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 welcome

PAINT A WINTER
WONDERLAND
There’s no escaping it: Christmas is coming. As this issue
hits the shelves, the shops will be filling with festive Stay inspired
paraphernalia as the dash towards the big day begins in
earnest. I know I’m already wondering where I will find
with a subscription...
the time for the shopping, cooking, parties and travelling Artists & Illustrators
to see loved ones. It can be a frenetic season. Tel: +44 (0)1858 438789
But that doesn’t have to mean we set our art aside.
Email:
Wrapped in these preparations is the opportunity to get creative, and share
artists@subscription.co.uk
the results. Why not paint your own Christmas cards? Siân Dudley’s festive
motifs (page 58) are great inspiration for those short on time, while Al Gury’s Online:
(page 46) and Hashim Akib’s (page 50) winter scenes would also look lovely chelseamags.subscribeonline.co.uk
adorning your season’s greetings. Renew:
And, of course, just taking time out from the hubbub to focus on personal
www.subscription.co.uk/chelsea/help
projects can make all the difference to enjoying the festivities. With this in
Post: Artists & Illustrators,
mind, we’ve made sure there are lots of non-Christmas treats in these pages.
Subscriptions Department,
Adèle Wagstaff gives us the lowdown on Cézanne’s portrait techniques Chelsea Magazines, Tower House,
DAVID BELLAMY

(page 52), while we also take a look at how exile in London affected the Sovereign Park, Lathkill Street,
Impressionists’ art (page 20). Plus, broadcaster and compulsive painter Market Harborough, LE16 9EF
Andrew Marr explores how colour informs his artistic choices (page 36).
Sally Hales, Editor

Write to us! Are you painting a winter scene? Share your art with us using one of the contacts below...

info@artistsandillustrators.co.uk @AandImagazine ArtistsAndIllustrators AandImagazine AandImagazine

Artists & Illustrators, The Chelsea Magazine Company Ltd., Jubilee House, 2 Jubilee Place, London SW3 3TQ. Tel: (020) 7349 3700. www.artistsandillustrators.co.uk
EDITORIAL Editor Sally Hales Digital Editor Natalie Milner Art Editor Alicia Fernandes Contributors Laura Boswell, Jake Spicer, Tom Dunkley, Juliette Aristides, Louise
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COVER IMAGE JESSICA COURTNEY-TICKLE, ONE SNOWY NIGHT, WATERCOLOUR, GOUACHE AND DIGITAL, 21X18CM
WWW.JESSICA-TICKLE.SQUARESPACE.COM Artists & Illustrators 3
 CONTENTS Don’t miss
this new
DECEMBER 2017 exhibition
5 LETTERS 34 10 MINUTES WITH...
A look at this month’s postbag Children’s book illustrator Richard Graham
7 THE DIARY 36 LANGUAGE OF COLOUR
Discover great events to get creative Andrew Marr investigates its mysteries
10 EXHIBITIONS 43 SKETCHBOOK
Explore the best art shows around the country Your monthly selection of quick tips and advice
13 FRESH PAINT 50 WINTER IN THE CITY
Three inspiring new artworks Follow this vibrant demo in acrylic
18 THE WORKING ARTIST 60 PERFECT YOUR PALETTE

ART INSTITUTE OF CHICAGO

Laura Boswell embraces demonstrations How to leave conventional mixing behind
24 COMPETITION 65 YOUR QUESTIONS
Win an amazing painting holiday Ed Kluz answers printmaking queries
26 IN THE STUDIO 69 THE ATELIER METHOD
Marie Harnett shows us around... This issue, we look at painting the figure
30 TALKING TECHNIQUES 82 WHAT I’VE LEARNED 20 ARTISTS IN EXILE
David Bellamy recounts his Arctic adventure Adebanji Alade shares tips and tricks How London influenced the Impressionists
LOUISE HAGGER

JESSICA TICKLE

28 CHRISTMAS GIFTS 40 FACE THE MUSIC 46 ALLA PRIMA SNOW

Find the perfect arty stocking fillers How to illustrate a classic seasonal story Learn how to capture a lovely winter scene
MUSEUM OF FINE ARTS, BOSTON; BEQUEST OF ROBERT TREAT PAINE,
2ND PHOTOGRAPH © 2017 MUSEUM OF FINE ARTS, BOSTON

your
Paint tmas
hris
own C rds
ca

52 CÉZANNE’S PORTRAITS 58 FESTIVE MOTIFS 74 WATERCOLOUR DIORAMA

Discover the secrets behind his paintings Personalise your greetings this season Try something different – create a 3D model

4 Artists & Illustrators

 YOUR LETTERS

LET TER OF THE MONTH

write to us
Send your letter or email SOCIAL SCENE
to the addresses below: Keep up-to-date with what’s
In praise of coloured pencils happening on our busy social
I have become more aware that my medium of choice is not taken POST: media channels
seriously. I thought it was a case of being misunderstood but appears it Your Letters
is dismissed without any judgement of the finished article. Artists & Illustrators Seven tips for creating your
I recently held an Open Studio and visitors were surprised at what The Chelsea Magazine own photorealistic painting.
can be accomplished with coloured pencils. I have sold work in the UK Company Ltd. The British pioneer of this
and USA, and felt it was time to approach a gallery. Some raised Jubilee House once-revolutionary style of
eyebrows and wouldn’t consider looking. Others, although liking my 2 Jubilee Place painting, John Salt, shares his
work and praising me on the level I had reached, advised me to go on a London SW3 3TQ secrets to success
painting holiday to learn how to use oil or acrylic. I find this extremely Philip Johnson: This is one of
insulting. It seems that although the art world is ready for paintings EMAIL: info@artists mine. I like to add that
created with coffee, the coloured pencil is one step too far. We coloured andillustrators.co.uk something extra that it’s
pencil artists will wait while the rest catch up. impossible to obtain with
Deb Stanley, via email The writer of our ‘letter of a camera.
www.debstanleyart.weebly.com the month’ will receive a
You make a great point, Deb. We can assure you this magazine takes coloured £50 gift voucher from our
pencils seriously. Indeed, we’re working on an in-depth series of articles on partner GreatArt, who
the subject, which should be appearing in these pages next year. Keep your offers the UK’s largest
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Thank you for sending us your art, Jean. discounts and
We’re delighted you find inspiration in promotions.
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THE RIGHT TOOLS

THE MAGIC OF MATISSE
Each month I like to do a painting of
something I have seen in the
magazine, choosing different styles
and medium. Usually, I start with a
quick sketch, then add colour. Above
is my interpretation of the Matisse
painting in the August issue (381).
Jean Cooper, Dunfermline,
via email
There appears to be some
confusion about palette knives and
painting knives. It is important to
know the names and uses of the
tools we use or it will become very
difficult to learn new techniques
from magazines like yours or books.
Palette knives are straight with a
flat blade that is in line with the
handle, and are used for mixing
paint on the palette. Painting knives
are used for applying paint and
have a cranked blade, ie. the blade
turns through 90 degrees so you
can apply paint without touching the
Let us know what you think of
painting surface. Painting knives
Artists & Illustrators magazine
are useful for applying solid blocks
and share your painting projects
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of undiluted paint over a rough
surface to reveal what is @AandImagazine
underneath. It is also possible to
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edges on paint surfaces.
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Robert Hirstwood, Bristol, via email
Well-spotted Rob, and thank you. We’ll
make sure we get it right.

Artists & Illustrators 5

 l
8
e
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,
e
.

Kinnear On Turner Jan 24-27

Kinnear On Colour April 11-14
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Plus Beginners' 2018 Courses from
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 the diary

9 ARTISTIC THINGS TO DO IN

December

EXPLORE
MOOMINVALLEY
To celebrate its Tove Jansson
exhibition, Dulwich Picture
Gallery is bringing Moominvalley
to life for a weekend. Go along
to A Moomin Winter’s Eve on
Friday 15 December to enjoy
magical tales and wisdom.
There will also be food and
drink, immersive workshops
and performances, plus
exclusive after-hours entry to
the exhibition. Check the
website for times.
www.dulwichpicturegallery.org.uk
THE MOOMIN SPECIAL COLLECTORS’ EDITIONS ARE PUBLISHED BY SORT OF BOOKS WWW.SORTOF.CO.UK

Artists & Illustrators 7

 the diary

EXPLORE
5 Brighton’s Artists
Open Houses
Christmas Festival 2017
Get in the seasonal spirit with the
largest open house in the UK’s
festive spectacular. Three weekends
of fun take place on 25 and 26
November, 2 and 3 December, and
MARCELINA AMELIA 9 and 10 December with more than
1,200 artists exhibiting in more than
180 venues across the city of PAINT

visit
Brighton, Hove and beyond.
www.aoh.org.uk
7 Portrait Course
Get a taste of the Royal
2 The London Illustration
Fair 2017
Drawing School’s Christmas Holiday
programme with its Contemporary
Illustration lovers can come face to
d o n’ t Portrait course from Monday 4
face with their favourite artists, as
well as discover new artwork at this
m is s! December to Friday 8 December.
Taking place at its Shoreditch base

ANGELA MOORE
annual, artist-led illustration, print over five sessions, it is taught by two
and graphic design fair. Catch it at artists with different approaches.
the Oxo Tower on London’s www.royaldrawingschool.org
Southbank from Friday 1 December
to Sunday 3 December.
www.thelondonillustrationfair.co.uk
8 DRAW
Saturday Life Drawing Class
Improve your drawing with artist

3 design
Print your own
Christmas wrapping paper
Graham Flack at the Scottish
National Gallery in Edinburgh. With
sessions at 10am, 1pm and 4pm on
Give gifts a personal touch at this Saturday 16 December, you can
workshop from Newcastle upon work from a model and build from
Tyne’s Laing Art Gallery. Using shorter poses to longer ones.
techniques that can be reproduced www.nationalgalleries.org
at home, explore making linocuts,
monoprints and collagraph printing
plates of your designs on Saturday COMPETE
16 December, taking inspiration
from the gallery’s collection.
9 Royal Society of British
Artists Annual Exhibition
www.laingartgallery.org.uk Submit work displaying the highest
standards of skill, expression and
draughtsmanship before noon on
Read Friday 8 December for the chance to
4
SAM TOFT

How to Paint exhibit alongside members from

by Jerry Zenuik 21 March to 31 March 2018 at
In this excoriating exploration of the Mall Galleries, London.
nature of painting, renowned artist www.mallgalleries.org.uk
and professor of the
arts Jerry Zenuik
asks fundamental
6 ENTER
Contemporary
Watercolour Competition
OF ALFRED DANIELS PERSONAL FAVOURITES AWARD

questions about Submissions are open for the Royal

why and how we Watercolour Society competition,
ALEX CALLAWAY, THE OLD BOAT, RBA WINNER

create art across which encourages innovation and

its 37 fascinating experimentation in all water-based
chapters media. Successful paintings go on
(Sieveking, show at London’s Bankside Gallery
£22.99). from 2 to 14 March 2018. You have
www.sieveking- until 15 January 2018 to enter.
verlag.de www.royalwatercoloursociety.co.uk
AMSTERDAM BELIEVES IN THE ARTIST; THE ARTIST
WHO OPENS UP HIS EYES AND HAS THE COURAGE
TO GO FOR IT. WHO TRANSFORMS DREAMS INTO
CREATIONS. USE AN IDEA, A VISION. LOOK AROUND
YOU. SURPRISE AND AMAZE YOURSELF. DARE TO
DREAM IN COLOR.

amsterdam.royaltalens.com
EXHIBITIONS
DECEMBER’S BEST ART SHOWS
LONDON
Calder on Paper: 1960-1976
Until 8 December
A presentation of gouache works on
paper by the American artist.
Saatchi Gallery. www saatchigallery.com
Cézanne Portraits R EC O M M E N
DED
Until 11 February 2018
Track themes and methods across more than
50 likenesses by the master artist.
National Portrait Gallery. www.npg.org.uk
Charles II: Art & Power
8 December 2017 to 13 May 2018
Explore the role of the arts in the re-establishment
of the Stuart Monarchy.
The Queen’s Gallery, Buckingham Palace.
www.royalcollection.org.uk
From Life
11 December 2017 to 11 March 2018
A look at working from life throughout history,
and how technology is helping artists today.
Royal Academy of Arts. www.royalacademy.org.uk
John Yeoman and Quentin Blake:
50 Years of Children’s Books
Until 4 March 2018
Includes the illustrator’s first works for children.
House of Illustration. www.houseofillustration.org.uk
The EY Exhibition: Impressionists in London
2 November 2017 to 7 May 2018
Explore French artists ‘in exile’ from 1870 to 1904,
including works by Monet, Tissot and Picasso.
Tate Britain. www.tate.org.uk
ENGLAND – THE NORTH
100 Years of Bradford Painters
Until 8 July 2019
A survey of works from 1850 to 1950 in the
context of the city’s textile trade boom.
Cartwright Art Gallery, Bradford.
www.bradfordmuseums.org
A Sense of Place
11 November 2017 to 3 March 2018
Recent paintings by Maxwell Doig.
Huddersfield Art Gallery. www.kirklees.gov.uk
Hilde Goldschmidt and Kurt Schwitters
Until 21 April 2018
These two German artists inspired one another in
the Lake District during the Second World War.
Abbot Hall Gallery, Kendal. www.abbothall.org.uk
Humber Estuary: Changing Views
16 December 2017 to 17 February 2018
Painted landscapes, riverscapes and industrial
views alongside social and maritime history.
Treasure House, Beverley.
www.museums.eastriding.gov.uk
ENGLAND – THE SOUTH
Degas: A Passion for Perfection
Until 14 January 2018
A celebration of the artist’s career which spanned
half a century, taking in pastels and drawings,
as well as watercolours and prints.
The Fitzwilliam Museum, Cambridge.
www.fitzmuseum.cam.ac.uk
Edward Bawden and his Studio
Until 28 January 2018
A close inspection of the watercolourist,
printmaker, illustrator and designer.
The Higgins Bedford. www.thehigginsbedford.org.uk
John Piper’s Brighton Aquatints
12 December 2017 to 3 June 2018
Prints from the book published just after
the outbreak of war in November 1939.
Brighton Musuem. www.brightonmuseums.org.uk
Paul Nash
Until 14 January 2018
On tour from Tate Britain, see a lifetime of works
by the 20th-century British artist.
Laing Art Gallery, Newcastle.
www.laingartgallery.org.uk
Paper: Drawings, Prints and Works on Paper
from the Swindon Collection
29 November 2017 to 14 April 2018

Red Star Over Russia:
A Revolution in Visual Culture 1905-55
8 November 2017 to 18 February 2018
JMW TURNER, WHALERS (BOILING BLUBBER) ENTANGLED IN FLAW ICE, ENDEAVOURING TO EXTRICATE THEMSELVES, C.1846, OIL ON
Celebrating this year’s Meryl Ainslie Gift donation
Pioneers of Pop of more than 50 works given anonymously.
Until 20 January 2018 Swindon Museum and Art Gallery.
As the gallery re-opens after a £3.8 million www.swindonmuseumandartgallery.org.uk

A dramatic vision of Russia and the Soviet Union
from 1905 to the death of Stalin.
Tate Modern. www.tate.org.uk
CANVAS, 89.9X120CM © TATE, LONDON. ACCEPTED BY THE NATION AS PART OF THE TURNER BEQUEST, 1856
development, see 100 works by leading British
pop and abstract artists. Paula Rego: The Sketchbooks
Hatton Gallery, Newcastle. www.hattongallery.org.uk Until 28 January 2018
Gain a glimpse of the artist’s
preparatory drawings for her
Turner and the Whale world-famous paintings.
Until 7 January 2018 Pallant House Gallery, Chichester.
Not only has the Turner Prize taken www.pallant.org.uk
a trip up north as part of UK City of
Culture 2017 celebrations, you can When Bardfield Moved to Saffron
also view rare works by the award’s Walden: Artists in Saffron Walden
namesake at Hull Maritime from the 1960s to the 1980s
Museum. It has three of JMW 2 December 2017 to 25 March 2018
Turner’s rare whaling scenes and The inaugural exhibition at The Fry
one maritime work on display, Gallery’s new second home looks at
loaned from Tate Britain. artists who lived in the area.
Maritime Museum, Hull. Fry Art Too, Saffron Walden.
www.hullcc.gov.uk www.fryartgallery.org
 A New Era:

COLLECTION: NATIONAL GALLERIES OF SCOTLAND. BEQUEATHED BY DR JAMES RITCHIE

Scottish Modern Art 1900-1950
2 December 2017 to 10 June 2018
This exhibition takes its name from the group

FCB CADELL, THE BLUE FAN, EARLY 1920S, OIL ON CANVAS, 60X51CM
established in Edinburgh in 1939 to show surreal
and abstract work by members, including William
Gillies and Tom Pow. Today, this bold collection
tells an alternative history of modern Scottish art,

1998. © NATIONAL GALLERIES OF SCOTLAND

examining advanced work made by artists during
the first half of the 20th century. Explore Fauvism,
Expressionism, Cubism, Art Deco, Abstraction
and Surrealism, from a Scottish point of view.
Scottish National Gallery of Modern Art, Edinburgh.
www.nationalgalleries.org

society at a time of great change.

Hunterian Art Gallery, Glasgow. www.gla.ac.uk

WALES
Brotherhood of Ruralists
2 December 2017 to 10 March 2018
Traditional figurative works from the likes
of Ann Arnold and Peter Blake RA.
Tannery Gallery, Machynlleth.
www.moma.machynlleth.org.uk

Colourfelt: Andreas Rüthi

9 December 2017 to 27 January 2018
William Ranken: Gorgeous, Stately, Splendid Drawings and paintings from one of the Addressing the power of colour through
Until 29 January 2018 most important artists working in Australia during 64 paintings of mushrooms.
An exploration of the Edwardian portraitist’s the colonial era. Oriel Davies, Newtown. www.orieldavies.org
intriguing life and works. Ikon Gallery, Birmingham. www.ikon-gallery.org
Russell-Coates Gallery, Bournemouth. Members Mixed Show
www.russellcotes.com SCOTLAND 6 to 30 December 2017
L AS
CHA T Ages of Wonder A collection from the RCA.
ENGLAND – THE MIDLANDS NCE 4 November 2017 to 7 January 2018 The Royal Cambrian Academy, Conwy.
Seven Kinds of Magic Featuring more than 450 works by around 270 www.rcaconwy.org
Until 10 December 2017 artists and architects up to the present day.
Original illustrations from Quentin Blake Royal Scottish Academy of Art and Architecture, IRELAND
from seven magical books. Edinburgh. www.royalscottishacademy.org Frederic William Burton: For the Love of Art
The New Art Gallery, Walsall. Until 14 January 2018
www.thenewartgallerywalsall.org.uk BP Portrait Award 2017 A fresh look at the artist’s works to reflect
16 December 2017 to 11 March 2018 on his lifetime achievement as a Victorian
Lost Worlds The annual National Portrait Gallery show watercolour artist.
Until 17 December 2017 travels to Scotland. National Gallery of Ireland, Dublin.
Jackie Morris’ watercolours and Robert Scottish National Portrait Gallery, Edinburgh. www.nationalgallery.ie
Macfarlane’s poems celebrate the living world. www.nationalgalleries.org
Compton Verney, Warwick. Looking at Landscape
www.comptonverney.org.uk The Truest Mirror of Life: 19th-Century Until 4 March 2018
French Caricatures A collection of representations of nature.
Thomas Bock Until 21 January 2018 Ulster Museum, Belfast.
6 December 2017 to 11 March 2018 An intimate look at some aspects of Parisian www.nmni.com

Artists & Illustrators 11

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I N S P I R I NG N E W ART WOR KS , ST R AIG H T OF F T H E E AS E L
CHRISTINE WOODSIDE RSW RGI
Deep tones and delicate motifs come together in Autumn
Posies, Muchty, a painting inspired by a love of picking
garden flowers, in particular the last posies before winter.
The artist has worked in mixed media since leaving
Aberdeen’s Gray’s School of Art, having also used
watercolour and oil. “I love using mixed-media acrylic
paint,” says Christine. “It combines well with handmade
textured paper and I use buckets of clean water and let the
paint flow. Often, I leave a happy accident to keep the
painting fresh.” The artist created these autumnal tones
with Cadmium Red and Quinacridone Burnt Orange, the
latter of which is transparent and gives a rich, dark tone to
the shadows. “The late summer sun and the golden harvest
fields link well with the posies of flowers,” she adds. ABOVE Autumn
Christine Woodside RSW RGI is on show at Panter & Hall, Posies, Muchty,
London SW1Y from 7 to 22 December 2017. mixed media,
www.panterandhall.com > 46x48cm
Artists & Illustrators 13
fresh paint
FLORA MCLACHLAN
This haunting etching grew from a love of stories. “I was
thinking about my mother’s story of meeting a fearless
deer in her local woods,” says the artist. “And also of bare
winter trees and their shapes; how they band together in
a wood to make glades or theatres.”
To work out composition, she drew on layers of tracing
paper, overlapping two colours. “I decided to make the bark
textures by cutting out the tree shapes from mount card
and scoring them with a steel drypoint. It makes crisp and
distressed patterning,” says Flora, whose mother is a
painter and father a potter. Surprisingly for someone with
such a creative pedigree, art wasn’t her earliest passion.
She studied English at university but realised after
graduation that, although her imagination fed on poetry,
ABOVE Ivy Berries, it wanted to create images. But a love of literature still
etching, 27x29cm informs her style, which she developed at Oxford
14 Artists & Illustrators
Printmakers Co-op. “I want my images to look aged,” she
says, “as the inspiration grows out of so many years and
layers of old tales, history and literature.”
Flora bit patterns into a plate in ferric chloride to get
deep, strong marks and then softened areas with a steel
scraper-burnisher and wet and dry paper, polishing light
back in. “I enjoy carving into and sculpting the plate like
this,” she says. “I laid a resin aquatint and, painting with
acid on a brush, added soft shadow and tone to the
graphic shapes.” She proofed the image on her etching
press to balance colours, and discovered she needed a
third plate to add “twilit gloom”. To achieve this, she
sprinkled granules of rosin on a plate and fused them
over a gas burner, adding an intense atmosphere.
Ivy Berries forms part of Woods in Winter at Sarah Wiseman
Gallery, Oxford OX2, from 25 November to 31 December 2017.
www.wisegal.com; www.floramclachlan.co.uk >
 fresh paint
to p t
ip
Take re
gula
from p r break s
ain
and s t a ting ,
n
from y d bac k
o u r wo
rk

JOHN COONEY
If you’ve visited a market, sketchbook
in hand, you’ll know getting a trader to
stand still while you capture him in
watercolour is a fruitless task. That’s
why Portfolio Plus artist John Cooney
chose to render his portrait from
photographs. “I thought he looked
interesting, but I also liked his
arrangement of fruit and vegetables,”
explains John. “He agreed to let me
photograph him as he was serving
customers. I asked him to pretend he
was serving me oranges and I took
about 30 photographs.”
With reference material aplenty John
used Photoshop to edit images so the
lighting and composition were right,
and set to work painting from several
pictures. First, he built light washes
working simultaneously on all areas of
the artwork, only stopping when he’d
achieved the depth of colour he
wanted. To tackle the detail of the face
he used a drybrush technique to gain a
realistic quality, using Rosemary & Co
Kolinsky sable brushes, sizes 7, 5, and
4 for extra fine detail. “I gave the fruit
and vegetables almost the same
attention as the man because, in a
sense, they seemed to be part of him,”
says John. He approached the highlights on the food and
the man’s skin in the same way, “I simply left the white of
the paper surface. I rarely use masking fluid unless it’s
absolutely necessary.”
With a background in illustration, graphic design and For your chance to feature in Fresh Paint, sign up for
advertising, John is now dedicated to painting in oil and your own personalised Portfolio Plus page today.
watercolour, choosing the former to create beautiful You can also:
continuous tones over large surface areas and the latter for •Showcase and sell unlimited artworks
smaller, detailed works. But his overarching mastery lies in commission-free
capturing everyday people about their business. “He was •Get your work seen across Artists& Illustrators’
doing something he has done thousands of times, I wasn’t social media channels
a real customer, (but I did buy the oranges).” •Submit art to our online exhibitions
See 4 for £1 at The Royal Ulster Academy Annual Exhibition ABOVE 4 for £1, •Enjoy exclusive discounts and more
at the Ulster Museum, Belfast, until 7 January 2018. watercolour, Register now at
www.artistsandillustrators.co.uk/johncooney; www.nmni.com 50x41cm www.artistsandillustrators.co.uk/register

16 Artists & Illustrators

 Colourful Christmas!
A choice of our beautiful Christmas selection.

7
74 766 09
Art.-No.:

7
09
58
47
.: 7
No
t.-
Ar

Ar
t.-N
o.:
74
7 24
09
7

The full selection you will

find at www.schmincke.de

ARTIST
D OING ART DEMONSTRATIONS
CAN BE A WONDERFUL WAY
TO ENGAGE T HE PUBLIC WITH
YOUR WORK. OUR C OLUMNIST
L AURA BOSWELL E X P L AI N S WHY
18 Artists & Illustrators
LEFT Winter Cabbage, Japan,
Japanese woodblock, 30x20cm
DEMONSTRATING
CAN SEEM LIKE
A DAUNTING IDEA
BUT IT IS ENJOYABLE,
AS WELL AS SOUND
MARKETING SENSE
T
he best way I know to introduce the public
to my work and skills is to demonstrate my
methods whenever possible. At first,
it can seem a daunting idea but, with thorough
preparation and a pragmatic approach,
demonstrating is enjoyable, as well as sound
marketing sense. It means creating art for an
audience on the move, so prepare work that can
be made in short cycles or that people can dip in
and out of as it develops. Aim to have a finished
artwork at the end to impress the crowd. I design
specific demonstration prints to catch the eye
which are easy for me to print while chatting. If
you are creating something from scratch, rather
than working on a prepared piece, do a practice
run at least once, so you have an idea of timings
and can make a thorough packing list. Make
sure you have publicity materials to hand out
and think about whether you can sell your
demonstration work. I sell my rough working
prints, simply rolled, on the day and give a
percentage to charity, which pleases everyone.
All this preparation is hard work, but vital.
It means you can relax and know you’ll deliver. Confidence will win a
crowd’s trust and make your demonstration one to remember.
I think of it as a form of theatre. You need to be calm and happy
throughout, and give as enthusiastic a response to questions asked
for the 40th time as you did the first. It takes nerve, but work at
making eye contact, welcoming people and encouraging them to
chat. It’s often all that’s needed to start the flood of questions they
were too shy to ask. I also find the actor analogy thickens my skin: go
before the public and you will have to field some thoughtless
comments alongside the much larger proportion of fascinated
questions and compliments. Don’t take such remarks to heart and
don’t expect everyone to be interested, or to have time for more than
a brief glance. Begin with short and simple explanations, and allow
your audience to ask if they want more detail. For everyone who
doesn’t engage, there will be plenty of others who will.
www.lauraboswell.co.uk
ARTISTS IN
I M P R ES S ION I ST PAI N T E R S F L E D TO LON D ON TO ES CAP E WAR I N T H E 1 8 70 S . NATALIE MILNER
E X P LOR ES HOW T H E I R STAYS I N T H E CI T Y I N F LUE NCE D T H E P RO G R ES S OF T H E I R ART

20 Artists & Illustrators


c
laude Monet watched ships departing Le Havre,
ferrying refugees to safety in Britain; it didn’t take
the artist – and his contemporaries – long to join
them. They were among thousands who fled the Franco-
Prussian War between 1870 and 1871. In less than
seven weeks, 100,000 men were killed on either side. By
September 1870, a Third Republic had been proclaimed
and Prussia’s Siege of Paris threatened to starve the city.
Tate Britain’s The EY Exhibition – Impressionists in
London: French Artists in Exile (1870-1904) creates a
visual story with more than 100 works from artists who
sought shelter. The artworks are grouped by theme and
subject, but follow a thread: the view of the outsider.
“They almost invariably described their stay in London as
an ‘exile’,” says curator Caroline Corbeau-Parsons. “The
show tells human stories starting from a traumatic point
MUSEE D’ORSAY (PARIS, FRANCE)
in French history.” Paintings from refugees’ standpoints
offer an alternative portrayal of familiar scenes. Take
Danish-French artist Camille Pissarro, whose house was
turned into a stable by the Prussians who destroyed 20
years’ worth of his artwork. He settled in the suburbs of
EXILE
OPPOSITE PAGE
Claude Monet,
Londres, le Parlement.
Trouée de soleil
dans le brouillard,
1904, oil on canvas,
81.5x92.5cm
CLOCKWISE FROM TOP
LEFT Claude Monet,
Houses of Parliament,
Sunlight Effect,
1903, oil on canvas,
104.8x115.6cm;
Houses of Parliament,
1903, oil on canvas,
81x90cm; Houses of
Parliament, c.1900,
oil on canvas,
81.2x92.8cm, Houses
of Parliament, Fog
Effect, 1903-1904,
oil on canvas,
81.3x92.4cm
Lower Norwood, where, as an antidote to the trauma
back home, he threw himself into painting fresh, plein-air
scenes of quintessentially British life. Modern innovations
also caught his eye. Lordship Lane Station, Dulwich
(1871) was painted looking down from a footbridge to
show a train cutting through a semi-rural setting.
The show takes a moment to focus on scenes of
domesticated nature, which allowed artists to work on
landscapes while in the city. But whether it’s Pissarro’s
portrayals of Kew Green and Hampton Court Green, or
Monet’s oil painting of Hyde Park, it’s important to note
the majority of these works feature people. These are
BROOKLYN MUSEUM OF ART / MUSÉE MALRAUX / ART INSTITUTE OF CHICAGO / METROPOLITAN MUSEUM OF ART
more than landscapes; they’re snapshots of a society.
“All French artists were fascinated by the vast
expanses of parks in London,” explains Caroline. “In Hyde
Park (1871), there’s a working-class couple here, people
wearing top hats there. Monet was interested in social
interplay, how the classes mix together.” But when it
comes to French artists benefitting from the British class
system, there’s no better example than James Tissot.
A renowned society artist, he wasted no time in getting
touch with his overseas contacts and purchasers. He’d
exhibited at the Royal Academy of Arts in 1864, and
continued to produce caricatures for Vanity Fair and
adapted his portraiture for a British clientele. He swiftly
became the most famous French artist in London.
Yet the exhibition reveals the scars of war beneath the
glamour of Tissot’s life and artwork. Before he travelled
to Britain in 1871, the artist was a stretcher-bearer during
the Siege of Paris and filled sketchbooks. One of these
graphite works, A Cantinière (1870-71), as well as his >
Artists & Illustrators 21
 LEFT Camille Pissarro,
Kew Green, 1892, oil
on canvas, 46x55cm
RIGHT Claude Monet,
Meditation, Mrs Monet
Sitting on a Sofa,
1871, oil on canvas,
48.2x74.5cm
BELOW RIGHT Camille
Pissarro, Charing
Cross Bridge, 1890, oil
on canvas, 60x92.4cm

watercolour The Wounded

Soldier (1870) are on display,
portraying his proximity to the
suffering of war, which was never
far from artists’ minds. While in
Britain, Monet heard of the death
of his father and Frédéric Bazille,
a friend who had shared his
studio. He only painted six
pictures during his ‘exile’, and
Meditation, Mrs Monet Sitting on
a Sofa (1871) casts a light on his
misery – a subdued scene with
his wife slumped on a chaise
longue in their small flat.
But one aspect of the city did
capture his imagination: the
atmospheric Thames. The river
flows through the exhibition, from
Alfred Sisley to Charles-François

“all french artists Daubigny. “In The Thames Below Westminster (1871),
Monet used a subtle palette of modulated blue and
were fascinated by purple grey tones to depict the palace veiled in fog,”
explains Caroline. “To convey the depth of the smoky sky
the vast expanses but also its luminosity, he used a scumbling technique
MUSEE D’ORSAY (PARIS, FRANCE)

of parks in london” with long brush strokes contrasting with the broken ones
that he adopted to paint reflections on the Thames.” But
it wasn’t until 30 years later that he honed his technique
and fully comprehended the fog’s potential. The exhibition
unites six of these later paintings, the most assembled in

KEY DATES
1870
19 July: France declares war
on Prussia.
19 September: the Siege of
Paris begins. James Tissot and
Édouard Manet are among the
artists who stay in Paris.
Mid to late September or early
October: Claude Monet flees to
London to avoid conscription.
Early October: Charles-François
Daubigny flees to London.
Early December: Camille
Pissarro arrives in London.
1871
28 January: the French
government of national defence
agrees to an armistice.
May: Monet leaves London
for the Netherlands.
21 May: government forces
enter Paris, commencing the
Bloody Week.
June: Tissot arrives in London.

22 Artists & Illustrators

 MUSÉE D’ORSAY, LEGS DE M. ET MME RAYMOND KOECHLIN, 1931
more than 40 years. Monet returned to his place of exile
and, between 1899 and 1901, set about furiously TALKING TECHNIQUES: HAZE EFFECT
painting the Thames and Westminster. In the morning, CAROLINE CORBEAU-PARSONS: Pissarro set up his easel at
he would paint the view from his window at the Savoy Chelsea, Battersea and Waterloo Bridge, from which he painted
– towards Waterloo Bridge and Charing Cross Bridge this panoramic view. He used divisionism principles by
– and, in the afternoon, thanks to John Singer Sargent combining touches of complementary colours to render the
and one of his patrons, he was given access to the projection of light on the steel bridge. But he rejected pointillism
terraces at St Thomas’ Hospital, offering an unrivalled in favour of a looser impressionist brushwork, comma-like for
view of the Houses of Parliament. While waiting for his the sky, and broken and horizontal for the river. The subtle
equipment to arrive, he worked in oil pastel and pencil modulations in style and colour resulted in outstanding luminosity.
sketches, then later tackled more than 80 canvases. Edited extract from The EY Exhibition – Impressionists in London:
But it was slowly to become apparent that fog was French Artists in Exile (1870-1904), published by Tate Publishing
tricky to capture. He’d return at the same time every day © Tate Enterprises Ltd 2017
to paint the black, brown, yellow, green and purple
shades, moving towards the long, sweeping broad strokes
visible in his 1901 works. It’s a happy accident that
Monet’s series was completed in 1904, the same year
the Entente Cordiale was signed. Monet exhibited 37
views of the Thames in Paris that year, influencing the
young André Derain to produce 30 visions of the river in
homage to the Impressionist.
However, Derain’s approach loses the luminous haze
NATIONAL GALLERY OF ART (WASHINGTON, USA)

which steals the show in Monet’s works. The perpetual

veil of mist synonymous with 19th-century London
seeping into much of the exhibition works comes to
represent the distorted view of an outsider, its
changing form a reminder of the land they left behind.
The EY Exhibition – Impressionists in London: French Artists in
Exile (1870 to 1904) is on show from 2 November to 7 May
2018 at Tate Britain, London SW1. www.tate.org.uk

1887 1892 1900 1904

May: Monet returns to London
for his first visit since 1871.
1890
May: Pissarro returns and paints
in London for a few weeks.
June: Pissarro returns to London February: Monet focuses on 9 May to 4 June: Monet’s London
for the summer and paints Kew. the Houses of Parliament. pictures are exhibited in Paris.
1899 1901 1906
September to October: Monet January to April: Monet works March to April: André Derain
paints the Thames. on his Thames canvases. works on cityscapes.

Artists & Illustrators 23


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This month, we’ve teamed up with Art in the
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Enter online at www.artistsandillustrators.
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& Illustrators, Chelsea Magazine Company
Ltd., Jubilee House, 2 Jubilee Place, London Postcode:
SW3 3TQ. For full terms and conditions visit
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Subject to availability. The prize must be Please tick here if you prefer not to be contacted by
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Artists & Illustrators 25


IN THE STUDIO
MARIE
HARNETT
THE ARTIST SHOWS US AROUND THE LONDON SPACE
IN WHICH SHE CREATES HER INTRICATE DRAWINGS.
INTERVIEW: SALLY HALES . PHOTOS: TOM DUNKLEY
Can you tell us a bit about this studio?
It’s at Studio Voltaire in Clapham where there are around
30 or 40 artists. It’s nice as there are always people
around. In fact, my boyfriend has just moved in next door.
How long have you been here?
About three years. I wanted to come because it is a great
complex. When we moved to London we lived in Clapham.
This was the nearest place and they had a studio available.
Do you have a daily routine?
Yes. I get a cup of tea, set up in my chair and put an
audiobook on my Bluetooth headphones. I make sure I
don’t have any other technology, otherwise I would be
checking Instagram. I try to be in at 10am and leave at
6pm. I get comfy in my chair and draw. It’s heaven. I love it.
26 Artists & Illustrators
ON THE BOARD
Organisation
is key and a
blackboard list
keeps Marie
on deadline
Do you feel your studio space feeds into your work?
I like to pin stuff up and change it every week. It’s good to
have it around in the background, especially for testing
ideas. My linocuts are new: it was nice to have the space.
For years I worked from home, but now I can splash about.
It’s a small, tidy studio. Do you keep all your tools here?
I do have everything. It’s very well stored! There’s a painting
trolley tucked under there. For the drawings, I’m just in the
chair and the drawers beside it have everything. It’s
strange: the linocuts don’t use much either.
How do you produce the small-scale drawings?
I work from film trailers. I watch them on my computer in
greyscale and without any sound because I don’t want
 I GET A CUP OF TEA,
PUT ON AN AUDIOBOOK,
GET COMFY IN MY CHAIR
AND DRAW. IT’S HEAVEN

ARM’S REACH
Marie keeps
all her drawing
materials and
tools gathered
around her

input; I don’t want to know what the film is about. If there’s
a gut instinct that I like it, I go through it frame by frame,
which takes a couple of hours. I get around 200 stills. From
that I try to create a series with a storyline. I created a
series from a film called Helena, which I believe was about
a womanising Brazilian footballer, but in my story he was
gent. I tend to work from films that aren’t set now, as the
costumes and sets from period dramas or films from the
1940s are so wonderful visually.
Where did you train?
I studied drawing and painting at Edinburgh College of Art.
I didn’t like drawing at the time, but then they told me to
approach drawing like I did painting and I thought, “Oh that
makes so much sense.” I’ve only painted a little since but
it’s something I want to explore again.
MONOCHROME
The artist’s love
of black and white
How long do the small drawings take from start to finish? bleeds into her
Around two to three weeks. And I did a massive drawing environment
– two metres wide – which took months. I wanted to give it
a go for my new show because I have some tiny works,
which are about two centimetres. It was more intense than
I thought it would be, but I’m happy with it.
And you’ve just started working with linocuts?
Yes, within the last year or so. I love doing the small works
but they are very time-intensive. I wanted to do something
bigger that was abstract up close but, when you stand
back, you can interact with it. With the little ones, you can’t
see anything from a distance. You need to be close.
I wanted a dialogue between them.
What’s next for you?

How did you get interested in drawing on a small scale?

I’m going to try painting, and there are a few other
projects, too. I’d like to try a large-scale mezzotint.
To p t i p
I was into comic books at university. I was watching Sin There aren’t many around because it’s so labour Marie uses To
mbow
City, which came from a graphic novel and they tried to film intensive. And I’d like to maybe tackle another Mono 100 pe
ncils,
it like that. I thought it would be fun to put it back onto a large drawing. I’m also doing three more works for which have a
smooth,
graphic-novel scale and into a drawing medium. Also seeing the Alan Cristea show. Once that’s done, I might butter y feel
the Chapman Brothers’ Goya etchings as part of the Turner have a weekend off.
Prize: I loved how it felt like a comic strip. I thought, “I’m Marie Harnett: Still is at Alan Cristea gallery in London
going to do that.” I got addicted to it. Then I wondered if SW1Y, from 22 November to 6 January 2018.
I could do more film, so it spiralled from there. www.alancristea.com; www.marieharnett.com

Artists & Illustrators 27

 h e h a lls
e ck t
D GIVE YOUR CHRISTMAS CELEBRATIONS
AN ART Y VIBE WITH OUR GUIDE TO
CREATIVE GIF TS AND FUN STO CKING
FILLERS. PHOTOS: LOUISE HAGGER
 Per f e c t
s t o ckin g
f ill e r s

ABOVE, CLOCKWISE FROM TOP LEFT WHISTLER-INSPIRED SCARF BY WALLACE SEWELL, £45, shop.tate.org.uk / SCHMINCKE HORADAM AQUARELL METAL TIN
HALF PAN, £64.50, www.cassart.co.uk / ELLA DORAN ARTIST TOOLS MUG, £10, shop.tate.org.uk / MICHAEL HARDING INTRODUCTORY OIL PAINT SET, 6X40ML, £35,
www.jacksonsart.com / REMBRANDT WATERCOLOUR RETRACTABLE BRUSH TRAVEL SET, £16.95, www.cassart.co.uk / ‘FRIDA CALLUS’ FROM THE ARTISTS SOCKS GIFT
SET, £30, www.chattyfeet.com / ROYAL ACADEMY DIARY, £10, shop.royalacademy.org.uk / NATIONAL ART PASS, £65, www.artfund.org OPPOSITE PAGE, CLOCKWISE
FROM TOP LEFT ALLY CAPELLINO NAVY SATCHEL, £65, shop.tate.org.uk / ADVENT CALENDAR BY ANGELA HARDING, £9.95, www.angelaharding.co.uk / WINSOR &
NEWTON GALERIA INTRODUCTORY GIFT COLLECTION, £43.50, www.winsornewton.com / KALEIDOSCOPE DRAWING INKS GIFT COLLECTION, £18, www.winsornewton.com
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Artists & Illustrators 29

art on

ice
CE L E B R AT E D WAT E RC OLO UR I ST
DAVID BELL AMY REVEALS TO
SALLY HALES THE LENGTHS
HE GOES TO PAINT NATURE’S
WILDEST PL ACES
W
atercolour can be a tricky medium
to master. A day spent struggling
with troublesome washes and
unwanted cauliflowers can be
enough to drive any artist to a
well-earned G&T. But that’s not
why you’ll find a bottle of gin stashed in David
Bellamy’s painting kit.
One of the UK’s leading watercolourists, he has
made it his business to paint in the world’s most
extreme environments, and a recent adventure
took him to the wildernesses of East Greenland, a
journey documented in his new book, Arctic Light.
In a departure from his well-respected how-to
guides, it recounts his daily battles to capture the
majesty of the stunning, but inhospitable,
landscape. From austere accommodation and the
ever-present danger of hypothermia to looming
precipices, it is all a far cry from the elegant
Belgravia streets surrounding the London gallery
in which we meet David to see the results of his
expedition. For this affable artist, painting in
watercolour in sub-zero temperatures is about
much more than a desire to master what’s most
difficult. He’s driven by wonder at the natural
world to capture its wildest places in paint.
“With snow and ice there are amazing colours
and hidden subtleties,” says David. “It’s so lovely
to work in watercolour. It’s the ideal medium.
But it’s the most difficult medium to work with
below-zero in a howling wind.”
And that’s where the gin comes in. Rather than
warming the extremities – although that is also an
option – its low freezing point means, when
substituted for water, it helps paint to flow for
longer. It’s a technique the artist has honed over
years spent specialising in mountain and coastal
scenes. “I started to work up in Scotland when
I was younger, so I developed a technique for
working in the winter mountains,” he says. “But
I’ve developed it more since. I used those aquash
brushes for sketching – the plastic ones where >
 TORBEN SORENSEN
“Whether
it is the
atmosphere
or the dogs
– There
is always
something
going on”
 DAV I D B EL L A M Y

“I’m trying to catch as much

HOW DAVID MADE…
ARCTIC SUNRISE,
KAP HEOGH (ABOVE)
“I’ve used Cobalt Blue in the
foreground, added Cadmium
Red and dropped in Phthalo
Blue to change it around a
little bit. Then I covered it with
cling film and pulled that
across. That’s really good for
creating a sense of ice.”
ABOVE Arctic Sunrise, Kap
Heogh, watercolour on paper,
28x46cm OPPOSITE, CLOCKWISE
FROM TOP LEFT Moody morning,
Nedre Heimredalsvatnet,
watercolour on paper,
23x31cm; the artist sketching;
a sketch of Torben; Inside the
Greenland Ice-cap, watercolour
on paper, 18x17cm; Walrus
montage, watercolour on
paper, 23x48cm; Amannguaq,
watercolour, 29x19cm
PREVIOUS PAGE Polar Bear and
Ice Cave, watercolour on paper,
21x30cm
you can fill the handle – filled with gin or half-gin.”
David was accompanied on his adventure by
friend, Torben Sorensen, as he travelled by sledge
across the frozen landscapes, sketching as he
went. Ever resourceful, David made creative use
of his companion’s presence, using him to
highlight scale that might otherwise be hard to
communicate. “Torben was on another sledge,”
he says. “There were mountains in the distance,
so I got the guide to navigate so we lined up with
Torben’s sledge, making him the focal point of the
scene I was sketching.”
But sledge-sketching isn’t always an easy
option. “There were lots of sastrugi [ridges in the
ice], which were really hard,” he adds. “I wanted
to sketch these wonderful mountains, but we
didn’t want to stop because there was a storm
chasing us. The guy driving the sledge was
looking at me as if I was completely mad, trying to
do this sketch. It was all over the place.”
But no matter how rough the sketch, David
always finds its value. Putting down marks forces
him to absorb detail and atmosphere of the
dynamic environment in a way a photograph
never can. The resulting watercolours are
saturated with colour and renderings of the
delicate play of light on ice and snow. He was
especially keen to do justice to the stunning Arctic
skies and the way reflected light fragments into
bursts of colours as it disperses through ice.
information as I can about the
way the light is coming down,”
says David. “The atmosphere
or the dogs or the topography
– all sorts of things. There is
stuff going on all the time.” To
capture this, a good range of
blues was essential to his kit
with French Ultramarine a
favourite. “It is so versatile,”
he says. “You can use it in
all sorts of conditions.”
Over the years, David
has developed techniques
to keep working for as long as
possible, from warming frozen
brushes in his armpits to
stuffing pockets with half-used pencils so they’re
easy to access. While he travels with a standard
set of 12 half-pans, he also sings the praises of
watercolour pencils, a medium he says comes
into its own in the cold. “In extreme conditions I
always have watercolour pencils,” he adds. “I
work on paper and pick up a handful of snow and
rub it in. Obviously, you can’t do too much detail
but you can work into it with pencil or pens.”
Speed is key when dealing with extreme cold
and dangerous animals, but David still delights in
capturing wildlife in its natural environment.
He was rewarded for his tenacity when a walrus
and a polar bear put on spectacular shows for
him to sketch and, matched by his skill in seizing
the moment, the results are charming montage
studies. “We got very close to the animals,” he
says, excitedly. “Walrus are best posers in the
world. They’ve such wonderful textures and
colours. There’s nothing quite like working in
watercolour to get that effect of when the chest is
dry and the lower part is wet.”
While there’s no doubt this painter has earned
the chance to use his gin for its original purpose
and put his feet up in comfort, we suspect he’ll
soon be popping it back in his painting kit.
Arctic Light is published by Search Press, £25.
David’s paintings are available from Osborne Studio
Gallery. www.searchpress.com; www.osg.uk.com;
www.davidbellamy.co.uk

DAVID’S ESSENTIALS FOR WORKING IN EXTREME WEATHER

•AQUASH BRUSHES These plastic SOLUBLE PENCIL “They are so good. and the colours are just amazing.”
brushes come with a well in the handle, I recommend them.” •SAUNDERS WATERFORD ROUGH
which David fills with gin. •DANIEL SMITH WATERCOLOURS “I love AND HOT PRESSED PAPER “I love the
•CARAN D’ACHE TECHNALO WATER the gradations you get. It’s very powerful rough paper. You get a lovely effect.”

Artists & Illustrators 33

“YOU CAN SEE
HINTS OF EGON
SCHIELE’S USE
OF BLUE, RED
AND GREEN
POINTS ON THE
BODY. I ALSO
BASED A PAGE
ON PICASSO”
 10 MINUTES WITH…
RICHARD GRAHAM
THE WRITER, ILLUSTRATOR AND MAKER REVEALS THE DIVERSE AND FASCINATING
RANGE OF INFLUENCES THAT GAVE BIRTH TO HIS FIRST CHILDREN’S BO OK.
INTERVIEW: NATALIE MILNER. P HOTO : TOM DUNKLEY
What was the inspiration behind your first published
children’s book The Cranky Caterpillar?
It was a slow process. I found an old piano in a derelict
school and extracted a part of it. This sat in my studio and,
eventually, I thought it looked like a caterpillar – all of his
feet are the little hammers in the piano that hit the string
to make the sound. I like the anthropomorphic quality. I am
always looking at how things could look like the form I am
trying to create. A year or so later I wrote a story about it
and, a year after that, I did all the illustrations.
How did you approach the process?
I’ve always been a doodler. When I did my masters in
creative and critical writing I did some picture book
modules. The illustrations are pencil drawings, which I
scanned and layered the colours on top digitally using
Photoshop. I was a bit nervous about adding colour that
might not fit – I could spend all that time on the drawings
and then ruin it – so instead I used trial and error.
Does your art history degree affect your practice?
I think it’s important to make art in an informed way and I
reference artists a lot. When I was doing my degree, I was
obsessed with Marcel Duchamp and the Dada movement,
and I was already making stuff. I was influenced by
philosopher Jacques Derrida – it’s all about deconstruction.
Words are signifiers and so are images, so there’s a
relationship. I find that stuff interesting, especially if you’re
writing children’s books where the words and pictures have
to weave in and out of each other and be sewn up nicely.
There’s a nod to some famous artists in the book…
Yes, you can see hints of Egon Schiele’s use of blue, red
and green points on the body in my drawings. I also based
a page on Picasso’s Three Musicians. I took the colour
scheme of the instruments, replaced the dog with a cat. I
like the playful element of Picasso’s work. There’s another
page where I put the caterpillar in Kandinsky’s painting
Composition VIII. He spoke about the piano as a metaphor
and how music can lift your mood, and that’s what the book
is about in a way. I was also interested in colour
synaesthesia because it relates vision to sound.
A piano features heavily. Did you draw it from life?
I generally draw from life. The original piano was rotten, so I
bought an old one on eBay, dragged it into my studio and
drew from that. I also smashed it up as I needed that later
in the book. The Cranky Caterpillar is dedicated to people
who play piano in St Pancras station in London. I go there
everyday to get my lunch.
You’re a maker and an illustrator, do these skills interact?
I like making a sculpture or collecting an object, letting it sit
and writing a story – developing a character – and finally
transforming it into a new medium by putting it into an
illustration. So making is an overarching theme of what
I do. When I’m not making art, I make stuff for other people
through Make London, including lots of window displays.
I just made a sculpture for Selfridges.
What materials spark your illustrations?
As well as found objects, I use canvas, fabric, Perspex and
more diverse things. Mr Make, the main character from the
story I’m working on at the moment, is a skeleton with
dominoes for eyes and a bradawl for a nose (I have been
doing a lot of nose research). He looks a bit scary at the
minute, I’m going to de-scare him in the illustrations.
I created the butterfly on the wall and the little girl in my
new book using my 3D printer. It’s actually a useful tool
because, if you are struggling with where the shadows
need to be, you can shine a light on the object and draw
from that, rather than having someone stand for you.
What advice would you offer someone starting
a children’s book?
You have to keep the writing short and sweet, generally
speaking. You want to write a sentence that doesn’t
describe the picture, otherwise it would get boring.
Underneath every sentence, include a picture directive,
such as a description or rough sketch. Later, share the
book with as many people as you can and get feedback.
Children are the best critics because they don’t hold back;
they say what looks stupid or if something doesn’t make
sense. I went to Vauxhall Primary School and interviewed
lots of kids; I had to change some of the names because
they couldn’t pronounce them.
How did you find the right publisher for your work?
I used the Writers’ and Artists’ Yearbook, which lists
different publishers. It’s good to research and see which
ones are publishing similar kinds of stories, so you know
your story will fit in the catalogue. I was actually showing
Roger Thorp [publisher at Thames & Hudson] another book
which he said ‘no’ to. But I also brought along The Cranky
Caterpillar idea… I think he liked the unusual way
it has been made. I’ve also just sent my drawings off to the
Bologna Children’s Book Fair exhibition, hopefully they’ll
want to feature them next year.
Richard Graham’s The Cranky Caterpillar is published by
Thames & Hudson, £10.95. See more of his art at
www.thecrankycaterpillar.com; www.thamesandhudson.com
Artists & Illustrators 35
The language of
colour
ANDREW MARR MUSES FAMOUS ARTISTS’ INSIGHTS ON THE SUBJECT AND REVEALS HOW
THIS UNDERSTANDING INFORMS HIS OWN PAINTINGS, IN AN EXTRACT FROM HIS NEW BO OK
RIGHT The White Stones
and the Battle at Sea, oil
on canvas, 80x80cm
BELOW LEFT Cleaning
Windows, oil on canvas,
60x90cm
ALL ARTWORKS @ ANDREW MARR
W
riting in 1962, the painter and critic
Patrick Heron declared that colour
was the only way forward for modern
artists: “Colour is both the subject and the
means; the form and the content; the image and
the meaning, in my painting today. It is obvious
that colour is now the only direction in which
painting can travel today.”
This caused some offence at the time but
Heron, whose paintings had indeed banished any
forms more complicated than a rough circle or a
rough line between colours, wasn’t so much
attacking all representation as archaic, but
making a case for the emotional impact of pure
colour in a dissatisfying world. “One reels at the
colour possibilities now: the varied and
contrasting intensities, opacities, transparencies;
the seeming intensity and weight, warmth,
coolness, vibrancy; all this superbly inert ‘dull’
colour – such as the marvellously uneventful
expanses of the surface of an old green door
in the sunlight. Or the terrific zing of a violet
vibration... I can get a tremendous thrill from
suddenly seeing two colours juxtaposed.”
Here, I think we are coming close to the heart
of the matter. We all absorb our colour palette
from the world around us. This gives colour
fundamental meanings that artists can’t really
escape. Green is chlorophyll, grass, growth,
fecundity – but dark green evokes shadows, dank
and dismal places, even poison. Red is the colour
of blood, fire, sunset and heat. Yellow is the sun’s
colour, but also the colour of sickly skin, of
disease. White is cold, frost, snow, ice, the north,
logic, intellect. Blues, which are always cold, are
the colours of the skies and seas.
We can’t get away from these thoughts, any
more than a poet who is interested in the sound
of language can get away from the literal
meanings of the words he deploys – although
some, like Swinburne, tried very hard. These
correspondences slide and jar; we can subvert
and reject them, but they burrow back and snap
at our fingers. In a series of White Stones pictures
I’ve been making of underwater themes, where
the colours are heightened but also blurred, there
is a whole family of blues, ranging from
threatening indigos to softly benign light purples
and turquoises, closer to the sun. The yellows,
greens and reds towards the bottom third seem
to me to represent organic life and danger.
There is a long and interesting tradition of
writing about colour combinations and contrasts.
Why do some colours simply seem to go well
together – blue and yellow, red and green? These
harmonies seem to belong more to music than to
vision and yet they are very powerful. Partly it’s
about what sits where on the spectrum, and
which primaries combine to make secondary
colours. But I also think there is a simple, primal
sense in which the yellow of the sun and the blue
of the sky have sat alongside one another forever
until they are deep inside our understanding; and
red earth and green growth likewise. One aspect
of the job of a painter, as above, is to take and
reshape these expectations.
Cleaning Windows – the title comes from the
Van Morrison song I was listening to as I finished
it – is “about” a windy, hot, summer afternoon,
and the colours refer to bright clashes and
unexpected juxtapositions as the glass swings,
and indoor becomes outdoor, and vice versa.
Just as composers can hear and emotionally
respond to chords of greater complexity than
most of us are able to apprehend, so painters
have the same emotional responses to colour
combinations as the rest of us – but more so.
Ever since I was a small boy I have had very >
Artists & Illustrators 37

strong responses to colours. The golden-yellows
ever since and red-browns of a Perthshire autumn, streaked
I was a with violet undershadows; and the throbbing
turquoise, green and dark blue combinations of
small boy the Atlantic seen from the Scottish Highlands run
through me still, in my dreams and daydreams.
I have Colours, even divorced from discernible shapes,
had very make me happy and sad, energetic and depressed
and this seems to be common to painters.
strong In a beautiful essay Bridget Riley argued, “I
don’t paint light. I present a colour situation which
responses releases light as you look at it.” She goes on to
to colour ask where this comes from: “Long before I ever
saw a major painting... I had been fortunate
enough to discover what ‘looking’ can be... I spent
my childhood in Cornwall, which of course was an
ideal place to make such discoveries... Swimming
through the oval, saucer-like reflections, dipping
and flashing on the sea surface, one traced the
colours back to the origins of those reflections.
Some came directly from the sky and differently
coloured clouds, some from the golden greens of
the vegetation growing on the cliffs, some from
the red-orange of the seaweed on the blues and
violets of adjacent rocks, and, all between, the
actual use of the water, according to its various
depths and over what it was passing. The entire,
elusive, unstable, flicking complex subject to the
changing qualities of the light itself...”
This returns us to colour theory, the attempt to
explain or codify the emotional impact of different
colours, and different colours in combinations. It
is something painters tend to think about quite a
lot. Patrick Heron wisely suggested that there is a
38 Artists & Illustrators
LEFT A Game of Chance,
oil on canvas, 80x100cm
limit to how much we can
understand about this
verbally. Words, he pointed
out, are not paint: “I have
always found that it takes
at least 20 times as long to
describe in words any
specific feature of a
painting of mine – a
colour-area of Cadmium
Scarlet scribbled,
delineated, filled out by
brush-marks or brush-
weavings of this nature or
that.” But some basic
points can be made.
We start with the
hierarchy of primary colours – red, blue and yellow
– from which other colours can be mixed, but
which cannot be produced themselves by other
colours. This does seem to relate directly to the
three different receptor cells on the retina.
Further, as I mentioned earlier, the human
brain does appear to find that some colours go
well together or complement one another – blue
and yellow, red and green. I have not yet read a
compelling account of why this should be so. As
we’ve seen other colours can clash almost
painfully – an acid green against a bright pink.
But what, finally, of the emotional effect of
colour? Is there anything secure we can say?
With due caution about the individual perception
problem, most people recognise a contrast
between hot or warm colours, the reds, oranges
and yellows; and the cooler blues, greens and
whites. If you doubt this, consider why “cold
orange” or “hot green” don’t, to most of us, make
much sense. We feel it on the body. I’m surer than
ever that these distinctions emerged early from
our perceptions of the world around us – the
warmth of the rising sun, the glow of burning
wood, or cold, misty blue winter days – and that
they have become somehow rooted or innate.
A final example (above) is a picture referring to a
card or board game, in which several overexcited
players jealously compete. The colours are –
almost – all. Oddly, if the motifs were less crudely
painted, this picture wouldn’t work.
This is an edited extract from A Short Book About
Painting by Andrew Marr, published by Quadrille on
2 November, £15. www.hardiegrant.com/uk/quadrille
 BIG EASEL SALE!
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Artists & Illustrators 39

Fa ce the musi c
JESSICA COURTNEY-TICKLE’S LOVE
FOR WINTER HELPED HER ILLUSTRATE
A FESTIVE MASTERPIECE – BALLET
S C OR E AN D AL L . T H E ART I ST T E L L S
SALLY HALES HOW SHE DID IT

“W
inter is definitely my favourite season to
draw. You can experiment because
there is so much going on with the
weather,” says illustrator Jessica Courtney-Tickle of the
atmospheric images in her portfolio. This love for the
season has helped to hone her skill in capturing its
essence with crisp, emotive pictures that draw the eye
into an arresting narrative moment. It’s all about texture,
claims the illustrator, whose process mixes watercolour,
gouache and digital drawing. “I’ll often try to recreate a
texture I’ve seen,” she says. “I’ll scan my own textures
from chalks or pencil, and layer them on top of the work
I’ve already created on the computer. It stops them
looking too flat and adds a lot of atmosphere.”
This mastery of festive mood made her the perfect
choice to illustrate Christmas classic, The Nutcracker, as
part children’s book series The Story Orchestra. Clara’s
LEFT Where the adventure to the Land of the Sweets – which comes with
Sidewalk Ends, a Mouse King and a Sugar Plum Fairy – in Tchaikovsky’s
watercolour, pencil, ballet is one of the treats of the season. But for an artist
digital, 29.7x21cm tasked with recreating an iconic cast of characters, this
ABOVE Spreads from familiarity can be a burden. Jessica, who studied
The Story Orchestra: illustration at Kingston University in London after a
The Nutcracker foundation course in printmaking at Cambridge Regional
College, tackled this by going back to the source.
“There are so many beautiful book versions of The
Nutcracker, I tried not to look at them too much as
you can be influenced without realising,” she says.
“Instead, I researched ballet productions and
took inspiration from costumes and scenery.”
She also found inspiration in Russian and
German architecture, as well as toys, with her
confident lines helping the characters to look
as if they might indeed turn into dolls again
at any moment. And her trademark textures,
To p t i p
To find
dep t
print s im h, Je s sica
a ge s o n
inkjet p an
rinter a
works in nd
to t hem
coloure with
d pencil
s
which bring atmosphere to the narrative, are added with
care. She starts with a watercolour – or sometimes
gouache – wash on watercolour paper, later creating
textures with chalk, pencil and other media, layering them
in with Photoshop. The results are energetic snapshots
that pulse with movement and joy. And it’s no wonder
when you consider that Jessica’s brief came with an
additional challenge: she had to work with the music, too.
Each spread in the book features a note to touch, which
plays 10 seconds of Tchaikovsky’s score.
“It’s almost less of a picture book and more of a
performance in a book,” says Jessica, who was given
plenty of freedom to puzzle out her approach to
representing music, dance and story at once. “I was given
the text for each page, as well as the music tracks, then
I came up with sketches,” she says. “The text gave me an
idea of who the characters were and the music helped
me find the overall atmosphere and expression.”
While rich reds and greens add festive appeal, their
tones are drawn from deeper inspiration than a standard
Christmas palette. “I knew from the beginning there
would be a lot of red tones as I wanted to refer back to
Tchaikovsky’s Russian origin,” says Jessica. “I took a lot
of inspiration from Russian folk art as well. I love the mix
of deep colours with more vibrant, eye-popping tones.”
She also took an instinctive approach to colour, closing
her eyes. “The music sets its own palette. I would listen
to the track and paint the colours I thought about.”
The result of her diligent research is an elegant, playful
book, which proves this young illustrator should have the
Christmas market cornered for some time to come.
The Story Orchestra: The Nutcracker is published by Frances
Lincoln Children’s Books, part of The Quarto Group, £14.99.
www.quartoknows.com; www.jessica-tickle.squarespace.com
Artists & Illustrators 41
 ART IN THE ALGARVE
:DWHUFRORXU‡¬2LOSDLQWLQJ‡¬2LO $FU\OLF‡6SHFLDOLVWFRXUVHV

Call us on: 0203 287 7140 info@artinthealgarve.com

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42 Artists & Illustrators

 sketchbook

december TIPS • ADVICE • IDEAS

HOW TO DRAW
Artist and tutor Jake S picer cre ates a simple still Life in pencil

1 2 3
To p t i p
Think a
bout ey
To see t e level.
he jar a
flat, it h s
a s to b e
arrange
d at eye
level
on a sh
elf

4 5 6

The genre is a practical way of practising 2 PENTIMENTI 5 SUBTRACTIVE TONE

observational drawing, honing awareness
of shape, tone and form. It also provides
an excellent opportunity to experiment
with composition, seeing each element as
an object and an abstract compositional
element. I’ve drawn in HB and 7B pencil
and a plastic eraser on cartridge paper.
1 COMPOSITIONAL SKETCHES
Rather than fixate on the first arrangement,
explore a variety of compositions. Make
several two-minute sketches, trying crops,
placements of objects and viewpoints.
Arrange your subject in the bounding box of
the picture plane before getting into detail.
Compose the sketch with a loose, light line.
3 SHAPE
Erase your under-drawing and draw the
shapes with a softer, darker pencil.
Pay attention to negative space.
4 ADDITIVE TONE
Use parallel hatching in soft pencil to block
in shapes of dark and midtone, leaving
light areas unshaded.
Use the broad side of a plastic eraser to
even out the tone and use the sharp corner
to draw light back into the dark tones.
6 NOTES ON FORM
Use the eraser to clean up the drawing,
adding bright specular highlights. Then use
a sharper, softer pencil to add hatched
marks, which describe the surface of
the form.
Jake Spicer is an artist and author. His books
include Draw Faces in Fifteen Minutes.
www.jakespicerart.co.uk @BrightonDrawing

Artists & Illustrators 43

 sketchbook

WHY NOT TRY…

PAINTING A PANTO SCENE?
ILLUSTRATOR WILLIAM RUDLING OFFERS HIS
TIPS FOR CAPTURING ACTORS IN ACTION
•Observe and draw from the side lines.
•A folding stool is indispensable for working in narrow
spaces, especially theatre flies.
•I use: a small box of watercolours, 2B, 7B and 9B
pencils, shaping them to a chisel point to give a choice of
fine and broad lines – essential when seconds matter. A
Rotring Art Pen offers the ink flow I need to draw at speed.
•Sketching Suzy Cooper (above left) I created movement
by introducing a light colour wash around the non-
waterproof ink line work.
•Your sketching will speed up as you continue to draw.
William worked with York Theatre Royal.
www.williamrudling.co.uk

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HELLELIL AND HILDEBRAND, THE MEETING ON THE TURRET STAIRS, 1864, WATERCOLOUR AND

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RHS Flowers, The Watercolour
GOUACHE ON PAPER, 95.5X60.8CM PHOTO © NATIONAL GALLERY OF IRELAND

Art Pad by Rachel Pedder-

MASTER TIPS: FREDERIC WILLIAM BURTON
Smith published by Mitchell
DISCOVER THE TECHNIqUES OF THE WORLD’S Beazley, £14.99
G REATEST ARTISTS A step up from the colouring
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The 1864 work Hellelil and Hildebrand, the Meeting on the help even beginners create
Turret Stairs reveals Burton’s background as a miniaturist. He watercolours. Fifteen original
painted the watercolour by building depth with small brush artworks are reproduced in outline form on
strokes and modelled faces in delicate hues to achieve the tone. quality watercolour paper, ready to paint. These
The painting is on show as part of Frederic William Burton: are accompanied by step-by-steps and colour
For the Love of Art at the National Gallery Ireland, Dublin, until palette recommendations. More advanced artists
14 January 2018. www.nationalgallery.ie can tackle the projects in other media, too.
www.octopusbooks.co.uk

44 Artists & Illustrators

 Contemporary Arts
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Artists & Illustrators 45

 ow
MASTERCL ASS

Sn
ALLA PRIMA
MASTER PAINTER Al Gury
uses lo ose brushwork
to capture the p oetic
i m p r es s ion l e f t by a
lovely winter scene

a
lla prima landscape painting goes
back to the plein air oil sketches of
John Constable. They are often
quickly done, small in scale and use a short
list of colours. This snow scene reflects my al’s Yellow Pale, Cadmium
pleasure in doing such paintings throughout materials Orange, Permanent
the year. I used a photograph, as well as my •SUPPORT Rose, Winsor Violet.
memory and notes related to what I had seen 28x36cm Masonite Williamsburg Paints:
on that day in winter. My goal was an panel with three layers Ultramarine Blue
impression of the poetry of the scene of Liquitex, no 5 value •BRUSH
through the use of rich brushwork and colour, grey gesso CLEANER
rather than recording documentary details, •OIL PAINTS Weber: Odourless
with an alla prima, open-form oil sketch. Gamblin: Flake White Turpenoid
Open form refers to loose, broken marks and replacement oil paint •BRUSHES
brush strokes that create an atmospheric (Zinc/Titanium White). Two filbert bristle
and tonal quality. No mediums were used so Winsor & Newton: brushes, ¼ inch and
as to emphasise the direct use and qualities Yellow Ochre Pale, Raw ½ inch, and a small
of the paint. Warm and cool colours, depth Umber, Burnt Sienna, pointed bristle brush
and strong tonality were also emphasised. Ivory Black, Cadmium for details
www.algury.com

1 ETCH IN THE COMPOSITION 2 ADD SHAPES WITH DRY BRUSH

The first placement of the overall composition
and large shapes are sketched in using Raw
Umber. This should easily disappear into
the subsequent layers of colour as you
work on the painting.
A close-up of the drawing shows its character
as what is usually called ‘dry brush’. The lines
are lightly dragged over the surface to
describe shapes and masses, rather than
detail, which will come with later brushwork. >

46 Artists & Illustrators

 To p t i p
Var y pa
int laye
thin and rs fro
scumble m
increas d to
ingly th
c reate t ick to
ex t u r a l
spatial and
variet y
Artists & Illustrators 47
M A S T ER C L A S S

3 CREATE TONAL
RELATIONSHIPS

The layout sketch is finished. General tonal

relationships have been ‘scumbled’ with Raw
Umber. Scumble is a painting term used to
describe a rough, dry brush massing in of
paint with a brush or painting knife. It can be
direct paint or thinned a little with medium.

4 SUGGEST THE SNOW 5 PAINT REFLECTED LIGHT

The first suggestion of snow is roughed in
using pure Zinc/Titanium White. This oil paint
simulates the properties of traditional Lead
White, without the toxic content. Placing this
first indication of opaque colour sets the tone
for the overall quality of values and
establishes a middle distance in depth.
White is mixed with a small amount of
Ultramarine Blue to create the first
temperature variation. Snow is highly
reflective of the available light. Here, the
bluish-white begins to describe the cool blue
ambient quality of the daylight. The bold
brushwork starts to describe the foreground.

6 SCUMBLE THE SKY

White paint with a touch of Yellow Ochre is

scumbled into the sky. This begins to create
qualities of warmth and sunlight. Warm and
cool relationships will be further emphasised
later in the process.

7 LAY IN COLOUR
The soft colour qualities of the distant hills
are laid in. The purplish area is a mix of
Winsor Violet, Ivory Black and White. The
bluish colour is a mix of Ultramarine Blue,
Ivory Black and White. Ivory Black cools grey
mixtures that might otherwise be too bright.
8 ADD WARM LIGHT
White mixed with a touch of Yellow Ochre is
used to create a sense of warm light from the
sky reflecting on snow in the foreground.
These bold strokes help to bring the
foreground closer to the viewer.

48 Artists & Illustrators

9 MASS IN THE TREES 10 CREATE HIGHLIGHTS

The trees are added with a green of Yellow
Ochre and Ivory Black. The bluer touches
have added Ultramarine Blue. The house and
roof colours are made with Burnt Sienna and
Permanent Rose and White, and the brighter
touches have Cadmium Orange added.
This close-up shows white mixed with
Cadmium Yellow Light and Cadmium Orange
to describe the warmth of the sky reflecting
on the snow. Darker purple touches enhance
the trees’ variety and tonal richness. The end
of a brush suggests twigs and branches.

12 THE FINAL PAINTING

The work shows a variety of brush strokes

creating textures, colour and temperature
variations and depth. The paint layering, from
the thin dry brush and scumbled colours to
the thick top-layer brush strokes, creates a
rich and visually stimulating painting.

To p t i p
U s e t he
wo o d e n
end of y
our bru
c reate sh to
sug g
branche e s tions of
s and o
landsca t her
pe de t a
il

11 DESCRIBE THE CLOUDS

Touches of Cadmium Orange and Cadmium

Yellow Light and White have been added to
the sky to describe variety in the clouds,
temperatures and luminosity of the sky.

Artists & Illustrators 49

 H OW T O PA I N T

WINTER hashim’s materials

IN THE CITY
•ACRYLIC
Golden artist acrylics: Lemon and
Cadmium Yellow, Cadmium and
Naphthol Red, Orange, Yellow Ochre,
IN THIS FESTIVE MARKET SCENE ACRYLIC ARTIST HASHIM AKIB Burnt Sienna, Medium and Dark
MASTERS UNUSUAL CONTRASTS, AND MULTIPLE LIGHT SOURCES Turquoise, Green Gold, Sap and
AND SUBJECTS TO CREATE A VIBRANT URBAN PAINTING Phthalo Green, Cerulean, Cobalt and
Cyan Blue, Dioxazine Violet and
London’s Leicester Square is a very inviting scene the unusual contrasts and optimism of this Magenta, Titanium White
to paint with bright lights, animated figures and scene. The main drawback is the amount of •SUPPORT
flashes of strong colour contributing to the cosy, clutter that needs reducing to an essence. This Daler-Rowney artist canvas, 50x70cm
festive atmosphere. It is always a challenge isn’t an individual figure or light source, but a •BRUSHES
choosing scenes to paint: I had numerous images scene of excitement with the most concentrated Daler System 3 Sky Flow 1½ inch,
of grey, icy streets with shivering commuters that details found at the carousel. and Liquitex number 10 filbert brush
would make interesting paintings but I opted for www.hashimakib.co.uk

50 Artists & Illustrators

 1

To p t i p 1 I apply a base colour of Cyan Blue, Burnt directions to create a sense of frenzy. Reds
Sienna and White to create a blue-grey tint. punctuate areas, providing stepping stones to the
y
mixing tra I avoid drawing and dive in with paint. This focal point of the carousel in the background.
Use your a n d
colours
to tr y out g e n e ri c provides random, incidental effects, which
ing a
avoid mix
shade so
remains s
th e e ff
treak y
e c t energises the process. Warm colours are easy to
dominate so I block in combinations of yellow,
ochre, orange and reds in various directions with
3 Large additions of Titanium White are mixed
with a warm colour to make brighter tints,
which contrast against darks. These require the
one brush. When using several pigments, dab at number 10 filbert brush and a steadier grip. The
the colour on your palette wells to avoid too much initial diagonal strokes contrast against the
corruption. Using the same brush, I transition controlled to define information. Cooler light tints
from warm colours to ochre and violet with of blues, greens and violet pepper the scene, while
smaller additions of blues and green. These are darks draw out information. I am careful not to go
not overly garish because previous mixes subdue too dark, so blends of violet, green, blue and
the dominance of cooler pigments. I avoid mixing sienna are tempered with a light tint.
one generic shade so colours ‘streak’ a little.

2 Forms begin to emerge using darker colours

including a mix of Phthalo Green, Violet, Cyan
and Burnt Sienna, with darker tints on the brush.
Figures are suggested, rather than overtly
rendered, to maintain movement. Eventually, I
use a clean 1½ inch brush to darken the sky with
off-violet, using mixtures of a small quantity of
white, violet, Sap Green, Burnt Sienna and blues.
Brush marks remain animated, flowing in various
4 The last stages include the richest highlights,
so a larger quantity of white is used in mixes
to tickle out information and give a sharper finish.
Figures are illuminated by crisp lines making
people appear out of nowhere. Be careful not to
highlight too much. I avoid portraits on each figure
and rely on touches of colour to retain immediacy.
Hashim’s book Painting Urban and Cityscapes
is published by Crowood Press, £16.99.
www.crowood.com

Artists & Illustrators 51

 METROPOLITAN MUSEUM OF ART, WOLFE FUND, 1951; ACQUIRED FROM MUSEUM OF MODERN ART, LILLIE P. BLISS COLLECTION
LEFT Madame

J. PAUL GETTY MUSEUM, LOS ANGELES DIGITAL IMAGE COURTESY OF THE GETTY’S OPEN CONTENT PROGRAM
Cézanne in a Red
Armchair, 1877,
oil on canvas,
72.4x55.9cm
RIGHT Antony
Valabrègue,
1869-70, oil
on canvas;
60x50.2cm
FAR RIGHT Uncle
Dominique in
Smock and Blue
Cap, 1866-7,
oil on canvas,
79.7x64.1cm

MASTER TECHNIQUES

CÉZANNE’S
PORTRAIT
SECRETS
AS A MAJOR SURVEY OF HIS WORK OP ENS, ADÉLE WAGSTAFF E X P LOR ES
WHAT WE CAN LEARN FROM THE GREAT ARTIST’S TECHNICAL DEVELOP MENT

P
aul Cézanne is one of the most influential artists
of the 19th century. Among his varied subjects, he
painted almost 200 portraits. Many of these feature
his wife, Hortense Fiquet, who was his most frequent
model, patiently sitting for 29 paintings. He also
examined himself in 26 self-portraits. Now, a show at the
National Portrait Gallery (NPG) has brought together more
than 50 portraits, which span his career, for the first time.
The artist’s nature paintings were made over a sustained
period, and he was committed to working en plein air often
returning to a canvas months, or even years, later. Famously,
he saw nature in terms of the cone, cylinder and sphere,
and Cézanne’s composition is strongly constructed,
whether a tabletop still life, a view through an avenue of
trees or a figure seated in a chair. When working on a
portrait, he always required the presence of his model and
was known to be a meticulous worker. His techniques
– colour palette, paint application and brushwork –
changed dramatically throughout his career, from dark-
toned early portraits to the vibrant colours of later work.
MUSEUM OF FINE ARTS, BOSTON; BEQUEST OF ROBERT TREAT PAINE, 2ND PHOTOGRAPH © 2017 MUSEUM OF FINE ARTS, BOSTON
The three earliest portraits at NPG are Cézanne’s Father
Reading L’Evénement, 1866, Uncle Dominique in Smock
and Blue Cap, c.1866, and Portrait of Antony Valabrègue,
1869-70. They demonstrate the dark tones and sombre
mood of his early work in the genre, using a heavier paint
application than we see in later work.
MARK-MAKING
In Cézanne’s Father Reading L’Evènement, we see broad
marks of impasto describing head contours, changing
direction to follow the face. Directional marks are used
throughout, describing the form as the paint strokes follow
the cross contour of the figure and vertical marks follow the
downward surface of the back of the chair. The dark tones
of the background are thickly applied as large areas of
paint are added with knives and brushes; paint thickness
creates a richness and depth of tone. A dark-toned still life
can be seen in the background, painted with broad and
gestural marks used to describe the fruit. Cézanne
also painted his friend, journalist and critic Antony >

Artists & Illustrators 53


ABOVE Cézanne’s Father, Reading L’Evénement,
1866, oil on canvas, 198.5x119.3cm
OPPOSITE PAGE Self-Portrait with Bowler Hat,
1885-6, oil on canvas, 44.5x35.5cm
IN DETAIL
DIRECTIONAL MARK-MAKING
– UNCLE DOMINIQUE IN
SMOCK AND BLUE CAP
Broad brush strokes are used
on the cap. Directional mark-
making describes form and
volume. Overall shapes and
folds are simplified, described
with a minimum of marks.
Valabrègue, many times. The
heavier paint application is he always
made with a knife alongside
broad and painterly brush
strokes. Paint has been applied
required
in thick layers and tones have
been mixed together on the
a model
canvas with a knife. In Uncle
Dominique in Smock and a Blue
and was a
Cap, large-scale marks are
evident in the cap and pale
meticulous
METROPOLITAN MUSEUM OF ART, WOLFE FUND, 1951; ACQUIRED FROM MUSEUM OF MODERN ART, LILLIE P. BLISS COLLECTION
smock. In changing direction, the
volume of the cap is described.
worker
COLOUR HARMONY
In his early portrait of his wife, Madame Cézanne in a
Red Armchair, c.1877, we see how he uses areas of vivid
colour built using small blocks of subtle and varied colour,
which are placed carefully next to one another making a
harmonious whole. See how subtle variations of blue,
purple and beautifully mixed greys are placed side-by-side
describing the form and volume of her skirt.
In paintings made in the 1870s and 1880s, Cézanne
used a palette of brighter, more vibrant colours and, rather
than thick and heavy impasto of earlier portraits, the paint
is applied with a lighter touch. The brushwork consists of
smaller, shorter strokes with the marks following in the
same direction, as we can see in the area over the beard
and cheek in Self-portrait with Bowler Hat, 1885-86. The
colours we think Cézanne used are Zinc White, Black,
Chrome Yellow, Yellow Ochre, Naples Yellow, Red Earth
(or Vermilion), Cobalt Blue, Ultramarine, Prussian Blue, >
NY CARLSBERG GLYPTOTEK, COPENHAGEN. PHOTOGRAPH: OLE HAUPT
RAPID BRUSH STROKES BLENDED COLOUR COMPLEX AREAS SIMPLIFIED
– SELF-PORTRAIT – MADAME CÉZANNE IN – VICTOR CHOCQUET
WITH BOWLER HAT A RED ARMCHAIR The hands in this painting
Quick strokes sketch in the hat’s As with this technique, try are constructed from small
shape. The cream primer shows applying small areas of colour patches of colour. Shapes
through and is used as another next to each other without within the hands have been
colour: the energy of the marks blending so you don’t lose any greatly simplified, and
and thin paint don’t obliterate edges created as one colour contrasting areas of tone
fluid pencil marks underneath. patch sits next to another. are used to emphasise form.
 WANT TO FIND
OUT MORE?
Cézanne’s influence can barely
be understated with both
Matisse and Picasso calling him
“the father of us all.” Yet his
portraiture has remained a less
well-known tenant of his output.
If you can’t get to the National
Portrait Gallery or just what to
find out more about the
paintings, Cézanne Portraits,
published to accompany the
exhibition, offers an in-depth look
at his practice. Taking in his
regular subjects – Uncle
Dominique, his father, wife and
himself – it explores the
development of the painter’s
style at a time when the artistic
norms of the day were being
challenged. Also available is
Painting People, which features
24 key work from the exhibition
along with snappy and

COLUMBUS MUSEUM OF ART, OHIO; MUSEUM PURCHASE, HOWALD FUND

informative accounts of both
biographical and technical
aspects of the paintings.
Cézanne Portraits by John Elderfield,
Mary Morton, Xavier Rey, Jayne
Warman and Alex Danchev, £35,
and Painting People by Mary
Tompkins Lewis, £12.50, are
available from the National Portrait
Gallery shop. www.npgshop.org.uk

Viridian, Emerald Green and

Chrome Green. Self-Portrait the artist’S
with Bowler Hat is a wonderful
example of his self-portraits. See techniquES
how he uses directional
brushwork, rapidly patching in
areas of colour with a fluid
changed
approach. Look closely at the
area to the left of the bowler hat
greatly
and it is possible to see the
under-drawing in pencil: fluid and
throughout
sketchy marks establishing
composition. The drawing is
his career
overlaid with freely painted patches of colour, which is
almost transparent in places. In the centre of the hat, along
with the jacket and background, there are areas where the
primer is showing. Cézanne describes his beard with short,
square-edged downward strokes. ABOVE Victor
Cézanne Portraits is on display now at the National Portrait Chocquet, 1877,
Gallery, London WC2H, and runs until 11 February 2018. oil on canvas,
www.npg.org.uk; www.adelewagstaff.co.uk 35.2x27.3cm

56 Artists & Illustrators

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Artists & Illustrators 57

 H OW T O PA I N T

QUICK MOTIFS FOR

CHRISTMAS CARDS
SIÂN DUDLEY GUIDES
YOU THROUGH
PAINTING SIMPLE
SHAPES TO ADD TO
FESTIVE GREETINGS

Painting Christmas cards is

a thoroughly enjoyable part of
preparing for the festive
season. The trick is to keep
the designs simple and allow
the delightful paint effects
possible in watercolour to do
the work for you. The motifs
shown here are designed to
do just that. If you want
some extra sparkle, add
glitter or iridescent medium.
www.moortoseaarts.co.uk

ROBIN
MATERIALS Daler-Rowney: 1 Draw outlines of the robin and branches. the eye and beak dry. Beginning with the
•PAPER Carmine, Burnt 2 Get ready to work wet-in-wet by preparing breast, drop in an orangey-red, allowing the
Bockingford Sienna, Ultramarine mixes of greys, browns and reds. colour to bleed beyond the breast shape.
NOT, 140lbs Blue, Cerulean, 3 Using water and a sword liner, make long, Drop in pale blues and greys for the
•BRUSH Sap Green loose strokes, which criss-cross the page. underside, and browns in deeper tones for
Pro Arte: Sword liner •KITCHEN PAPER Using one colour at a time, repeat strokes. his back. Let cauliflowers and runs develop.
brush. Da Vinci: size The colours will run along the wet lines and 5 When dry, use darker tones selected from
4 series 35 sable blend. To keep the marks loose and working the mixed colours to paint in the eye, beak,
•WATERCOLOUR across the robin and tree, immediately dab legs and the branches. If necessary, tidy up
Schmincke: paint off these areas with kitchen paper. the robin, being careful not to lose the fluffy
Translucent Orange. 4 Dampen the shape of the robin, leaving wet-in-wet marks.
 CHRISTMAS TREE
MATERIALS with clean water.
•PAPER Randomly selecting
Bockingford greens from your
NOT 140lbs mixes, drop in colour
•WATERCOLOUR and allow the paint
Schmincke: Deep to mix on the paper.
Sap Green. 4 Watch the paint
Daler-Rowney: Sap surface. As the
Green. Winsor & glossiness starts to
Newton: Winsor Red lose its shine, use a
•BRUSH spritzer to lightly
Da Vinci: size 4 spray with water
series 35 sable to encourage
•TABLE SALT cauliflowers.
•TOOTHBRUSH 5 Carefully spray the
OR SPRITZER edges of the triangle
to produce the
1 Lightly draw a textured edge.
triangle in pencil. 6 While the paint is
2 Mix a selection of still wet, sprinkle
greens, making sure over table salt.
mixes are creamy Leave to dry.
enough to give rich, 7 Finally, paint in
WINTER TREE dark tones. a pot or tree trunk
3 Wet the triangle at the bottom.
WITH BAUBLES
MATERIALS
•PAPER
Bockingford
To p t i p
The red
c an t ak
bauble
blobs
STAR
NOT 140lbs e time t
•WATERCOLOUR you’re in o dr y. If MATERIALS 1 Using Ultramarine 3 Before the lines
a hurr y,
with a fi pri
Daler-Rowney: nger dip nt •PAPER Blue and Burnt dry, paint the
Carmine, in paint ped Bockingford Sienna, mix a berries. Print the
ins tead
Burnt Sienna, NOT 140lbs selection of greys baubles directly from
Ultramarine Blue •WATERCOLOUR and browns. the end of a tube of
•BRUSHES Daler-Rowney: 2 Mark the points of red paint. Some will
Da Vinci: size 4 it wet will allow Carmine, Burnt the star with a be solid, others will
series 35 sable granulation effects Sienna, Ultramarine pencil. Using a retain some white
•PENCIL to develop as it Blue, Sap Green sword liner or rigger in the middle.
dries, giving the •BRUSH ‘join the dots’ 4 While the paint is
1 Using Ultramarine tree some Pro Arte: Sword liner freehand, selecting still wet, use a pencil
Blue and Burnt interesting textures. •PIECE OF CARD different colours and or embossing tool to
Sienna, mix a 4 To paint the •PENCIL tones from mixes for ‘scribble’ across the
selection of greys baubles, take the variety. Repeat to points to make
and browns. top off a tube of red suggest twigs. marks inspired by
2 Using a brush paint and print the the string used to tie
loaded with clean baubles directly the twigs together.
water ‘draw’ in the from the end of the 5 Cut strips of
tree trunk and tube. Some will be paper to a suitable
branches. You may solid, others will length and print
find it easier to lightly retain some white green lines randomly
draw in pencil first. in the middle, at places on the star
3 Selecting different suggesting shine. to create marks
colours from mixes, 5 While the baubles inspired by
drop the paint onto are still wet, use a Christmas foliage.
the damp tree pencil to drag a fine 6 If desired, paint
shape. Allow the line from the bauble a line to the top of
colours to blend on to a branch or the the card to represent
the paper. Keeping top of the card. some string.
 DEMO
CHALLENGE
YOUR PALETTE
LET ARTIST JOE D OWDEN SHOW YOU HOW TO BANISH
C OLOUR CLICHES AS HE PAINTS THE LONG SHAD OWS
AND P IERCING SIDE LIGHT OF SUNSHINE OVER MOSC OW
L
eave conventional colour mixes behind
– that was my first step in preparing for
this midwinter scene on the massive
Bolshoy Moskvoretsky Bridge which leads to
Moscow’s Red Square. “Nyet” to Ultramarine
Blue, and the rest – Burnt Sienna, Burnt
Umber, Raw Sienna or Cobalt Blue. It’s a good
60 Artists & Illustrators
frame of mind to keep away from colour
cliches, such as the Ultramarine/Cobalt Blue
greys, which are too often used to solve every
challenge. Interrogate the palette by working
it hard. Compare greys, reject and interpret,
and try to understand the light. Watercolour
lives or dies on the palette. Years ago,
I chose not to have a limited palette. I have
favourites for certain subjects but, at times,
I dump these to avoid my work becoming
repetitive. If it fails, at least I learn
something. Paintings succeed on the palette
or not all. At least 75 per cent of my painting
time is spent mixing. Here it was more like 95
per cent. Bolshoy Moskvoretsky is Moscow’s
Westminster Bridge, with a similar north/
south orientation and the sprawling essay in
red and gold of the Kremlin’s towers and its
march along the north bank of the river.
www.joedowden.com
 p
To p t iu r i
epar
n ! Pr our
e
olo ny 1 2
L e t c , d a m p e we t
m i x p l y
a e, ap tch
s h a p a n d wa 3 4
u r a
c olo read for
it sp w a s h
lucid

5 6

joe’s materials
•PAPER
Arches 140lb rough,
pre-stretched and stapled onto
varnished ply, 44x30cm
•BRUSHES
Rosemary & Co: series 22, size 8.
Series 33, sizes 12, 8. SAA
masking brush
•MASKING FLUID
Winsor & Newton masking fluid
•WATERCOLOUR
Daniel Smith: Payne’s Grey,
Quinacridone Magenta,
Quinacridone Lilac.
Maimeri: Cadmium Red. SAA:
Cadmium Orange. Schmincke:
Cadmium Yellow, Phthalo Blue.
M Graham: Naples Yellow,
Cerulean Blue, Green Gold, Azo
Green, Quinacridone Gold. Lukas:
Gouache Designers White, Cyan
•KITCHEN PAPER
2 Mask highlights and apply a
•MIXING PLATES
1 Work wet-in-wet, mixing
colour first, wetting the area
to be painted before applying
colour. Mix plenty of colour and
keep mixing throughout.
Cerulean Blue, Naples Yellow
and Quinacridone Magenta for
warm and cool variants are used
for concrete, worn tarmac,
buildings and work-stained
machinery. Don’t worry if paint
looks muddy on the palette, it
won’t if there is enough paint
and it can flow from the brush.
pale warm wash to the sky
and cool washes to the ground
wet-in-wet, leaving light areas
white. The greys are slightly
green. Refer to step 12 for the
exact masked white locations.
Mask the sun glare in the road
and the low wall beyond the
digger bucket. The right-side
glass was left out. The face of
the standing man wasn’t masked.
3 When it’s dry, wet the sky
leaving dry areas for cloud.
Brush Cyan wet into wet, and
apply warm and cool swirls of
grey from Cerulean Blue,
Quinacridone Magenta and
Naples Yellow mixtures. Grey
washes taper down to the
smoking chimneys.
4 Prepare Cadmium Lemon,
Cadmium Orange and
Cadmium Red mixes. Mix a
strong warm mid-tone grey using
the sky colours. Apply water to
the buildings. Apply yellow in a
bow shape around a wet
reserved white area of sun glare,
keeping away from the dazzle
zone. Apply orange to the yellow
edge away from the sun and red
to the outer edges. Apply the
grey mix to the inner edge of the
sun glare. Let the colours blend.
Complete the buildings, “letting
colour in”, wet in wet. Apply grey
to the worker’s face.
5 Complete the buildings.
Apply window detail loosely
with stronger colour. Mix
strong dark with Phthalo Blue, >

Artists & Illustrators 61

 7 8
10 11
13
Quinacridone Magenta
and Green Gold. First
apply the previous
building colour to the
road wet-in-wet and in a
linear way to get tarmac
texture. Apply darker
colour in streaks
wet-in-wet. Dampen the
foreground and apply
the darker mix, keeping
it paler and warm to the
right side. When dry,
mask the low wall top.
6 Apply a dark-grey
Phthalo Blue, Azo
Green, Quinacridone
Magenta mix to the
foreground for texture
leaving gaps of
underlying colour to pass for
snow. Brush directionally:
vertically on the wall, diagonally
on the shoulder and more
Top tip randomly on level ground.
If you can’t tip
your paint off your
palette, you may 7 Apply a dark orange of
Payne’s Grey and red added
have not mixed
enough
to Cadmium Orange. Apply
brush strokes of cleaner deep
orange-red to add heat.
8 Apply darker orange-greys to
shadow sides of orange areas.
62 Artists & Illustrators
9
12
Apply dark shadow using an Azo
Green mix and add Payne’s Grey.
Apply a Phthalo Blue-biased grey
in the bucket area.
9 Paint the bucket area an
intense dark leaving out the
snow and ice in the bucket.
Define the lighter and darker
orange detail around the cab.
Apply water to the windscreen
and left screen, then apply the
dark grey mix with added Phthalo
Blue wet-in-wet. Apply wet-in-wet
accents to the left screen.
10 Apply washes to dark
areas in windows using
grey from the Phthalo Blue, Azo
Green, Quinacridone Magenta
mix wet-in-wet. Create a red by
adding black to Cadmium Red.
Add a little gouache white and
counteract pinkness with orange,
to create a low-key orange-red
and paint the driver’s jacket.
When dry, add dark accents to
the face for detail and shadow.
11 Brush the digger driver’s
red jacket mix over the
hooded face. When dry, apply
darks from the dark-grey mix.
Apply faint shadow areas to
define faint lights. Paint a fine
horizontal accent halfway down
for eyes, then halfway to the chin
for the shadow under the nose,
then half again to the chin for
shadow under the upper lip, plus
another under the lower lip.
12 Paint the worker’s
trousers and boots with a
dark grey, then darker accents
with an intense grey. Paint
mid-tone grey stripes on his
jacket. Remove the masking.
Masked areas are: facets and
edges on the digger including a
lamp and indicators, the red
jacket, flashes of light on the
boots, trousers and jacket,
edges on the digger, streetlamps,
the top of the wall and roadway
glints. Touch in the low wall top.
13 Apply trolley bus wires
with the painting upside
down so that their arcs match
the sweep of your arm. Apply
supports with mid-tone grey.
For the red jacket, mix Cadmium
Red, heat it up with orange and
add a little grey. If you get the
value right, it will glow. Paint it on
strongly. When it is dry, add more
grey to the red and apply shadow
creases and darks in the
worker’s jacket.
 ov

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Artists & Illustrators 63
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64 Artists & Illustrators

 YO U R Q U E S T I O N S
PRINTMAKING
AH E AD OF A YOR KS H I R E S C UL P T UR E PAR K S HOW T HAT TAK ES I N C OL L AG ES , S CR AP E R B OAR D S
AN D P R I N TS , T H E ART I ST, I L LU ST R ATOR AN D P R I N T MAK E R ED KLUZ ANSWERS YOUR QUERIES
Are prints a good medium for images of buildings?
Print is good pals with architecture because it is
essentially structure and lines. That translates very
well, particularly when it comes to screenprints or
linocuts where it’s less immediately tonal than, say,
etching or aquatint or other forms of printmaking. It
suits the very on-off nature of linocuts. The line that’s
physically gouged out is a simple process, and because
you can work with light and dark easily you can
represent a structure in space.
How do I know what will make a good subject for a
ABOVE Frampton Orangery, series of prints?
egg tempera on gesso, Go with your gut. Everybody has their own approach to
39x44cm making an image because we’re all unique: we have a
different physicality and a different way of seeing
things. But I would say to find shortcuts. Simplify. Edit.
How do I know what medium will best suit a subject?
It depends but, with mark-making, every process has a
different way of allowing marks to come out. If I was
doing an elaborate Gothic building, it would work well
with egg tempera because of the nature of being able
to use a loose brush, as opposed to having to spend
hours cutting finial from lino. A moodier building with
a well-known history may suit a scraperboard because
you can get drama in terms of light and dark.
How do I know when an image is complete?
It takes a long time to learn. It’s a funny kind of skill. >
Artists & Illustrators 65
I’m always pushing the boundaries. If you’re a to challenge yourself to work with line and tone in
commercial illustrator, a lot of knowing when to stop black and white.
is time restriction. You need to hit a deadline.
What tools do you recommend?
What is scraperboard and how do I use it? For the collage background washes, and for making
It’s like those metallic ones you’d scratch through as a and colouring paper, I use these big, wide 1950s or
child. A cutting tool engraves a line through the surface 1960s decorators’ brushes with natural hair, which I ABOVE The Red House,
ink to expose the white beneath. It’s not regarded as get from car boots and junk shops. I have also got a Painswick, Gloucestershire,
high art but there’s a growing community of artists who good set of brayers with durathene rollers, from 2017, egg tempera,
have discovered the medium. In fact, it was invented in Lawrence in Brighton, which are fantastic. A good roller 60x75cm
the early part of the 20th century for commercial always helps. You can also try leather-working tools TOP RIGHT Chipping
illustrators to mimic wood engravings for books. There – the ones with spurs. And pastry cutters are good for Campden Banqueting
are now very good companies making them. One is on creating odd marks on linocuts. Houses, screenprint,
proper MDF and has gesso ground and then a black Ed Kluz: Sheer Folly – Fanciful Buildings of Britain is at 39x28cm
layer of Indian ink on top. I used it because it was a Yorkshire Sculpture Park, West Bretton WF4, from BOTTOM RIGHT The Dunmore
slightly left-of-centre material and I’d been wanting to 11 November to 25 February 2018. www.ysp.org.uk; Pineapple, lithograph,
work in black and white for a while. It’s good if you want www.edkluz.co.uk 15.5x22cm

66 Artists & Illustrators

 ED’S PRINTMAKING TIPS

EVERYONE HAS THEIR •BE BRAVE

Don’t let the process intimidate
OWN APPROACH TO you. There is value in making sure
MAKING AN IMAGE everything is done correctly, but
BECAUSE WE ARE don’t be afraid to find your own way
of making a mark or printing. There
ALL UNIQUE is no set right or wrong way to do
make art.

•BE ORIGINAL
Find the things that interest you,
whether it’s figurative or abstract.
It may sometimes seem that there
is nothing more to innovate with,
but there this. For example, you
can cross over techniques. Revel
in the process.

•LOVE YOUR
SURROUNDINGS
Find a space you’re happy to work
in: a group or printmaking studio
with a good technician that you get
on well with because it’s a very
intimate process, especially when
you’re learning. If you’re inclined to
work at home there is help out
there. YouTube is a great resource.
And presses can be fairly
reasonable if you look on eBay.

Artists & Illustrators 67

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 T H E AT E L I E R M E T H O D

4 Painting the figure

IN THE L ATEST INSTALMENT, ARTIST AND TUTOR JULIET TE ARISTIDES GUIDES YOU THROUGH
THE ESSENTIAL TECHNIQUES AND SKILLS YOU WILL NEED TO MASTER FIGURATIVE ART >

Artists & Illustrators 69

 ARTISTS’
VALUE
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(]HPSHISL[OYV\NOHZLSLJ[NYV\WVMZ[VJRPZ[Z
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everyone is talking about.
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Sablonnerie, a hotel of rare quality situated in the southern part of Sark, even more beautiful, remote
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Tel: 01481 832061 • E-mail: reservations@sablonneriesark.com • www.sablonneriesark.com

70 Artists & Illustrators

 ANDREI KOZLOV
t
eaching a workshop this summer, I sat in the studio
with students discussing what they hoped to gain
from a week-long exploration of figure painting. A
few mentioned things such as learning how to mix skin
tones. Another said drawing. But what most students
wanted to know was: “How do I begin?”
A finished figure painting can appear as a fait accompli,
how it was made remaining an inscrutable mystery to the
observer. The more perfectly created, the harder it is to see
how the artist achieved it and, in all but the most
unfinished works, the final layers obscure earlier ones. In
this way a painting is much like the human body. We only
see the external, yet, under the surface is anatomy: muscle
and bone in addition to the workings of the mind and spirit.
A picture has anatomy: the materials, drawing, proportion,
design, value and colour. It is easy to feel overwhelmed, but
understanding the complex act of painting as parts of a
whole offers a point of access.

THE HEART OF THE TRADITION

The human figure is the centre of an atelier education. Like
its historical counterparts, the figure forms the educational
bedrock and is often the principal subject for years. The
method is progressive, moving towards greater complexity
with each project. In a week-long workshop, we focus on a
different principle of figure painting every day while working A PICTURE HAS ITS OWN
on one artwork. We start with drawing, then move on to
grisaille painting (painting in greys), temperature painting
ANATOMY: THE MATERIALS,
and full colour. Day one focuses on drawing, establishing DRAWING, PROPORTION,
the proportion and composition in a medium that is flexible DESIGN, VALUE AND COLOUR
and easy to erase. Locking in the placement and likeness
leaves one free to focus on tone in paint. Breaking down ABOVE, CLOCKWISE
the painting into stages allows the artist to bring 100 per human figure? Unlike a yellow lemon or a red tomato, a FROM TOP LEFT
cent of their attention to each part. person is comprised of subtle tints and shades that An artist’s figure
On the second day, we work in one colour, such as a Raw continually shift the longer you look. It is more helpful to painting palette;
or Burnt Umber, plus black and white. If the light to dark think in terms warm and cool tones. For this reason a a colour study;
relationships and drawing are correct at this stage, the limited earth colour palette will suffice for all but the most a student works
painting will be on the path to success. Creating a tonal intense pops of colour. Learning how to see temperature by from a life model
underpainting helps determine the big value distribution judging every tone in comparison to the warmest and OPPOSITE PAGE
and capture how the light hits the subject: this ensures coolest parts will help your painting be ‘true to life’. The last J Aristides, 2015,
that, at the next stage, colour is the only concern. The third stage uses a full palette of colour and focuses on bringing oil on linen,
day focuses on shifts in warm and cool. What colour is a the figure to completion. Once a solid drawing is > 51x40cm

Artists & Illustrators 71

 2
1

KATHY ROSETH
4
3 5

established and a believable first pass of flesh is on the DEMO dark to light, I use broad,
figure, it is time to model the form more completely. Artists Juliette Aristides, simple planes to locate
need to look for subtle modulation of halftones between Kentaro, 2017, oil tone and colour. This
shadow shapes and light shapes. This means paying on linen, 86x66cm stage looks odd because
attention to small areas to make sure they are well seen only some of the figure is
and painted. Special care should be taken to finish edges,
which can often be forgotten. There should be no
uncovered areas of canvas, such as gaps, or lines from
1 The drawing is lightly
placed with vine
charcoal. Care is taken
covered with a first pass
of opaque paint. It is
more important to
your preliminary paint layer. Lastly, incidental effects of to not go too dark. This carefully place each part
colour that can add life to your picture should be sought. places proportion and than get the figure
composition. I then use covered all at once.
BACK TO LIFE
People are still the best subjects. Figure painting – once
the pinnacle of artistic achievement – faded in the 20th
Raw Umber with a tiny
amount of odourless
mineral spirit to mass in.
4 This closeup shows
an energetic first
pass. The modelling of
century as abstraction felt like a truer expression for the
modern condition; optimism was marred by wars, faith
replaced by pragmatism, and progress at the expense of
2 Once I find the body
proportion, I start
placing background tone.
the form is rough and the
brush strokes are not
blended. You can see
meaning. Herman Melville, author of Moby Dick, wrote I link the deepened each stroke as an
about darkness in the human heart, yet drew a different shadow shapes of my individual tile. I am also
conclusion, saying: “Man, in the ideal, is so noble and so figure into the pushing values behind
sparkling, such a grand and glowing creature, that over background. I use the head to get the figure
any ignominious blemish in him all his fellows should run little-to-no thinner so the sitting in atmosphere.
to throw their costliest robes.” Melville saw our failings and
still recognised a place for awe and beauty, realising
human consciousness and life are as precious throughout
shapes keep structure.
Notice how the shadows
of the trousers, jacket
5 I work over the
painting focusing on
one area at a time. I
the galaxy as they are rare. Through looking at great and background start tighten the drawing,
figures in art we can feel the strength, the weakness, to form one shape. sharpen the edges and
the sufferings and joys, finding meaning in being in our
bodies and see ourselves reflected in the world at large.
Figure painting is back.
3 Finding the skin
colour and working
across the figure from
spend time modelling
the individual shapes
from dark to light.
www.aristidesarts.com

72 Artists & Illustrators

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Artists & Illustrators 73

 a
PROJECT

WATERCOLOUR
Di or a m
STRETCH YOUR
SKILLS IN A
NEW DIRECTION
AND CREATE
A CHARMING
3D SCENE.
WIL FREEBORN
GUIDES YOU
THROUGH
THE PRO CESS

I
enjoy making watercolour
dioramas: it’s an ideal way to
create a small scene and, in
many ways, it isn’t that different
to making a painting. I like to add
people to create a tiny narrative,
as with this couple eating under
the awning of a ramen kiosk. I’ve
made this step-by-step more
logical than how I would normally
work: I usually begin with the
main shape, and measure and
add each part of the model, learning
what works best as I go.
www.wilfreeborn.co.uk
1 RESEARCH YOUR SUBJECT
Try to get a 360-degree view of the
subject. You don’t need excellent pictures
but they should contain all the information
you need. If you can take head-on shots
from the front with fewer angles, it will
make it easier later.
2 PLAN YOUR DRAWINGS
Start with simple sketches. In this case,
they are of a ramen cart. These will help you
wil’s materials
•GLUE
Impex Original Hi-Tack All Purpose Glue
•SMALL SCISSORS
Very sharp sewing scissors are ideal
•CRAFT KNIFE
•CUTTING BOARD
•BONE FOLDING TOOL
•BLUNT TOOL FOR SCORING CARD
Trying using a bradawl, butter knife or biro
•RULER AND SET SQUARE
•PENCILS
1 H and 2B
•WATERCOLOUR PAPER
Saunders Waterford 300gsm 58 x 38cm NOT
•WATERCOLOURS
Winsor & Newton
•BRUSHES
Da Vinci: Maestro sable, size 6, or
Cosmotop-Mix, sizes 5, 12
3
to visualise how you can put the scene
together. At its simplest, the ramen cart is a
basic box with four columns and a roof. The
shelves, wheels and the small cupboard are
simple additions to the main shape.
3 DRAW YOUR PIECES
Stretch your watercolour paper to a
board so it’s flat and won’t warp once you
start painting. Although this stage can look
daunting, it’s fun once you get started. Using
a light H pencil, draw the basic box shape
and add flaps where necessary. I made the
wooden columns with three sides because
I imagined I would only view the kiosk from >
Artists & Illustrators 75
 WAT ER C O LO U R

4
5
one side. Use a ruler and set square to
achieve accurate shapes. Once you’ve lightly
pencilled in the main shapes, go over them

To p t i p
much more loosely with a 2B pencil – this will
add more character to your finished scene.
ed
always ne
You don’t e li n e s.
4 START PAINTING
With most of the planning work out of
to cut up
Tr y to bala
to th
nce creati
n wit h
ng
the way, you can start on the most enjoyable an illu s io
part of the process – painting. Fill in the main in g it ’s paper
s h ow
blocks of colour: it’s important to slightly go
over the pencil lines. Although many of the
pieces are flat, you can add depth and
shadows where you imagine the light will fall
on the finished scene. Have fun rendering
details, such as the curtains and lanterns.
You can paint the people as if it was a
finished painting.

5 CUT THE SHAPES

Before you cut out your shapes, it’s
important to score the folds. Be careful not
6

to break the paper’s surface. If that does 7

happen, then lightly repaint the white areas.
Use a metal ruler and sharp scalpel to cut
out the shapes.

6 PUT IT TOGETHER
Start with the main shape and take your
time constructing the piece. I use Impex
Hi-Tack Glue as it’s initially very sticky and will
help to hold the pieces together before it sets.
Use masking tape to hold things together
while the glue dries, but test the tape first to
make sure it doesn’t take to the paper.

7 SET THE SCENE

It’s time to set up the scene. I’ve used a
large piece of slate for the ground and a
plain white backdrop, but you could paint a
background, too. If you want to frame your
diorama, ask for a box frame to be created.
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 THE CLASSIFIED DIRECTORY

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<ĂLJůůŝŽƩ͕dŝŵ&ŝƐŚĞƌĂŶĚŵĂŶLJŵŽƌĞ͙͙
To advertise in ĂůůůůŝƐŽŶŽŶĚĨŽƌĚĞƚĂŝůƐ͗
Artists & Illustrators 01255 820466 or for more information please visit
ŵĂŝů͗allison@watershedstudio.co.uk
Classified Directory www.watershedstudio.co.uk @evaldas_gu EvaldasGu
please call 020 7349 3731 ^ƚůĞƌĞ͛Ɛ,Ăůů>ĂŶĞ͕^ƚKƐLJƚŚ͕
ůĂĐƚŽŶŽŶ^ĞĂ͕ƐƐĞdž͕KϭϲϴZy www.efka.co.uk

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THE CLASSIFIED DIRECTORY

HOLIDAYS
UK & BEYOND

“Your First & Best Choice for a Painting Holiday

Somerset, Exmoor, North Devon Coast, North Cornwall,
Wye Valley, Lake District, Provence & Western Algarve.

David Bellamy, Grahame Booth, Roger Dellar, Joe Francis Dowden,

Jeremy Ford, Soraya French, Steve Hall, Barry Herniman, John Hoar,
Carol Kibble, Arnold Lowrey, Keiko Tanabe, Dave White, Peter Woolley
& more
ovely ainting oliday dventure with all-inclusive
Ɣ All Destinations researched thoroughly beforehan
Ɣ Organisers always on location with the group
Ɣ All Art Materials included on selected holidays
Ɣ Non painters & All Abilities Welcome
Ɣ Studio & Location based courses in all media
01

WALES
A WATERCOLOUR PAINTING HOLIDAY Art Workshops & Painting
with ANNE BARNHAM on the Devonshire Coast Holidays in Beautiful
at SIDHOLME HOTEL, Elysian Fields, Sidmouth, Devon EX10 8UJ
Mid Wales with Anita Woods
Monday 14th to Saturday 19th May 2018 Suitable for
5 nights, half board and all tuition £525 all levels and
To book a place (limited to 14 students) please contact Sidholme Hotel, direct, tailored to suit
on Tel: 01395 515104 or e-mail: sidholme@christianguild.co.uk your needs.
COME AND PAINT WATERCOLOUR Relaxing and
inspiring.
with ANNE BARNHAM in Constable Country Luxury self
at DEDHAM HALL, Brook Street, Dedham, Nr. Colchester, Essex CO7 6AD catering
accommodation
Saturday 13th to Tuesday 16th October 2018 not far from
3 nights, en-suite, full board and all tuition £510 single Cardigan Bay.
£470 double room per person, £340 non-residential Drawing, painting
To book a place please apply directly to: Dedham Hall, Tel: 01206 323027 and mixed media.
or e-mail: sarton@dedhamhall.demon.co.uk Tel: 01974 200815
If you would like any further information please contact Anne on 01526 320626 or 07891919444
e: annebarnham@hotmail.co.uk Her website address is: www.saa.co.uk/art/annebarnham anitawoodsart@gmail.com
where you are welcome to browse her paintings and watch her teaching a short web-clip. www.anitawoods.net

www.artistsandillustrators.co.uk

To advertise here please call 020 7349 3731

 THE CLASSIFIED DIRECTORY

FRAMING GIFTS PRINTING

www.eyeswidedigital.com
Ashcraft Framing • Giclée Fine Art Printing
Frames for Artists • Greeting Cards
• Canvas Prints
• High Quality Reproductions
Produced From Original
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6W,YHV1LFKROVRQ)UDPHV 01306 875 150
3ODLQZRRGRUSDLQWHGDQ\FRORXU info@eyeswidedigital.com
,QOD\IUDPHVSHFLDOLVW
/DUJHVWDQGDUGDQGEHVSRNHVL]HV
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Making Art Work
G Fine Art Giclée Printing Service
G Hahnemühle Papers & Canvas
G Photography and Scanning Service
www.artistsandillustrators.co.uk G Greeting Cards and Postcards
G Professional and Friendly Advice
G No Set Up Fees & Free Art Guides
WANTED ARTISTS
Call us on 01656 652447
RANDOLPH KELLMAN CONTEMPORARY ARTIST Visit my online galleries www.rakeart.co.uk www.artists.de www.geminidigitalcolour.co.uk
Telephone 020 8889 4714 Mobile 07979842456

THE ART SHOP DIRECTORY

DEVON GWENT LONDON SUFFOLK / NORFOLK
THE BLUE GALLERY THE ART SHOP & CHAPEL RUSSELL & CHAPPLE GOSLINGS
16 Joy Street, Barnstaple EX31 1BS 8 Cross Street The Canvas Specialists 50 Station Road,
Tel: 01271 343536 Abergavenny NP7 5EH 30/31 Store Street, Sudbury
roy@bluegallery.co.uk Tel: 01873852690 London WC1E 7QE Suffolk C010 2SP
www.bluegallery.co.uk admin@artshopandchapel.co.uk Tel: 020 7836 7521 Tel: 01787 371932
www.artshopandchapel.co.uk Fax: 020 7636 8733 A family run business specialising in
SOUTH WEST ART www.randc.net Bespoke Picture Framing and Artist
Old Fore Street, Sidmouth EX10 8LP Custom canvases, linens, cottons and Materials
LONDON
Tel: 01395 514717 stretcher bars.
info@southwestartmaterials.co.uk
INTAGLIO PRINTMAKER THE ART TRADING COMPANY
www.southwestartmaterials.co.uk
The Specialist Supplier L. CORNELISSEN & SON 55 Earsham Street,
Quality fine art materials, gallery and
of Fine Art Printmaking Products 19th century shop near Bungay NR35 1AF
picture framing.
9 Playhouse Court, The British Museum Tel: 01986 897939
62 Southwark Bridge Road, Pigments,Gilding & Etching supplies, TheArtTradingCo@btinternet.com
HAMPSHIRE tubed colour, brushes, paper,
London SE1 0AT www.thearttradingcompany.co.uk
PERRY’S ART SUPPLIERS LTD Tel: 020 7928 2633 pastels.
109 East Street Fax: 020 7928 2711
105 Gt. Russell Street, NORTH YORKSHIRE
Southampton SO14 3HD London WC1B 3RY
info@intaglioprintmaker.com
Tel: 023 8033 9444 Tel: +44 (0) 20 7636 1045 THE ARTIST’S PALETTE
www.intaglioprintmaker.com
www.cornelissen.com 1 Millgate, Thirsk,
perrysart@btinternet.com Wide range of tools available to try in
www.perrysart.co.uk North Yorkshire YO7 1AA
our store (near Tate Modern). Tel: 01845 574457
STUART R. STEVENSON
GLOUCESTERSHIRE Artists & Gilding Materials artistspalette@thirsktown.co.uk
ATLANTIS ART MATERIALS 68 Clerkenwell Road We stock fine quality artist’s
COTSWOLD ART SUPPLIES – UK’s largest and one of London EC1M 5QA materials, crafts, models and kits
Church Street, Stow-on-the-Wold Europes biggest art stores Tel: 020 7253 1693
Gloucestershire GL54 1BB Basement, 16-25 Tabernacle Street info@stuartstevenson.co.uk WEST MIDLANDS
Tel: 01451 830522 Entrance via Bonhill Street car park www.stuartstevenson.co.uk
info@cotswoldartsupplies.com Tabernacle Court, London EC2A 4DD
HARRIS MOORE
Fine Art Supplies
www.cotswoldartsupplies.com Tel: 0207 377 8855 OXFORD
Offering a comprehensive framing Unit 12 Minerva Works,
www.atlantisart.co.uk
service alongside a full range of art CHROMATECH 158 Fazeley Street,
Car parking, open 7 days.
materials Lower Barn, 4 Blenheim Road, Birmingham B5 5RT
Horspath, Oxford OX33 1RY Tel: 0121 633 3687
LONDON ART Tel: 01865 874846 sales@harrismoorecanvases.co.uk
PEGASUS ART – suppliers of the 132 Finchley Road, Swiss Cottage,
finest art materials www.chromatech.uk.com www.harrismoore.co.uk
London NW3 5HS Fabulous quality giclée prints at a Specialists in Artists Canvases and
Griffin Mill, London Road Tel: 020 7433 1571
Thrupp, Stroud, Glos GL5 2AZ reasonable price Professional Painting Supplies.
info@londonart-shop.co.uk
Tel: 01453 886560 www.londonart-shop.co.uk To advertise in Artists & Illustrators Art Shop Directory
info@pegasusart.co.uk We sell a wide range of Art & Craft
www.pegasusart.co.uk
please call 020 7349 3731
materials.

To advertise here please call 020 7349 3731

 PENCIL
IS JUST
ABOUT
LOVELY
LINES
AND
TONES
”

W H AT I ’ V E L E A R N E D

ADEBANJI
ALADE
T H E I N S P I R AT IONAL ART I ST, T V P E R S ONAL I T Y AN D M E M B E R OF T H E ROYAL I N ST I T U T E
OF OI L PAI N T E R S (ROI ) R E VEALS WHAT HE’S LEARNED ON HIS CREAT IVE JOURNEY

MY MOST IMPORTANT studio. I love the trees, statues,

I FIND MY INSPIRATION IN...
people and places. For people, it is all
about the effect of light on features,
facial structure, emotions and
character. For places, it’s the mood,
the effect of light, atmosphere and
historical importance, as well as my
love for architecture and trees, that
gets me inspired.
MEDIUM IS... pencil.
Even though I don’t do
many finished works in it,
it’s the easiest to work with.
There’s no need to think
about mixing, dipping or
cleaning, it’s just about
lovely lines and tones.
I COULDN’T LIVE
WITHOUT...
a sketchbook. If I don’t
have it with me, I feel I’m going to
miss out on something I may never
get the opportunity to sketch again.
MY FAVOURITE PLACE TO
PAINT IS... Sloane Square,
London. For the past 15 years, I have
been getting off at Sloane Square
underground and taking a bus to my
people, trendy shops, flower store,
black cabs and buses. It’s like a
mini-London in one square.
THE BEST ADVICE I’VE LEFT A spread from
RECEIVED IS... “Sketch, sketch, Adebanji’s sketchbook
sketch, draw, draw and draw.” BELOW Grey Tones,
Obeying this single piece of advice Sloane Square, oil
– given to me years ago – has opened on canvas, 24x20cm
every door in my
creative journey.
I still sketch and
draw every day.
See Adebanji’s
work at the ROI
exhibition at Mall
Galleries, London
SW1, from 29
November to 10
December. www.
adebanjialade.co.uk
DISCOVER OUR TUTORIALS

P R I S M A L O

Prismalo, the first water-soluble pencil, which helped revolutionise the world
of colour and has been used by several generations of children as well as artists.
This range is available in tins of 12, 18, 30, 40 and 80 assorted colours.

Carand’ Ache. Swiss Made excellence since 1915.

For addional informaon and stockists please contact:

Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com
alchemy & artistry

Designed to ignite artistic journeys that will excite

the mind and engage the senses, our five new gift
collections are inspired by the great art of alchemy,
believed to hold the key to unlocking the secrets
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