jun 50 collage May 9 paper see supports
water-soluble ink Apr 48–50; Jun 51–2 inks Jun 49; Aug 20–3; Oct 28–31; Parashko, Elena Jan 24–7; Feb 40–2;
and watercolours Aug 22–3; Nov 28–31 Mar 34–6; Apr 51–3; May 56–8;
Dec 13–17 pastels Aug 20–3, 58; Oct 25–6 Jun 54–7; Jul 44–7; Summ 30–3;
waterproof ink Apr 50; May 29; watercolours Feb 46–7; Jun 49; Aug 58; Aug 52–5; Nov 65–7; Dec 28–31
Jun 50, 51 Oct 25–6; Nov 16–19 Parker, Adrienne Oct 25–7
iPad art Jul 10 Mortimer, Ann Nov 55–7 pastels May 30–2; Jul 70; Aug 10
animals Jan 33; Apr 44–7; May 34–8;
J N Summ 64; Sep 61, 62
Jelbert, Wendy Mar 32–3; May 28–9; Nichols, Richard Mar 47–9; Summ 50–2
Jun 39–41; Jul 55–7 figures Jan 28; May 62
Nield, Anthony May 45–7
Joyce, Colin Mar 41–3; Apr 58–9; landscapes Jan 32, 33, 35
nudes May 42
Jul 61–3 oil pastels May 30–2; Aug 20–3
Nov 28–31
graphite pencils Sep 56–7 Strode, Steve Feb 12–15; Summ 20–2; garden scenes Jun 70; Summ 22;
liquid pencil Feb 46–7 Aug 45–7; Sep 27–9 Aug 16–18; Sep 24–6; Oct 16–19,
pastels Jan 23; Jul 36–9; Oct 10; style, finding your own Jun 46–9 32–3
Nov 53, 54 supports green mixes Mar 45; Dec 36–8
watercolour pencils Feb 46–7; acrylics Jul 29–31; Aug 13 and ink Aug 22–3; Dec 13–17
Mar 24–7; Apr 10; Jun 47; Jul 24; ink drawing Jun 50 interiors May 43
Summ 15–19; Sep 56–7; Oct 10; pastels Apr 44, 45; Jun 25, 42–3; landscapes Mar 37, 44, 47–9;
Nov 53; Dec 13–17 Aug 57–9 Jul 17–19, 62–3; Summ 38–41;
see also drawing and sketching; water-soluble pencils Apr 10 Sep 20–3; Oct 56–7
equipment watercolours Jun 29–31; Jul 10; Arctic scenes Jul 24–7
pens see inks Summ 12; Aug 39, 57–9; Sep 53 coastal scenes Feb 18–20;
perspective Jul 59; Nov 36–7 woodblock printing Apr 56 May 25–7
Pethers, Ian Sep 12–15 T farm scenes Jan 21; Jul 55–7; Sep 52
photographs, drawing/painting from texture Mar 45–6; Sep 40–1; Nov 17 harbour scenes Sep 43
Jan 18–19, 24–7; Feb 10, 16–17, townscapes Apr 14–17; Sep 30–3; river scenes Mar 47–9; Apr 8, 22–3;
21–3, 40–2; Mar 32–3, 34–6; Nov 12–13 Summ 50–2
Apr 51–3, 58–9; May 22–4, 56–8; tracing paper Jan 30; Sep 10 snow scenes Jan 13–17;
Jun 10, 17–23, 54–7; Jul 17–19, trees Jan 39–42; Feb 26, 43–5; Mar 16–18; Jul 24–7
21–3, 42–7, 58–60; Summ 23–5, Mar 44–6; Apr 19–23, 43; May 29, trees Apr 19–23; Nov 47–51;
30–3, 46–52; Aug 12–15, 30–2; Jun 20–1, 36–7, 40, 52; Dec 36–8
24–9; Sep 12–15, 20–6; Jul 17–19; Aug 12–15, 70; leaves Jan 47–9
Oct 20–1, 46–8, 52–5; Sep 20–3, 46–7, 56–7; Nov 24–7, light depiction Jul 61–3;
Nov 10, 24, 55–7, 61–3, 47–51 Summ 38–41; Aug 17; Sep 12–15
65–7
photographs, taking Jul 49
U London May 45–7; Summ 8
night scenes Summ 38–41; Sep 12–15
Underhill, Tony May 22–4; Jun 17–19;
portraits Aug 34–7; Sep 30–3 and pastel Aug 22–3; Oct 25–6
acrylics Summ 37 pencils Feb 46–7; Mar 24–7; Apr 10;
animals Oct 52–5 W Jun 47; Jul 24; Summ 15–19;
water-mixable oils Jan 20; Apr 26
BP Portrait Award Feb 8 Sep 56–7; Oct 10; Nov 53;
watercolours Mar 6, 50–3; Jun 28; Jul 8;
children Jun 8, 26; Jul 36–9 Dec 13–17
Aug 30; Oct 58–60; Nov 20–2, 47
egg tempera Apr 31 portraits Mar 39; Summ 26–9
animals Apr 27–9; May 65; Jun 12–16,
graphite pencil Jun 8; Nov 52 red earth colours Jan 20–3
29; Summ 12; Aug 40; Sep 39;
oils Feb 8 seascapes May 15; Jun 29, 48; Jul 61
Oct 46–8, 52–5; Nov 16–19, 38–41,
pastels Jan 23, 34; Jun 24–6; Jul 36–9 shadows May 25–7; Jul 61–3
61–3, 78; Dec 46–9
self-portraits Jan 9 skies Sep 21; Dec 23–7
birds Feb 33–5; Mar 47–9; Jul 49–53,
watercolours Mar 39; Summ 26–9 supports Jun 29–31; Summ 12;
55–7; Summ 46–9; Aug 38–9;
printmaking Mar 50–3; Apr 54–6; Jun 10 Aug 39; Sep 53
Sep 38, 40–1; Oct 22–4; Nov 16;
promoting your work Apr 18 techniques Jan 39–42; May 14–15;
Dec 32–3
Pybus, Christine Feb [supp. 16–17]; Jun 39–41; Jul 49–53, 61–3;
boats Jan 18–19; Feb 18–20; Mar 38;
Mar 12–15; Jul 12–15; Oct 12–15; Summ 38–41; Aug 11, 16–18, 30,
Apr 39, 43; Jun 30; Summ 39, 50–2;
Dec 58–61 38–40; Sep 39–40, 42, 44, 51;
Aug 51; Sep 44
R brown mixes Mar 37–40 Oct 22–4; Nov 61–3; Dec 13–17
Ranson, Ron, tribute Apr 7; May 10 brushes Aug 40; Sep 42–4, 53 texture Mar 45–6; Sep 40–1; Nov 17
S buildings Jan 39–42; Apr 40, 42; tonal value Aug 48–51; Sep 54–5
trains Aug 49
Samuelson, Becky Jan 44–6; Sep 42–4 May 24, 25–7, 45–7; Summ 8;
seascapes Jan 36–8; Feb 48; Mar 40; Aug 30; Sep 50–1, 53–5 trees Jan 39–42; Feb 43–5; Mar 44–6;
May 15; Jun 29, 42–5, 48, 54–7; Chinese lanterns Nov 55–7 Apr 19–23, 43; Jun 36–7, 40;
Jul 61 churches Apr 40, 42; Summ 8; Aug 30 Jul 17–19; Sep 20–3; Nov 24–7,
Smith, Brendan Nov 12–15; Dec 16–19 clouds Dec 23–7 47–51; Dec 36–8
Soan, Hazel Summ 26–9; Oct 22–4; colour choice Apr 39–43; Aug 39 Venice Jun 30
Nov 38–41; Dec 46–9 colour mixing Jan 20–3; Mar 39, 45; washes Aug 48–51; Sep 52–5
Steed, Colin Jan 18–19; Feb 18–20; Apr 41; May 12–13; Aug 16–18; weather effects Jun 29, 31
Sep 56–7; Oct 20–1; Nov 20–2 Sep 53; Oct 32; Dec 23–7, 36–8 wet-in-wet Jan 19; Feb 33–5; Mar 46;
still life drawings Jan 53; Mar 32–3; May 45; Apr 27–9; May 25–7; Jul 55–7,
acrylics Sep 16–19, 70; Oct 42–5; Jun 12–16; Jul 58–9; Oct 47 61–3; Sep 39–40; Oct 23; Dec 23–7
Nov 13 figures Summ 39; Aug 60–1; Oct 20–1 wet-on-dry Apr 27–9; May 25–7;
gouache Jun 60 flowers Mar 19–23; May 13; Jul 32–5; Nov 17; Dec 32–3
oils Feb 13, 27–31, 66; Mar 34–5; Summ 56–9, 64; Aug 31–3, 70; Webb, David Apr 39–43; Aug 48–51;
May 18; Jun 9, 47; Sep 17 Sep 28; Oct 9, 49–51, 72; Dec 54–7 Sep 52–5; Dec 23–7
pastels Oct 25 foliage Jan 39–42, 47–9; Feb 43–5; White, Dave Mar 29–31
storing art materials May 10; Jul 10 Mar 44–6; Apr 40 White, Helen Oct 58–60
Oils
t
The finished painting Majesty of the Hills, oil on canvas, 71x9412⁄ in. (180x240cm)
LEARNING OBJECTIVES
n Learn good painting practice
You will need
from first block in to final n Surface n Oil colours n Mediums and solvents
brushstroke l I’ve chosen a whopping l All tube oils. I use a l Oil medium
big canvas, which was mixture of Gamblin l Odour-free solvent
n How to work up the focal point lying around my studio: Student and Artist grade, l Tube oils are too thick
71x941⁄2in. (180x240cm). but feel free to use your for this painting so I’ll
Big is good for favourite brand: need to let them down
l Raw sienna
through my project. LP
Oils
t
1 Imprimatura is a ‘first colouring’. I chose a raw
sienna wash for this, as it provides a sympathetic
colour on which to work. Imprimaturas are generally
best if they are subtle rather than chromatic,
particularly for traditional paintings.
2 Sketch It’s a big image so I took a minute to
sketch out the main shapes with a lump of graphite.
It always pays to check your rough proportions
and composition before you get into the painting
or you’ll notice it’s wrong too late!
3 Block in Using my palette of earthy colours
I roughly blocked in the image ensuring the more
distant hills were relatively cool and the foreground
was warmer. To make sure I don’t add too much
detail I always put my small brushes away for later.
I treated the sky as a form, ensuring it was ‘part’
of the picture and not separate from it. I hate when
the sky looks as though it could belong to another
painting. I don’t use much in the way of strong
colour at this stage; simple is good. I allocated
a couple of hours to this; it was a big canvas.
t
Block in and first modelling
Step 2 Modelling
t
Step 3 Detailing
t
After a good night’s sleep, I looked at
the picture objectively and thought about
what needed more resolution. Thanks
to my medium, it was workably dry so
I tapped in a few details with my Round
brush. The areas I was interested in were
the focal point and everything that led
towards it and by that I mean significant
forms and edges, which create ‘eye paths’
leading to the lit area in the work.
Accordingly I sharpened up a couple of tree
edges and smudged a few mountain edges,
which were too focal. Most importantly,
I had a stab at placing a few blobs of
reflected light to suggest a river running
through the dale. I didn’t want it to look
like tramlines so a bit of hit-and-miss is
necessary. My method? Paint it then have
a cup of tea and adjust it. I painted it three
times. Being willing to make changes
is a good habit.
t
Focal area marked up for more detailed painting
Step 4 Glazing
t
Finished detail
t
Martin Kinnear
Martin is a professional oil
painter and course director
at the Norfolk Painting School
which offers courses for painters
new to oils as well as practising
oil painters. Find out more at
www.norfolkpaintingschool.com
or call Jane on 01485 528588
or via jane@norfolkpainting
school.com
Watercolour
Wildlife in watercolour
Part 3 Hazel Soan presents three exercises to build your colour
confidence as you paint animals on the move quickly and fluently
T his is the third and final article one is still damp. In this example, I used yellow
on the benefits of painting the paper to create a colourful grey. ochre, alizarin crimson and Prussian blue.
wildlife subjects as a way to
learn to use watercolour effectively –
Step 1
t
and vice versa. An animal may move
at any time so the focus has been Paint the elephant’s shape
on how to paint in a swift manner, in pale dilute yellow ochre.
requiring economy of brushstroke I used a No. 10 sable brush,
and efficiency of application. and painted by area (in
This month we look at colour and other words, not filling
especially at how the three primary in an outline). I am right-
colours – red, yellow and blue – handed so it helps to have
mix together to make a variety of the elephant facing left so
greys, and how two complementary I can start with the trunk
colours can mix to make pleasing then shape the head, upper
blacks and browns. Mixes of just body, front legs, lower
two or three colours are quick to body, back legs, and finish
apply, they ensure harmony and with the flick of the tail.
make clean, effective watercolour If you are left-handed,
combinations – all of which is choose an elephant facing
especially useful when painting the other way!
life that is on the move.
is to master the brushstroke, hone Paint the flamingo wings in a rich damp to maintain its bright colour when it dries,
your mixing skills, control blending wash of cadmium red, with a No. 10 sable but wet enough to remain damp for the
and discover that less is very often brush. The paint must be rich in pigment time it takes to add the blue, wet into wet.
more. LP
Step 3
t
Add the third colour –
Prussian blue – next. Use
it less dilute than the two
previous colours because
there is already a fair amount
of water on the paper from
the other two washes. Bring
the blue in from the shadier
side of the limbs and body (in
the same way as the crimson)
t
Step 2 to continue to establish the
Brush slightly less dilute alizarin crimson into the lighter top to the body and
damp yellow wash, starting from the trunk, brushing the darker underside.
the colour in from the shadier side of the body and
limbs and leaving it shy of the top of the elephant,
to preserve the lighter top to the rounded form.
The elephant becomes a pink elephant at this stage.
t
Step 4
Using a fine-tipped brush, mix a small concentrated
amount of blue and crimson together to make a deep
mauve then add a touch of yellow ochre to turn it
slightly blacker (not much, otherwise it starts to
lighten the mix). Apply the almost-dry paint while the
three-colour wash is still damp, using linear strokes,
t
Step 5 t
The finished
touching in the darkest areas, creases, folds and When the watercolour is dry, the paint becomes a painting Baby
undersides. The neat paint takes up the water in the tone lighter, and the bright colour is muted to make Elephant,
wash and spreads out slightly. Touch in a dot for the an attractive grey. It’s full of colour and life, with just watercolour, 7x9in.
eye then sit back to watch the watercolour dry. enough detail to infer the young elephant’s lively form. (18x23cm)
t
Step 2
Load the Prussian blue onto a No. 8 brush. Use a fairly
rich mix and brush into the damp red wash from the tip
t
Step 3
of the wing. The opposite colours blend instantly, making Load the brush with Prussian blue, wipe on a kitchen towel and dilute
a deep black. Prussian blue is made of fine lightweight to make a paler blue and therefore a suitable tone for the shaded white
particles and spreads easily; cadmium red, being a metal area of the underbelly and the neck of the flamingo. I painted a couple of
colour, is heavier and prevents the micro-particles of brushstrokes to suggest the shading under the tail feathers. Meanwhile the
blue from spreading out too far, thus the black tips deep blue in the wings drifted into the red to make an attractive blend.
and edges to the wings are easily demarcated. This exercise continues on page 48.
t
Watercolour
t
Yellow and violet are complementary
Use the tip of the colours and opposite in tone. They mix
brush and cadmium to make lovely warm browns and enable you to build up
red to paint the legs, a painting from very pale yellow to very rich deep mauves
pressing down at and browns, using each colour individually and mixed together.
the ‘knee’ joint to Using a two-colour mix, this head of a male lion resting on the
widen the stroke, ground can be made with at least enough time to add the
and lifting off with essential features. Then, if the lion moves, the painting
a flourish to suggest can be finished later from memory or photographs.
the foot. Wipe the
brush on the towel
to remove most of
the colour, dilute
a little more in the
water pot then use
to suggest shadow
and reflected light
in the neck and
head.
t The finished
painting Flying
Flamingo,
watercolour,
1012⁄ x1312⁄ in.
(27x35.5cm)
t
Step 1
Make a pencil drawing (in this case on a piece of Rough Khadi
paper) to position the features of the face and mane to enable
the paint to be applied in the right place (and to allow for the
lion changing his pose). Wash pale Indian yellow in with a flat
brush over everywhere except areas that appear white.
t
Step 5
Mix the red and blue together with a small brush to make t
Step 2
black and use it to paint the beak and to dot in the eye. Use Deepen the yellow with a No. 8 Round sable brush and load
the remains of the dilute blue on a No. 8 to suggest an anchor a No. 10 brush with a mix of yellow and violet together. Rewet areas
shadow from which the flamingo can push off into the air. that have dried with the deeper yellow, and brush in the brown mix,
wet into wet, to paint the light and shade of the tawny mane.
Watercolour
t
Step 3
Add more violet to the mix with the No. 10 brush to make a
deep violet. Use this to paint the ground, bring out the edges
of the mane on the right and, using just the tip, to paint the
more linear features of the nose and mouth.
t
Step 4
Brush in the irises of the eyes with deep Indian yellow already on the
No. 8 brush and the dark mix still on the tip of the No. 10. Reload to
paint the deep darks around the eyes and the shadows where the lion
meets the ground.
t
Step 5
Do the tonal modelling of the face with flatter brushmarks
of Indian yellow, violet and a mix of the two together.
Add the textural details, facial markings and whisker
pores with the tip and wedge of the No. 8 brush.
Hazel Soan t
Step 6 t
The finished
Hazel will be showing many of her African watercolours Essentially the painting is complete at Step 5 but fine painting Lion,
at an exhibition of her work (29 November to 7 December; tuning of the tonal values were done when the painting watercolour
12 noon to 7pm daily) at The Gallery @ Soan Studio, was dry. The starkness of darks and lights in the facial on Khadi paper,
Crookham Road, London SW6 4EG. For more details visit features were softened by grading the tones with small 12x12in.
www.hazelsoan.com or email hsoan@iafrica.com. Find out brushmarks, and a sponge was used to soften the hair (30.5x30.5cm)
about Hazel’s holidays with us at www.spencerscotttravel.com of the mane against the background.
Acrylics
LEARNING OBJECTIVES
n How to create atmosphere in your
paintings
n Paint a building, foliage and snow
in one scene
Step 1
t
1 Using my sketch for inspiration, make help to give a little recession to the 3 Wash and squeeze out the brush and suck
a simple outline drawing, paying particular building. out a few clouds. As you are sucking out the
attention to the slope of the church roof. 2 Using the 1½in. flat brush, pre-wet the sky colour for the clouds, drop a little back into
Note that the lychgate roof angle runs area. Using cobalt blue watercolour and big the base of the clouds to add shadow. The
parallel with that of the church roof, which brushstrokes simply fill in the sky area. painting is now completed with acrylics.
t
Step 2 t
Step 3
1 To paint the light side of the church, the 3 To form the tree on the right-hand side 1 Still using the No. 8 Round brush, mix
right-hand side, use a little Naples yellow of the church add a touch of cobalt blue raw umber with a touch of burnt sienna to
mixed into raw sienna and a No. 8 Round brush. to Payne’s grey and lightly stipple with paint the spire and roof on the left-hand
2 For the left-hand side use raw umber a fairly dry split ¾in. flat brush. side of the church.
mixed with a touch of raw sienna. Have 4 Once this is dry, use the same brush to 2 Progressively adding more water to the mix
enough water in all your mixes so that the stipple on a little titanium white to the move to the right-hand side and paint a few
acrylic flows freely, but not as much water tree then cobalt blue mixed with titanium daubs on the main roof of the church, leaving
as you would put in a watercolour mix. white to the left of the tree. the underpaper showing here and there.
Acrylics
t
Step 4 2 Fill in the details, such as windows, the clock
t
Step 5
1 Now to make it snow! Still using the No. 8 in the church and the weather vane, with the No. Finish the church by placing the
Round brush, make a few daubs of titanium 3 Rigger and Payne’s grey. All these windows are shadow, mixed from Payne’s grey
white, especially strong, to the right of the just made with single strokes. with a touch of alizarin crimson.
spire and add progressively more cobalt blue 3 Fill in the clock with Payne’s grey. When dry, Using the No. 8 Round brush, paint
to titanium white as you come across to the indicate the time with a touch of Naples yellow. the shadow fairly strong underneath
left of the spire and church roof. 4 Again with a split ¾in. flat brush dab lightly the overhangs of the roof and spire.
a few touches of The buttresses are darker on the
Payne’s grey on left-hand side and the little windows
to the building . half way up the spire cast a shadow
This will give to the left onto the spire. Notice also
that flint effect the church tower casts shadow onto
to the stonework. the roof behind the church.
Step 6
t
Step 7
t
Acrylics
Demonstration
continued
Step 8
t
Step 9
t
1 For the next stage, fill in between
the beamed areas previously painted
with a fairly strong mix of raw umber
and burnt sienna.
2 Titanium white with a few touches
of cobalt blue here and there make
the snow on the roof of the lychgate,
but remember to leave some of the
roof colour showing through.
3 To finish the lychgate, it’s back to
the shadow mix and the No. 8 Round
brush. The shadow is good and strong
inside the lychgate, strongest at
the top of the archway and stroking
downwards, becoming slightly weaker
as it comes down. There is also a
fairly strong shadow line inside the
right-hand overhang of the roof.
4 At this stage, paint the crosses
on top of the roof with a little
shadow mix here and there.
t
Step 10
t
Step 11
1 Now to begin on the larger trees. These are all painted with the ¾in. Next paint an even larger tree on the left-hand side using exactly
split flat brush. Use the same colour mix as the bushes, stippling on the same techniques and colours as the neighbouring smaller tree.
first with burnt sienna then raw sienna then raw umber mixed with Once dry, stipple on strong titanium white to the right-hand side
burnt sienna and, finally, Payne’s grey in the darkest areas. of both trees then titanium white mixed with cobalt blue to
2 For the notice board, just add a couple of strokes of Hooker’s the left-hand sides for the snow in shadow.
green then alizarin crimson, which adds a nice bright touch.
Step 12
t
Charles Evans
Step 13 t Find out about Charles’s watercolour
Finally add that huge clump of snow to cobalt blue. When you put the blue mix and acrylic workshops, painting
the left of the painting. Using the ¾in. flat on, be careful not to make it all too flat. holidays and demonstrations by
brush, stroke plenty of titanium white Shape the snow with the blue. And there visiting www.charlesevansart.com
then titanium white mixed with a little you go: a very appealing little snow scene!
t
The finished painting Chorleywood in Snow, acrylic on paper, 814⁄ x1112⁄ in. (21x29cm)
Watercolour
Flower fun
Ready for a new challenge to brighten up an autumn afternoon? Paint along
with Julie King to produce a bright and cheerful portrait of a geranium
LEARNING OBJECTIVES
n Fading colour out for petals
n Adding a simple background
n Using the tip of the brush
t Step 1
Prepare the following mixes:
A Green,
C Mauve
from an
from rose
even mix
and blue
of blue
and yellow
B Earth-
green,
the same
mix with an
additional
touch of Step 2
t
t
Step 3
Starting on the lowest flowerhead, use the medium
brush and a creamy consistency of rose to paint the
outer edge of one of the petals.
Step 4
t
Watercolour
t
Step 5 Step 6
t
t
Step 7
Dilute the rose a little. Using this lighter tint to
start, paint some of the surrounding petals in the
same way as before. Because you are starting with
a paler tone, the effect will be paler overall.
Step 8
t
Watercolour
Demonstration continued
t
Step 9 Step 10
t
t
Step 11 t
Step 12
Using a creamy mix of rose Allow the painting to dry, then use an eraser
with a touch of blue, add dark to remove any pencil lines. Use the medium
stamens to the flower centres. brush to apply the mauve mix (C) to the
background near the flower. Leave a thin
gap of clean white paper between the
background and the flowers, stems and buds.
JARGON BUSTER
Fading out is a method of
Step 13
t
Step 14
t
Work round the
outside of the
flower section
by section,
aiming to match
the colour each
time. It can
help to turn the
board around
when you are
working near
the top of the
flower.
t
Step 15
Paint spaces inside the
flower using the same
mix (C). Leave gaps by
the petals and stems as
before, but there is no
need to blend it away
on the inside areas.
t
Morning, Sandsend Ness, oil on board, 1134⁄ x1412⁄ in. (30x37cm)
On the beach
How to paint seasonal beach scenes, using complementary
oil colours that simply ‘sing’, with Christine Pybus
about my work at this time? It was Achieving such effects can be helped
LEARNING OBJECTIVES off to the studio to look more closely by the inclusion of trees or vegetation
n How to compose interesting to try to find out. too; there is fortuitously plenty of both
beach scenes First, there are, of course, those to be found along the coastline.
much longer shadows reaching out
n Mixing techniques for fresh, across the beach, lower, softer light, Composition
clean colours and one less obvious element – Morning, Sandsend Ness (above) was
n When to finish an oil painting the solitude. This solitude I always painted using complementary colours
celebrate after those bustling, to create vibrancy, making the most
colourful and energetic, if brief of that all too brief autumn colour.
t
First Light at Sandsend, oil on board, 12x14in. (30x37cm). Here is a celebration of solitude. The essentials of this soft, autumn morning
light picture were, as can best be seen in the sky, rapidly applied with a big brush. Seagulls are always a treasure; like people or livestock
in a landscape they can be arranged to lead the eye into the distance. The single seagull, gliding into land, its altitude suggested by the
detached reflection, was used to enhance the sense of stillness and tranquillity. I combined it here with the similarly useful boats and
distant pier to form an ‘s’ shape.
Oils
t
(30x37cm). With barely a straight line
or any discernible form in the picture,
this was painted using the complementary
blues, purples and browns, with much
of it in fact being the unpainted burnt
sienna board showing through. I placed
a series of brushmarks adjacent to each
other in a jigsaw-like fashion, as blending
those same colours together would result
in ‘mud’. With little or no drawing
required and indeed no right or wrong
way of painting it, by daring to try both
this approach and type of subject, a good,
sparkling and animated picture can be
produced with even the minimal of
drawing skills.
Step 1
t
Step 2
t
1 As always, cover the board rapidly and
use as big a brush as possible, because until
you do there’s no way of judging colours and
tones accurately. Use as often as possible jigsaw-
type marks; marks put next to each other as
opposed to blended together. Mixing flattens
colours so it’s best kept to a minimum and done
only as and if required at a later stage.
2 With the board covered and the lights and darks
now established adjacent to each other, certain
elements will begin to ‘shout’. The background
cliffs, cloud shadows and foliage in this instance
can now be reassessed and modified as needed.
3 Filling in the shapes in between the tree branches
as opposed to overpainting the trees later creates
a freshness, light and sparkle. The branch shapes
can also now be gradually thinned and modified,
using those background colours as you paint out
any unwanted areas.
4 Those marks suggesting sky, and sea sparkling
through and breaking up the leaf areas, are ‘put’
on and not painted, in other words use dabs of
thick paint just touched on with a brush. Any
working of the paint here will mix the blues and
browns together and create a flat, neutral colour. TIP There’s a strong argument at this stage
It’s here that those complementary blues and that says: all the necessary elements are in Christine
oranges are at their most vibrant so it’s vital to place, the picture looks fresh so leave it well
keep the colours fresh. alone. How much or how little finish you want
Pybus
5 Now suggest a few figures on the beach, which Find out more about
to give the painting from here on is up to you.
are essential not only as part of the composition, Christine and her
Leaving it alone is the hardest discipline to
but also to give the picture scale. Our brains know classes by visiting
master. It has been said that pictures are
how big a figure is hence will register everything www.pybusfinearts.co.uk
never finished, rather abandoned.
else in proportion.
Step 3
t
Composition
In the frame
Part 3 How to compose better paintings by Tony Paul
t
Tony Paul The Laggard, Mallards at Batson Creek, Devon, acrylic, 12x24in. (30.5x60cm). The low key and raking light of the early
morning were as I saw them that day at Batson Creek; this effect also added to the sense of unease.
LEARNING OBJECTIVES
n
n
How to compose your paintings
How to create emotion in your
A few years ago I was in a waterside
village on Lake Garda teaching
a group. I was with a student,
when a female mallard followed by
a procession of small chicks swam into
Suddenly, seeming to come from
nowhere, an eagle swooped down
upon the line of chicks, snatching the
rearward of the line into the air and
away. How quickly the scene changed!
work view. The sun, the sparkle on the water, The formerly delighted faces of people
n How to use symbolism in your colourful buildings reflected, and now on the quay turned into horrified gasps
work the duck family appearing, created an at what had occurred. The duck,
idyllic feel-good spring image. shocked and frightened by the attack,
quickly herded her remaining offspring
into overhanging vegetation.
The student I was teaching was
quite upset by what had happened.
I explained that there were probably
far more ducks than birds of prey, and
that nature created large duck broods
to allow for predation. I told her that
they were often taken by other animals
and even, from below, by pike.
That incident remained with me and
a year or so later while holidaying at
Batson Creek in Salcombe, early one
morning I saw another duck with a
young family of eight chicks hurrying
across the muddy creek at low tide.
One chick was persistently falling
behind. The duck kept calling the
laggard which than ran as fast as it
could to catch up. The mother obviously
t
I painted The Laggard, Mallards at Batson Creek, Devon as a double-square proportioned felt vulnerably exposed on the mud.
painting. Here you see the areas of interest, the lines of tension between them and the edges I shared her fears, remembering the
of the work (in black), and the tension lines between the birds themselves (in blue). abduction in Lake Garda.
Composition
t
The dynamics suggest that the left-hand clutch of birds are anxious
to leave the painting as quickly as they can.
The distance of the panicky laggard duckling from the tight band
t
I wanted to do a painting of this they should always look into the painting,
mallard and chicks that would express never out of it. Degas’s compositions
my feelings. The danger in painting such were often unusual, with large, open
‘cute’ creatures is that the viewer might areas, while other elements were
not pick up on the atmosphere of menace cluttered together. Many of his most
that I felt. So I used compositional ploys celebrated ballerina pictures used these
to help give a sense of unease. inventive compositions. He disliked the
convention of comfortably balanced
Look to the masters compositions and used photography a
Why not look up the following paintings lot, for references as well as for pleasure.
online, by googling their titles, artists’ Degas liked his paintings to capture
names and dates (where given)? a moment in time, with figures going
A 17th century sea battle would have about their business unconscious of the
been a chaotic and terrifying place to be. artist’s eye. Occasionally he would even
In Eugene Isabey’s painting Jean Bart put a figure only half in the painting,
at the Battle of Texel the chaos is clear – but somehow the paintings work.
with conflicting mast angles, yards and The Absinthe Drinkers is one such
shredded sails and of ships leaning at eccentric painting. Reviled by public
dangerous angles. Set in a thundering and critics alike when first shown in
and crashing sea, we can sense the 1876, it became the inspiration for Emil
danger and drama of a sea battle. Zola’s 1877 book L’Assommoir. The
t
A compositional plan of Degas’
But this scene is a lie. In such a sea, composition is typically Degas, with the The Absinthe Drinkers
a battle could not be fought. The great subject matter pushed almost out of the
cannons would be uncontrollable and top right quadrant of the painting. The detached look of the drunken
more likely to kill the operators than the He liked strong diagonals and these are woman and the man absently looking
enemy, with any discharge sending the used to great effect, with a little interest out of the picture conjures up the terrible
shot plunging deep into the sea, or sailing placed on the foreground table. effects of the viciously potent absinthe.
across the tops of the enemy’s masts.
In reality, anything more than a gentle
swell would postpone an engagement.
Ships in the main fought in single file
lines, parallel or in opposite directions
to the enemy, offering broadsides, and
possibly boarding, mostly swathed in
clouds of acrid smoke. As a view of
the battle, a painting could look quite
a stately affair.
The reality of being on one of these
ships would be distinctly different.
Within the gusting smoke, cannons were
deafening, ragged shards of smashed
timber tore across the decks in company
with canister and chain shot, scything
down men indiscriminately. Isabey
wanted to show the hellish nature of
a battle so he has told a lie to project
a greater truth.
When we were taught about figures in
paintings we were told that where they
A compositional plan of Isabey’s, Jean Bart at the Battle of Texel
t
Composition
t
I lit the still life with an anglepoise lamp
and painted it from life over the course of
a few days using egg tempera.
Still-life symbols
My painting Ends and Beginnings (left)
might seem an odd title for a still life, but
the idea behind it is the regeneration of
life so the objects shown, although dried
husks of vibrant flowers, are themselves
vehicles for the regeneration of nature.
Every year I harvest the seeds from the
t
Tony Paul Ends and Beginnings, egg tempera, 12x10in. (30.5x25.5cm) poppies in our garden, to be spread
for the next season. Likewise when the
Luneria casts off the outer sides of its
A B C Then I noticed that the table tops had no seed pods to reveal the translucent
visible means of suppor, which added to ‘honesty’, the seeds drop to the ground
the uncomfortable feeling of the image. to form the next generation.
With a subject that is basically long
Symbolism stems, composition plays a big part. If
The tragedies of the Spanish Civil War we just take the vase, poppy heads and
fired Picasso to make many important honesty, the subject would be high and
and moving images. Painted in 1937, the thin, making a less than attractive tall,
same year as his masterpiece Guernica, narrow picture. I also wanted to place the
was Weeping Woman, inspired by seeing main part off centre, but to do this I had
D E F the distraught widow of a friend killed to include other elements to give a point
t
The basic palette for Weeping Woman. in the battle against the fascists. to the extra width. I added the laid down
The mixes were probably as follows: This harrowing painting is little more seed heads and honesty, some of the
A The yellow: Naples yellow and white; than a collection of symbols that express honesty’s outer pod covers and its disc
B the green: emerald green, Naples what a grief-stricken woman feels like, like seeds, to put some weight to the
yellow and white; C the flower in the more than what she actually looks like. left side This counterbalanced the
hat: cadmium red, crimson, ultramarine The eyes are unseeing, shattered windows right of centre vase. LP
and white; D the cheek: crimson, and the structure of the abstracted face
cadmium red, ultramarine and white; is made from planes with sharp angles
E the colour in the white handkerchief:
white, ultramarine and a touch of
that shout of her pain. The lower face
crimson; and F the maroon areas: is blanched white and the teeth bite
on a handkerchief, held up to her face,
Tony Paul
crimson, cadmium red, ultramarine Find more of Tony’s articles on our
and white. to mop the tears from those tragic, website at www.painters-online.co.uk
unsighted eyes.
About Eddie:
Eddie Armer is an arƟst, musician and designer. His passion for life
drawing began in 1970 when his art teacher advised him to aƩend
Saturday morning life-drawing workshops at Camberwell Art School. He
later aƩended Croydon College of Art and Waƞord School of Art, aŌer
which he became a graphic designer. Eddie now devotes his Ɵme to his
love of art and music, and teaches regular life-drawing classes.
ConƟnuing in that long tradiƟon, each week Eddie runs two life-drawing workshops
using a range of professional models and tackling many challenging poses.
Monday evenings 6.30 - 9pm
The Civil Service Club, 13-15 Great Scotland Yard, London SW1A 2HJ
NORTH
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Unison, and many more.
Daler-Rowney, 01778
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Pro Arte, Artmaster, 392048
Gallery Hahnemühle, Pebeo.
C W S
66 DECEMBER 2017 www.painters-online.co.uk
6
p66_67_lpdec17.indd 66 23/10/2017 11:40:43
Christmas Gift Ideas...
Choose the ideal gift for yourself or an artistic loved
one this Christmas with our selection of ideas
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1-8_Callington.indd 1
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PaintersOnline, the online home of
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on busy and informative forums and blogs
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www.painters-online.co.uk
artistReceive
December issue 2017 £4.40 out. They make me look hard at my surroundings
London’s trees
tree in
51⁄2⫻7in the promising subject suitable for
centre of the sketchbook, (14⫻18cm).
in winter
141⁄4⫻22in (36⫻56cm). drawing; even if that only involves
Saunders Waterford, ideas begin to firm
up. Watercolour
6 issues for
photograph taken in haste. It is in the
for the arrangement that clicks.
strengthens this At this studio when all your reference
in the landscape
cropping splits and Artistic licence pointcolour begins material
is the leaf- and ivy- scrupulously, or the direction, scale toor be important;
Sweeton
draw trees across London
Chestnutis brought
Trees, Greenwich
togetherParkthat the true
composition. Although Having cast off their leaves, trees in
dull days winter colour can be
the proportions of the subject quite as a watercolour
A project to paint and
the trees looks SW10, potential
sketch in ofMoleskine
a place can be fully
problem although the subtleties
covered areas beneath
es how winter reveal everything. From a rigorously as, say,that
when painting a mean 81⁄4⫻23
sketchbook, explored
3
and the image finalised. When
⁄4in (21⫻60cm).
Ian Sidaway describ
it was methodically Ian Sidaway
subjects to work up
the picture-making process.
and revealed structure helps the artist. needed but concerns over a misplaced TA
only £15!
.co.uk
if it took longer than artist December 2017
in a little better – 31
ard, I thought – the project, so be
it!
be relatively straightforw a year to complete
he idea sounded simple
enough: between two and sites on the
I would need to visit There are countless
professional artists,
through the
a one-year period If this had been the possible locations, I
January to December. A little on, it might have been possible, Z. On the first day of January
seasons working an A to
there are 131 main on-going projects project with a
research revealed but I had a list of other I was going to threw myself into the
postcodes covering an quickly realised morning walk on a frosty
central London and very I long early
miles, with an then I thought that bathed in light
area of 241 square fall well short. But Wimbledon common
of trees. In all as many areas as I it was the perfect
estimated 80 species would try to cover from a low winter sun;
trees scattered over projects and, in
Available from
www.painters-online.co.uk/store
and follow the link to books
Offers available to UK READERS ONLY
closing date 25th December 2017
LP_FullPage_DEC17.indd 1 12/10/2017 11:10:50
LP Dec 2017 Books p73_News 1st 19/10/2017 11:23 Page 6
Books
WHAT TO READ THIS MONTH
Artists’ lives
Anyone who is
fascinated by the
artists behind their
favourite paintings will
love this book. Artists:
Their Lives and Works,
Visit www.painters-online.co.uk/store and click on
with a foreword by
the link to books to buy the latest practical art books Andrew Graham-Dixon,
available from LP’s online bookshop looks at over 80
famous artists – from
Raphael and Van Gogh
Christmas gift ideas to Picasso and Warhol. The book is broken down into
Firm foundations seven chapters, each of which focuses on a different
Foundations of Drawing by Al Gury century. The work of the most influential artists of
does what it says on the tin, and the era is scrutinised with examples of their paintings
provides: ‘A Practical Guide to Art and working studios where possible, full biographies
History, Tools, Techniques and and portraits of the artists. A must for anyone with an
Styles’. The author creates interest in art and the lives of those who create it.
something of a studio atmosphere, Artists: Their Lives and Works. Foreword by Andrew Graham–
guiding readers through the formal Dixon. Dorling Kindersley, (h/b), £25
elements of drawing in order to
create a firm base upon which to
develop their own work. Liberally illustrated with works by the
masters as well as contemporary artists, the book covers Getting started
everything from the history of drawing to techniques and How to Draw Anything is part of the
aesthetics. Little Ways to Live a Big Life series of
Foundations of Drawing by Al Gury. Watson-Guptill, (s/b), £24.99.
books from Quercus Books. Others
in the series include How to Play
the Piano; Land a Plane; Count to
Infinity! Written by Scriberia – an
Renoir
award-wining illustration agency –
In 1961, art historian and
the little A5-sized book sets out to
author, Barbara Ehrlich
rebuild the confidence most of us
White, began collecting
had as children that we could pick up
letters to, by or about
a pencil and draw anything. Written
Renoir, written in his
in a very accessible style with plenty
lifetime. Her intimate
of cartoon illustrations, it certainly made me want to get going.
biography of the artist
How to Draw Anything by Scriberia. Quercus Books, (h/b), £9.99.
draws upon 3000 of these to
provide us with an in-depth
portrait of the artist. Often
complex, dogged by poverty
and ill health, Renoir is brought to life through his own Inspiring art
words and those of his friends. A Short Book About
Renoir: An Intimate Biography by Barbara Ehrlich White. Thames Painting by the writer
& Hudson, (h/b), £24.95. and broadcaster,
Andrew Marr, takes us
back to basics, looking
at what makes a good
Flower painting painting. Is it technique
Michael Lakin’s Beginner’s Guide to or imagination, what
Botanical Flower Painting turns the makes a brushstroke
exquisite art of botanical painting into good, the balance of
an achievable reality using his six-stage colours right and the
process. There are sections on colour, texture of paint work?
drawing, tone, composition and Using the work of classical artists as well as his own works
dissection, interspersed with many tips in progress, Andrew examines how the painter can learn
along the way, plus 12 step-by-step from mistakes and history to make better paintings.
projects with full-size tracings included. A Short Book About Painting by Andrew Marr. Quadrille, (h/b), £15.
Beginner’s Guide to Botanical Flower Painting by Michael Lakin.
Search Press, (s/b), £12.99.
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
until 4 December. Open Sunday to
Wednesday, from 10am to 5pm. Enquiries
to Gillian Coates 07986 974360 or visit
www.hettonart.co.uk
n Highgate Watercolour Group
Exhibition at Lauderdale House, Highgate,
London N6 5HG, until 27 November.
EXHIBITIONS AND ACTIVITIES Enquiries to 020 8348 8716.
n Horsham Painting Group
One-day exhibition at The Quaker Meeting
House, Horsham RH12 1SL on Saturday 18
November, 10am to 4pm. Visit
www.horshampaintinggroup.co.uk
n Little Gaddesden Art Club
One-day exhibition at Little Gaddesden
Village Hall on Saturday 11 November,
10.30am to 4pm.
n Maghul and LydiArt Group
Winter exhibition at Lydiate Village Centre,
Lambshear Lane, Lydiate L31 2LA on 18
and 19 November, 10.30am to 4.30pm
daily.
CLUB EXHIBITIONS
n Bathampton Art Group November, 10am to 5pm; and Saturday 11
November, 10am to 4pm.
Winter exhibition at Bathampton Village
Hall, Holcombe Lane, Bathampton BA2 6UL n Chailey & Newick Painting Group Terry Kemp Sunny Wiltshire Hare,
t
on Saturday 11 November between 10am Annual exhibition at Chailey Village Hall, acrylic, 153⁄4x12in. (40x30cm) on show at the
and 5pm. Visit www.bathamptonart.co.uk A275, East Sussex on 18 and 19 November, Salisbury Group of Artists’ winter exhibition
If you would like to see your art group’s winning Boughton Art Group Hazel Francis Beside the Sea, watercolour,
t
paintings reproduced here, encourage visitors to 191⁄4x151⁄2in. 49x39cm). Boughton Art Group, which was founded in
2006, is a small friendly group of around 20 members who meet
your next exhibition to vote for their favourite every Monday at Walesby Village Hall. For more information contact
work then simply send us the details. Sandra Brown 01623 870598.
Full information is given below.
t
Hetton & District Art Club Gillian Coates
Donkey Trio, oil on canvas, 153⁄4x193⁄4in.
(40x50cm). The Hetton and District Art Club
celebrates its 50th anniversary this year.
Members meet every Monday (10am to 3pm).
New members are always welcome. Email
etc@talktalk.net or visit www.hettonart.co.uk.
Their annual exhibition is currently on show
at Crook Hall and Gardens, Frankland Lane,
Sidegate, Durham DH1 5SZ until 4 December.
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
OPEN ART
COMPETITION
in partnership with
Patchings Art Centre
RRP
£8.99 CALL FOR
ENTRIES
£6.99
EACH
Save £2 on both We are looking for the best work from amateurs in
books in the series the Leisure Painter category and from experienced and
and enjoy FREE UK professional artists in The Artist category. Selected works
P&P using promo
code DEC17 from each category will be exhibited at Patchings Art Centre
Closing date: in two separate galleries, opening on the first day of the
25th December 2017 2018 Patchings Festival of Art, Craft & Photography
on July 12 until August 21, 2018
binders
Protect your copies of and
build up your own art study library at home
binders take a complete
volume of 13 issues and have no loose clips
or rods. In a matter of seconds you can
insert or extract a copy – just slide it on or M
Image courtesy of 2017 prizewinner Andrew Craig
off the sprung cord. The binders are robust
and attractively covered in a mulberry
leather finish with gold-lettered spines. OVER £16,000 WORTH OF PRIZES
Prices (including VAT and p&p) Over 35 individual prizes will be awarded to selected artists
UK £7.95 or two for £15.00 in both exhibitions comprising:
Europe £14.00
Rest of world £16.00 I £5,000 The Artist Purchase I £450 Patchings Award
Prize Award, selected by I £600 Premium Art Brands
guest judge Lachlan Goudie Awards
I £1,700 The Artist's Exhibition
I £300 ProArte Awards
Only Awards
I £500 Sennelier Awards
I £2,600 Leisure Painter
£7.95
inc VAT & Award
I £600 St Cuthberts Mill Awards
P R I S M A L O