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www.painters-online.co.uk April 2021 £4.80


Paint trees &

woodlands in
acrylics with Barry Herniman

Enter our
TALPOpen 2021
& 90th anniversary
front cover

Plus � How to capture shiny objects in still lifes in oils

� Paint a poppy field in gouache
� Top tips on capturing your portrait sitter’s expression
� Techniques for painting wildlife in watercolour



770004 387193


Capture big skies & open Use layering & glazing techniques Combine oil pastel & other
spaces in soft pastels for successful portraits media for expressive landscapes
90 th
HELP US TO CELEBRATE OUR 90TH The Artist was first
NEW FRONT COVER COMPETITION and to celebrate we are
looking for entries from
which to select an image
to be featured on the front
cover of a forthcoming
2021 issue. The selected
artist will see their work
featured on the front cover
of our print and digital
issues, online, and seen
by our huge worldwide

Upload a
digital image of a recent
drawing or painting of any
subject, in any medium, for
the chance to feature on
the front cover of a
2021 issue of
ENTER ONLINE AT http://bit.ly/39rHkD6
Entry is FREE and the closing date for entries is Friday July 9, 2021. JUDGES
Sally Bulgin, editor The Artist
The winning artist will be notified soon afterwards and asked to supply Dawn Farley, online editor PaintersOnline
a high-resolution image suitable for reproduction purposes. and members of our publishing team
artist WELCOME artist
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol.136 No.4
ISSUE 1093

Publishing Editor:
Sally Bulgin PhD Hon VPRBSA
Deputy Editor:
Deborah Wanstall
from the editor
Want to comment on something you’ve
read, or seen?
Email me at theartistletters@tapc.co.uk
or visit our website at
1931 – 2021

Subscriptions & Marketing Manager:

Wendy Gregory o celebrate our 90th year since our first issue was published in March 1931, last
subscriptions@warnersgroup.co.uk month we invited you to participate in the first of our online 90th Anniversary
01778 395174 Challenges. Details of our second 90th Anniversary Challenge can be found
Commercial Manager
Neil Miller
on page 71. In addition, we are also launching our new 90th Anniversary Front
Advertising sales: Cover Competition, details of which can be seen on page 2, left. Please help us
Jayne Notley 01778 391189 to celebrate this significant milestone by joining in with our monthly challenges, and by
Advertisement copy: entering for the chance to see your work published on the front cover of The Artist.
Natalie Reynolds: 01778 391130 Ninety years on is a good time to reflect on our long history. Our first issue was published
Online Editor:
by Harold Sawkins in London in March 1931 and for many years The Artist and The Studio
Dawn Farley were the only magazines available for the practising artist. By 1956 our International
Design: Amateur Art Exhibition had become the second largest art exhibition in London, and we
Brenda Hedley
Accounts: also ran a series of sketching holidays and summer schools in France. In 1957 The Artist
01778 391000 took over the Heatherley School of Fine Art, and our offices moved to Warwick Square in
Events Manager:
Pimlico, London, from where the magazine and the school were run in tandem for the next
Caroline Griffiths 18 years.
Subscription orders The owner before me, Irene Briers, was involved with the magazine for her entire career,
should be sent to: The Artist subscriptions,
Warners Group Publications, The Maltings, alongside Frederick Parkinson, managing editor for over 25 years until his retirement in
West Street, Bourne, Lincolnshire PE10 9PH. 1975, when the title was sold to American publishers. Irene bought the title back into her
Tel: 01778 395174
Annual subscription rates (13 issues):
ownership and a new UK company in 1979, which I joined in 1986 as assistant editor on The
UK – £47.20 (includes Northern Ireland); Artist. By then we were also publishing our sister title Leisure Painter, launched originally
EC member countries – E67;
USA – $80 (air freight); Canada – $92 (air freight). in 1967 as a quarterly house magazine by Reeves Colourmakers. I purchased The Artists’
All other countries £57 (air freight). Payments
by credit card are taken in sterling at £57.
Publishing Company, publisher of our titles, in 1998, and ran the company for 18 years,
Foreign currency prices include bank charges. until selling the business to our current owners, Warner’s Group Publications, in 2016.
Periodicals postage paid at Rahway, NJ. US
subscribers only: Send address corrections to Over our long history we have experienced many significant changes and technological
The Artist, c/o Mercury Airfreight International developments, which have seen us launch our community website www.painters-online.
Ltd, 365 Blair Road, Avenel, NJ 07001
News-trade distribution by: co.uk, our digital editions and e-newsletters. Plus, the ever-expanding social media
Warners Group Publications plc. Tel: 01778 opportunities have enabled us to communicate more easily with artists worldwide and
391000 All material copyrighted; reproduction
forbidden without permission. Publication share our content in myriad new ways. Our magazines are obviously very different today
of an article or inclusion of an advertisement
does not necessarily imply that the publisher
to how they were produced and presented in the past, but our aims remain consistent
is in agreement with the views expressed, or with our founding editor’s original aims, outlined in his first editorial in our March 1931
represents endorsement of products, materials
or techniques. The publisher does not accept issue: ‘The Artist sets out on its career with the definite and sincere object of assisting in
responsibility for errors, omissions or images
received in good faith.
the practical education and training of art students. Every contributor to this magazine
artist is published every four weeks by will be a practical artist, in the front rank, capable of giving sound advice and help to the
Warners Group Publications plc and is printed ambitious student…students will be shown exactly how famous professional artists build
by Warners Midlands PLC, The Maltings, Manor
Lane, Bourne, Lincolnshire PE10 9PH. up their pictures, how they have solved the many problems facing them…. Students
will be told what to aim for and taken step by step along the path by artists who can
sympathise with ambitious art workers.’
These original aims continue to guide the planning of today’s issues, in discussion with
artist Warners Group Publications, our contributing artists and always, of course, informed by the invaluable feedback and
The Maltings, West Street, Bourne, requirements of our readers. Enjoy our latest issue, and we look forward to seeing more
Lincolnshire, PE10 9PH. Tel: 01778 395174
www.painters-online.co.uk of your work in all our current competitions, including our annual TALPOpen competition
with over 35 prizes worth over £13,500 to be won. See full details and how to enter this
THIS MONTH’S COVER competition on pages 14–15.

Best wishes

Let us know what you think at

• theartistletters@tapc.co.uk
• www.painters-online.co.uk/forum
Barry Herniman Morning Light, Early Frosts, acrylic
on mountboard, 1421in (35.553.5cm).
• www.facebook.com/paintersonline Sally Bulgin Publishing Editor
See pages 35 to 37 • twitter.com/artpublishing

www.painters-online.co.uk artist April 2021 3


16 42
FEATURES 28 Bring wildlife to life in
16 Visual effects and textures
in watercolour
Susie Hodge talks to Linda Saul, winner of
Jake Winkle explains how you can use a variety
of watercolour techniques to bring movement
and narrative to your wildlife paintings
The Artist Award in the 2020 Royal Watercolour
Society Contemporary Watercolour 32 The expression 42 Taking the medium further
Competition, about her working methods In her final article in this series, Ann Witheridge In his final article aimed at newcomers to
considers how best to capture the sitter’s gouache, Robert Brindley explains that
59 Be your own best critic expression the medium is not only suitable for plein-air
Mike Barr offers some sensible advice about sketching, but also for mixed media with acrylic
criticism, both constructive and destructive. 35 Painting trees and woodlands
He explains why there is only one critical voice In the third of four articles on the elements of 46 Scumbling and glazing
you need to listen to – your own the landscape, Barry Herniman demonstrates This month Alan Bickley focuses on a few
how to paint trees and woodlands in acrylics traditional techniques that will help to add
60 How to sell your work interest to your oil paintings
online 39 Make a tone study of a
Marine Costello’s five top tips will help you to
still life 50 Explore the creative
sell your work online by getting it in front of possibilities of oil pastels
In her new three-part series Adele Wagstaff
potential purchasers Robert Dutton shows that oil pastels are
explores the fundamentals of making the
transition from drawing into painting. She versatile to use and an essential part of the

PRACTICALS begins by focusing on tone, using black and

white to make a still-life painting in oils
artist’s creative tool kit

20 Put a shine into your still life 55 Paint watercolour portraits

that glow
Lotta Camilla Teale shares her tips as she
delights in painting still lifes that include shiny 39 Jo W Pickering demonstrates a watercolour
portrait using layering and glazing techniques
objects, such as silver or iridescent ceramics

24 Create a dramatic
landscape in pastel PLUS THIS MONTH
Cheryl Culver demonstrates how she
captures the beauty of big skies and open
6 Your views 9 The Art World
spaces using pastel and includes her top ten 63 Opportunities 65 Books
tips for pastellists 66 Exhibitions

4 artist April 2021 www.painters-online.co.uk

Join our friendly art community
l Create your own portfolio
of artworks in our online
l Create your own Studio
Wall mood board and
share with other artists
l Chat with other artists on a
wide range of
art-related topics
l Connect with art tutors
and art clubs With this closeup you can see how
the colours merge into each other
when keeping the paint wet

l Find details of art courses,

art shops, galleries, framers
and more
l Be inspired by practical painting and drawing
l Enter our competitions with great prizes up for grabs
Liz Wright reveals how she
Join our new Studio membership creates her fantasy artworks
today. Try it for FREE for 30 days at inspired by her observations
https://www.painters-online.co.uk/membership/freetrial of the Dorset landscape

2 Enter our new 90th Anniversary Front Cover
Competition for the opportunity to see your work published
on our front cover
14 Enter our TALPOpen Competition 2021 for the chance
to see your work exhibited, published and promoted
worldwide, and to win one of over 35 prizes worth over
38 Enjoy additional features from The Artist archives
58 Subscribe to The Artist, save money and enjoy free p Anne McCormack discusses p Learn how to draw boats in
delivery direct to your door what to paint and how as she perspective and capture water
64 Save money on discounted practical art books from our demonstrates an acrylic painting and reflections in harbour
online bookshop of an interior scene, inspired by a scenes in watercolour, with
70 See your work published in The Artist. Simply upload magazine photograph Paul Weaver
your work to our PaintersOnline gallery for the opportunity
to be selected for our monthly Editor’s Choice feature PLUS
71 Help us to celebrate The Artist’s 90th anniversary l How to paint a virtual portrait in oils, using Zoom, by
year by entering our monthly online challenges for the William Mather
opportunity to win £50 vouchers to spend on Search Press
art and craft books l Alan Bickley concludes his oil-painting series with
advice on how to make and frame your own paintings
l How to capture reflections in pots and pans in your
EDITORIAL CONSULTANTS watercolour still lifes, with Diana Boanas
l Kevin Scully emphasises the importance of drawing
people in your sketchbook, with advice on materials and

Ken Howard OBE, RA David Curtis ROI, VPRSMA Haidee-Jo Summers l Advice from Penny Harris on how to write about
studied at Hornsey School has won many awards for his en ROI, RSMA our work to help promote it online
of Art and the Royal plein air and figurative paintings has won many awards for her
College of Art. He is a in both oils and watercolours. plein-air and alla-prima oil l Bending the rules, by Mike Barr
member of the NEAC, ROI, He has had several books paintings. She is an elected
RWS, RWA and RBA. He published on his work as well as member of the Royal Institute
exhibits extensively and
has won numerous awards.
DVD films, and exhibits his work
of Oil Painters, the author of
Vibrant Oils and also has a
DVD with the same title.
And much more! Don’t miss out:
our May issue is on sale from March 19

www.painters-online.co.uk artist April 2021 5

YOUR Email theartistletters@tapc.co.uk or write to The Editor,


The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD
Please note we may have to edit letters for reasons of space

else for me. Right now, I am considering

STAR LETTER opting out but how can I find a reliable
and truly committed gallery? Is there any
Lessons online hope for emerging artists like me?
With lockdowns being a prominent feature in our lives since March 2020, many of us At this moment I feel like I can only try
have benefitted tremendously from online teaching. For me this form of learning has with competitions and, thanks to The
been very useful and inspiring, and kept my creative juices flowing throughout the Artist, I now have a few on my list – but
pandemic. then I think there are so many artists
However, I have come to realise that there is a danger of trying to emulate the participating that my chances are not too
teaching too closely and, in so doing, losing the style that is our own. After watching a big. I will try anyway.
really good demonstration the temptation is to repeat the exercise in the style of the Barbara Kozyra, by email
teacher, which often results in failure. By taking the salient points out of the lesson we
can apply them to our own paintings – this enables us to learn how to Thank you for sharing your experiences with
adapt and expand our own unique style. In that way, we have all the us. We’d love to hear what other readers'
enjoyment of observing a professional at work and also experiences have been. There’s plenty of
the challenge of finding ways of using the knowledge really useful advice about how to promote
gained in our own artwork yourself and sell your work online in our new
Professional Development series – see our
Alison Petley, by email
February and March 2021 issues and pages
60–61 of this issue. Ed

This month’s star letter writer

will receive a Sennelier portable Old shop fronts
watercolour palette, worth I enjoyed the excellent article on old shop
fronts by Michelle Heron in the January 2021
issue. In the back streets of Malaga, where
I now live and work, there are many small
Art on Zoom received some messages from people businesses that date back to the 1930s or
I am a member of the North Cotswold who wanted to promote me. I was earlier. This is true wherever you go in Spain.
Art Association, which usually meets quite suspicious and I declined in most When I was in Madrid in the 1980s I bought
monthly in Burford. We are trying to keep cases but I decided to pick one offer. a book entitled El Sol, which covered the
our members entertained, interested and Everything seemed to be legitimate. It iconography of old shop fronts, many of
motivated during these dark days. It is a was a gallery based in London, they had which are probably long gone. I too paint
little difficult to contact every artist who their own premises and website. I asked in acrylic and have been drawn to this
appears in The Artist on the off-chance for more information and they promised subject quite a few times, the latest being
that they could do a Zoom presentation fair conditions, for example promoting the Panaderia (below), which doubles as the
for us. I’m sure that there are other my art in newsletters, their Instagram tuck shop for a local school.
societies in a similar position, and that account and website. I had to pay for this Derek Worthington, by email
there may be artists who are happy to service, which was ok with me. When my
share their knowledge and enthusiasm, profile was ready I was asked to check
and even to earn a little, given the current everything and approve it. I thought this
lack of exhibitions. was the start of something nice coming
Jeni Smith, by email my way. I did not expect too much – but
Artists who are willing and able to give I am disappointed.
Zoom presentations to art clubs can contact It has been eight months now and
us via our email address at theartistletters@ nothing has changed for me. Only two
tapc.co.uk and we will be happy to pass on of my paintings were presented on
the details. Ed Instagram but not as regular posts. They
were put as a part of the story, which
Vanity galleries disappears rather quickly, so if you miss
I used to work for a corporation but I it, you cannot see these paintings again.
always wanted to be an artist – it had My profile still exists on their website but
been my dream since I was a little girl. I was not promoted as a newcomer in
Finally, my husband convinced me to quit any way. It is almost impossible to find
my awful and very stressful job and focus me on the website because you have
on art. to know my name to be able to find the
It has been almost a year and I would profile. Without it, I am lost on there.
like to sell my artwork – but how? When Also, they have not been in touch to tell Derek Worthington Panaderia, acrylic on
I decided to post on Instagram, I soon me whether they have done anything canvas, 391/2391/2in (100100cm)

Subscribe at www.painters-online.co.uk or telephone 01580 763673

Become a fan on Facebook www.facebook.com/paintersonline. Follow us on Twitter@artpublishing

6 April 2021 www.painters-online.co.uk

Enjoy images in brilliant detail
with the digital edition

www.painters-online.co.uk April 2021 £4.80

yourself by

SAMPLE ISSUE Paint trees &

woodlands in
NOW! acrylics with Barry Herniman

Enter our
TALPOpen 2021

� Additional content & 90th anniversary

front cover

� Automatically adjusts Plus � How to capture shiny objects in still lifes in oils
� Paint a poppy field in gouache
� Top tips on capturing your portrait sitter’s expression

to fit your device � Techniques for painting wildlife in watercolour


� Adjustable text size
Convenient links from

770004 387193
� Instant access to your PASTELS
Capture big skies & open
spaces in soft pastels
Use layering & glazing techniques
for successful portraits
Combine oil pastel & other
media for expressive landscapes

� View anytime, anywhere

� All issues stored in one
� Easy to use

Digital editions are available at:

Morning Light, Early Frosts, acrylic on mount board, 1421in
I just love doing the last bits of detail, the finishing touches. I
have mixed up my white paint to a creamy mix and, with a loaded
rigger, started to develop the highlights on the tree trunks and

from ONLY £2.99!
Available through a select group of stockists
for full information on ranges, sets, prices.
Great value! Big savings!

Matthew Clarke 1963 - 2020

@ Conclave Brighton, 9 Queens Rd, Brighton BN1 3WA

Saturday 27th March, 12pm - 6pm
Sunday 28th 11am - 5pm
Tuesday 30th & Weds 31st 12pm - 6pm
@ The Empress Suite, The Grand Brighton,
97 - 99 Kings Road, Brighton BN1 2FW
Easter Saturday 3rd April 11am - 6pm
Easter Sunday 4th April 12pm - 4pm
Easter Mon 5th, 6th & 7th April 11am - 6pm
Enquiries: spiritoftherainbow@yahoo.co.uk

8 artist April 2021 www.painters-online.co.uk

compiled by Jane Stroud

Aliza Nisenbaum: Mexican-born painter, Aliza Nisenbaum uses her bright large-scale
art as a form of social practice – or art that has a social purpose. An
PAINTING THE NHS exhibition of her recent work celebrating Liverpool’s frontline staff will
go on show at Tate Liverpool when the gallery reopens. Throughout
August, Nisenbaum got to know the NHS staff, talking to them via
video link from her studio in the United States. ‘When I paint these
small passages of people’s skin,’ she writes, ‘it becomes a reflective
space where I have a memory of the conversations we had. I think
p Installation view of Aliza Nisenbaum at Tate about what they must be going through.’ The exhibition features two
Liverpool, December 2020 to June 2021, showing large-scale group portraits and 11 individual portraits as well as other
Team Time Storytelling, Alder Hey Children’s Hospital work. A film showing how the artist uses settings and objects to reflect
Emergency Department, Covid Pandemic 2020 personal stories can be seen at www.tate.org.uk

www.painters-online.co.uk April 2021 9


p Jacky Cowdrey Red Wine, Chartiers, acrylic ink,

19¾315¾in (50340cm) at the Dorking Group of
Artists’ online exhibition

p Manuscript cutting, There are many online courses to look forward to two-day course on March 30 and 31 (11am to
Lombardy, Italy this spring, in particular those run by the Wallace 1pm), The Passion of Christ in Art, explores
c.1500 at the Wallace Collection, London. Look out for Drawing the paintings, sculpture, manuscripts, ivories and
Collection, London
Figure: Gods Entwined on Saturday March 27, jewellery in the collection that tell the story of
11am to 4.30pm via Zoom. This one-day drawing Christ’s Passion. He will be looking at ways each
course, led by art lecturer and educator, Karly was interpreted and its wider implications for art
Allen is suitable for all levels and explores the and faith. Once again this is suitable for all levels.
human body in art. Participants will use paintings Looking ahead, bookings are now being taken
and sculptures from the collection as inspiration for the gallery’s major conference, Rubens’ Great
q Peter Paul to experiment with speed and mark making Landscapes, on May 17 and 18, 2 to 5pm daily,
Rubens The Rainbow exercises. The afternoon session includes a which focuses on two of Rubens’ landscapes –
Landscape more sustained exercise to develop a two-figure A View of Het Steen in the Early Morning and The
c.1636, at the Wallace composition exploring tone and colour. Rainbow Landscape (below left).
Collection, London To coincide with Easter Week, Dr Richard Stemp’s For more information, prices and to book
tickets for any of these events go to
l West Dean College of Arts and Crafts
is planning a series of virtual open days on
Wednesdays March 10, 17 and 24, running in
the morning from 10am to 12.15pm and evening
from 5 to 7pm. These free sessions will enable
prospective students to meet with some of
the tutors and discuss study options, giving
a real sense of the courses and opportunities
the college offers. For more information email
admissions@westdean.ac.uk or telephone
01243 818291.
l The Dorking Group of Artists is holding its
second online exhibition, which will be available
to view until May, featuring a completely new
range of paintings by group members in a wide
variety of styles and media. To see the exhibition
and find out more about the group, go to

10 April 2021 www.painters-online.co.uk

p Jill Leman working on

RWS Springtime painting ideas for this year’s RWS

spring exhibition at the Bankside
Gallery, London from mid-March

Plans are afoot as we go to press for the Bankside Gallery’s annual RWS Spring Exhibition,
which will, hopefully, open mid-March. Members have been busily preparing work to
submit to the exhibition – including the president, Jill Leman, who shares a taster of her
work with us here (above). Jill paints in watercolour and acrylic, working from her studio
in north London. Keep a look out on the Royal Watercolour Society’s website for updated
information at www.royalwatercoloursociety.co.uk

David Hockney in Normandy

Spring Cannot be Cancelled is a new publication based on correspondence
between David Hockney and the art critic Martin Gayford. The book is lavishly
illustrated with the artist’s drawings and paintings made during lockdown from his
home in Normandy (see the exhibition at the Royal Academy of Arts, London from
March 21 to August 22), as well as works by other artists, such as van Gogh, Monet,
Bruegel and others. The book reveals Hockney’s fascination for northern France
and the themes of light, colour, space, perception, water and trees. ‘We have lost
touch with nature,’ he writes, ‘rather foolishly as we are a part of it, not outside it.’
Spring Cannot Be Cancelled by David Hockney and Martin Gayford is published
on March 25 by Thames & Hudson, £25.

www.painters-online.co.uk April 2021 11

New Bridge Street
Newcastle upon Tyne NE1 8AG

Convention ☎ 0191 278 1611

p Laura Knight A Dark Pool, c.1908-1918, Challenging Convention at the Laing Art Gallery, Newcastle upon Tyne, explores
oil on canvas, 18318in (46346cm) the work of four women artists – Vanessa Bell, Laura Knight, Gwen John and Dod
Procter. The artists were all working at the beginning of the 20th century during an age
of modernism, transformation and increasing emancipation. Working amongst fellow
artists and intellectuals, the exhibition looks at the challenges they faced to stand up to
the conventions imposed on them by the patriarchal society of their day and the ways
they were able to make their mark in a previously male-dominated world. The exhibition
t Dod Procter Girl in brings together work from over 40 UK public collections.
Blue, 1925,
oil on canvas, 24318in Challenging Convention is at the Laing Art Gallery, Newcastle upon Tyne, from
(61345.5cm) March 27 until June 19. For more information visit www.laingartgallery.org.uk

www.painters-online.co.uk April 2021 13




We are looking for the best two-dimensional works in
any media including drawings, paintings, printmaking and digital
artwork from amateur painters in the Leisure Painter category, and
from more experienced and professional artists in The Artist category.
Up to 140 selected works, 70 from each category, will be exhibited in
galleries at Patchings Art Centre*, from August 21 until September 26,
* Covid rules permitting

Over 35 individual PRIZES WORTH OVER £13,500 will be awarded to selected artists including:

artist Purchase Prize Award

worth up to £3,000

One prize to purchase a work up
to the value of £3,000

artist Exhibition Awards worth

Up to 10 selected artists from the 2021
Over 35 prizes
The Artist’s category will be awarded a
mixed exhibition at Patchings Art Centre in
2022, worth £1,700
to be won,

artist Highly Commended Award worth over

A subscription worth £100

Batsford Awards worth £600

Four prizes of Batsford art books
to the value of £150 each

BritishContemporary.art Award
worth £1,800
One year’s representation by
BritishContemporary.art, the JUDGES
(All art materials prizes are quoted at the rrp)

online gallery featuring the best

of British artists PROARTE AWARD 2020 David Curtis ROI, VPRSMA
Mike Barr Town Hall Bus Stop, acrylic, 17¾x11¾in (45x30cm)
www.britishcontemporary.art Adebanji Alade VPROI
Caran d’Ache/Jakar Awards Sally Bulgin,
worth £500 Daler-Rowney Awards worth £500 editor The Artist
Two prizes of £250 worth of art materials Three prizes of sets of materials to the
www.jakar.co.uk total value of £500 Ingrid Lyon,
www.daler-rowney.com editor Leisure Painter
Clairefontaine Awards worth £500
Two prizes of £250 worth of art products Derwent Awards worth £500 Liz Wood,
selected from the Clairefontaine Two prizes of £250 worth of Derwent artist and co-owner of
Graphic & Fine Art range art materials Patchings Art Centre
www.clairefontaine.com www.derwentart.com

in partnership with

ENTRIES The competition is open to artists

worldwide. Two-dimensional artwork in
any media, including drawing, painting,
printmaking and creative digital artwork
is welcome. Only original work completed

ENTER within the past two years will be considered

and paintings based on reference
photographs must have been taken by the
online at artist or used with the permission of the
photographer. Photography, except where
www.talp.co.uk incorporated into collage, is not acceptable.
1 The entry fee of £25 covers up to THREE
Closing date for entries entries of two-dimensional works in any
extended to media. To give more amateur artists the
CLAIREFONTAINE & THE ARTIST EXHIBITION AWARDS chance to exhibit, just ONE work per entrant
2020 Jenny Aitken Oystercatchers, oil, 8x12in (20x30cm)
June 3 will be accepted for exhibition in the Leisure
Painter category. Please ensure you enter the
correct category. Artists can enter either The
Artist category OR the Leisure Painter category
- NOT both. The Leisure Painter category is for
amateur painters and The Artist category for
more experienced amateur and professional
2 No entry should be larger than 120x150cm
WHEN FRAMED (canvases do not need to be
3 TO ENTER upload digital files of your
image(s) and pay your entry fee using our
secure server via our website at
www.talp.co.uk. Closing date for entries
has been extended to 12 noon on June 3,
4 Entries will be judged after June 3, 2021 and
selected works called for exhibition. These
must be framed (canvases excepted) ready
for exhibition from August 21 to September
26, 2021 at Patchings Art Centre. ALL works
entered MUST be available for exhibition if
CARAN D’ACHE/JAKAR & THE ARTIST EXHIBITION AWARDS 2020 Estelle Robinson Self Portrait, pastel, 12x16½in (30x42cm) 5 Successful entrants will be notified in late
June about delivering their work between July
Award ProArte UK Awards worth £350 23 and August 8, 2021 to Patchings Art Centre,
worth £2,600 Two prizes of brushes to the value of £175 each Nottinghamshire.
One prize of a showcase feature on a www.proarte.co.uk 6 All care will be taken with entries but no
selected artist in Leisure Painter magazine
www.painters-online.co.uk St Cuthberts Mill Awards worth £600 responsibility can be accepted for loss or
Three prizes of £200 worth of watercolour paper damage in transit, incoming or outgoing,
Highly Commended www.stcuthbertsmill.com whilst on the competition premises or
Award during the exhibition. Originals selected and
A subscription to Leisure Painter Search Press Awards worth £350 submitted for final exhibition must be fully
worth £100 Two prizes of £175 worth of art books
www.painters-online.co.uk www.searchpress.com insured by the artist.
7 All entries must be original. Submission
Patchings Award worth £350 Winston Oh Award worth £400 of entry in this competition automatically
A gift voucher worth £350 to be used at A painting course worth up to £400 of your
Patchings Art Centre in Nottinghamshire choice, provided by Winston Oh constitutes acceptance of all the competition
www.patchingsartcentre.co.uk www.winstonoh.com rules and agreement to allow The Artist and/
or Leisure Painter to publish, republish and
repurpose entries in print and digital formats
including but not limited to magazines,
promotion materials, websites, databases and
as part of downloadable digital products.
8 By entering the competition, entrants agree
to be bound by the conditions of entry.

Visual effects and

textures in watercolour
Susie Hodge talks to Linda Saul, winner of The Artist Award in
the 2020 Royal Watercolour Society Contemporary Watercolour
Competition, about her working methods

inda Saul is especially fond of boats, lighthouses and harbours and Wharf construction site in Canary Wharf,
both the urban landscape and regularly explores both London and London.’
the coast as she paints ‘the Cornwall. Fascinated by the visual Largely self-taught, Linda grew up on
interaction of the elements with effects created by various textures the Isle of Wight, but did not consider
the built environment, the structural in the environment, she creates being an artist then; as a child I enjoyed
geometric forms of buildings and the unique images that blend reality with drawing, but hadn’t really painted. I
passage of time – decay, weathering, abstraction. ‘I find I am particularly never formally studied art but have
adaptation, repair or ruin.’ drawn to construction sites and cranes, attended numerous art workshops
Mainly working with watercolour and as modern structures engulf the with contemporary artists. In 2017
mixed media, Linda frequently features architecture of previous centuries. In I completed the Newlyn School of
high-rise office blocks, cranes, water, 2018, I did a residency at the Wood Art mentoring course, which I found
very inspirational. It was when I met
professional artists at workshops and
demonstrations that I found myself
drawn to the idea of becoming a
professional artist. I have spent a lot of
time experimenting with materials and
techniques and I have developed my
own techniques for producing certain
textures with water-based media that I
incorporate as collage in my work.’
The Making a Mark blog described
her painting Pendeen Clifftop (left) as one
of the top ten works in the 2019 Sunday
Times Watercolour Competition. In 2020
Linda won The Artist Award in the Royal
Watercolour Society’s Contemporary
Watercolour Competition for her
painting Battersea Dance (above right).
Paint, collage and
Linda produces her paintings in the
studio, basing them on sketches
and photographs that she has made
on location. ‘I love watercolour. The
medium has such lovely characteristics
such as granulation and runbacks.
Typically my paintings will be 95-per-
cent watercolour and most of my colour
mixing is done on the paper. However,
I am neither a purist nor traditional

t Pendeen Clifftop, watercolour and collage

on paper, 161/23141/2in (42337cm).
‘This Cornish view uses flowing, granulating
washes to suggest the texture of the ground.’

16 artist April 2021 www.painters-online.co.uk

p Battersea Dance, watercolour and collage t Fisherman’s
on paper, 17¾317¾in (45345cm). Hut, Priest’s Cove,
‘This is a view of Battersea Power Station watercolour
from across the river. A dance is one of the and collage on
collective nouns for the feathered variety of paper, 15312¼in
cranes, but it seems to me to be a fairly good (38331cm).
description for a collection of tower cranes, ‘This uses a mixture
too.’ of paper surfaces
to give a variety
of textures for the
in my approach and use collage, oil rock. Parchment
pastel and other water-based media has also been used
– gouache, acrylic and acrylic ink – in the collage.’
when it suits. I use collage in varying
amounts, particularly so I can mix paper
surfaces to get different effects, so most
of my collage material is paper that I
have painted. This also allows me to
juxtapose different effects that require
different techniques as well as different
paper types.
‘I developed my own techniques
and style from countless hours
experimenting. Visual texture in my
paintings is important to me and I’m
excited by the often unpredictable
marks obtainable as a result of the
physical properties of watercolour, such
as the rivulets formed by flocculating

www.painters-online.co.uk artist April 2021 17


q London Construction, u Reflections in Canary Wharf

watercolour and collage on paper, Construction, watercolour and collage
22½38¾in (57322cm). on paper, 15312½in (38332cm).
‘This is another painting based on ‘This painting was completed after
views from the top of the Blavatnik my residency at Canary Wharf in
building at Tate Modern.’ 2018.’

pigments. With collage, I tear back and the coast and London as much as I can artists. I had to trust that if I exposed
scratch the paper surface repeatedly and when on site I sketch and take myself to lots of different approaches, I
to produce rich, layered effects. I tend photographs to work from later back would find my own way of doing things.
to start with an initial background in my studio. I usually have a finished So I think my style is still evolving
wash, which is the sky if there is a sky idea in mind but the end result is never slowly. Style to a large degree arises
in the picture. I then draw out the completely predictable. Sometimes from techniques, and I frequently find
main elements and paint the major I do experimental work that is less myself adapting techniques to solve
shapes and then add detailing. This predictable. I use all sorts of things to a particular problem in a painting. My
last process may include painting, apply paint sometimes – card, credit coastal and urban paintings may look
collaging, stamping, tearing, scratching cards, rubbers. When I apply collage, like they are slightly different styles,
and linework. I nearly always work into it afterwards but that is because there is more
‘When I’m out looking for material, I – usually painting, but also sometimes opportunity to use weathered textures
look for compositions that I think will tearing bits back.’ in the coastal paintings. The approach is
work. It doesn’t usually take me long similar in both.
to choose – I usually have something Style ‘I have a core palette of colours, which
I want to tackle, although it took me ‘I’ve never knowingly forced a style. currently comprises hematite, indigo,
a long time to learn to see the sort of Early on I was worried that I did have a ultramarine, burnt sienna and blue
compositions I like in a city. There was style, one that I didn’t like! I attended a apatite Daniel Smith watercolours. I will
one particular view across the River lot of workshops with the same artists – usually use two or three of these a lot in
Thames that I revisited several times David Bellamy and Jenny Keal. They are any specific painting. I use a lot of other
over about two years before I managed wonderful tutors but I became aware colours for accent and the base palette
to figure out how to paint it. I often that if I carried on, I might just become varies from time to time and depending
suffer from block – a lot of my paintings a pale imitation of them, so I made on the subject matter.’
have a long gestation period. a conscious decision then to attend Linda’s largest paintings are usually
‘I don’t tend to paint outside. I visit different workshops with different about 40340cm and take her about ten

18 artist April 2021 www.painters-online.co.uk

p Red Door, Port Isaac, watercolour and collage on paper, 11310¼in (28326cm).
‘Wharves are one of my favourite subjects; watercolour is great for achieving textures that suggest rock and concrete.’

hours, from start to finish, to complete. Sunday Times Watercolour Competition,

However, she says ‘I have false starts, the Royal Institute of Painters in Water
lots of paintings that I reject. If I divide Colours and the St Barbe Open in
the amount of time I spend producing Lymington. It can be restricting working
work in a year by the number of for an exhibition if there is a theme that
finished paintings I produce, then it is doesn’t fit with my usual practice, and
more like 50 hours per large painting. it can be a hard decision whether or not
I also produce small experimental to accept such challenges. On the one
watercolours – typically about 10cm hand it can be very time consuming, on
square that are quicker and quite the other it’s healthy sometimes to be
therapeutic to create.’ forced outside your comfort zone. Such Linda Saul
opportunities have to be weighed up studied computer science at university
Opportunities and very carefully. and worked in the IT industry for many
communication ‘I haven’t painted to commission, years. She is an exhibiting member
‘I frequently exhibit locally with the although recently I have been and vice chair of the Reading Guild of
Reading Guild of Artists and take part producing illustrations for a book Artists and has exhibited at the Royal
in my local art trail in Henley. I usually for which I am also co-author. I use Watercolour Society Contemporary
have work in other exhibitions during social media, Facebook and Instagram Watercolour Competition, the
the course of a year – often the Royal specifically. I don’t really post enough Discerning Eye and the Sunday Times
Watercolour Society Contemporary on them, but I do think they are very Watercolour Competition.
Watercolour Competition. I’ve also powerful for visual artists, Instagram www.lindasaul.co.uk
exhibited in the Discerning Eye, the particularly.’ TA

www.painters-online.co.uk artist April 2021 19


Put a shine into

your still life Lotta Camilla Teale
has exhibited at the New English Arts
Club, Royal Institute of Oil Painters,
Society of Women Artists, Royal Society
of Marine Artists, Royal West of England
Academy and the Russell Gallery. She

Lotta Camilla Teale shares her tips as she delights

won both the Royal Talens Award and The
Artist exhibition award in the 2020 The

in painting still lifes that include shiny objects, such Artist Open Competition. For details of
exhibitions planned for 2021, please visit
as silver or iridescent ceramics www.lottateale.com

hile I enjoy painting iridescent colours, which photographs which can look beautiful in life but can
other subjects, 2020 was can fail altogether to capture but come be really hard to paint and are often
a particularly good one out deliciously when painted – see disappointing: one simple highlight can
for still lifes. They have Mustard Pot with Tangerines and Knife, often achieve more than a multitude.
provided months of entertainment. (below). I will often spend two or three hours
Crude as it may be, I find reflections setting up a still life, arranging and
on silver and ceramics particularly Composition rearranging, and often completely
enjoyable to paint. Silver is less a I like to include something alive in giving up on the props and starting from
colour than a reflection of all the colours each painting to keep it fresh – a scratch. If the composition isn’t right at
in the room and thus changes every vegetable or eggs for example – but the outset the painting will never work,
time, and it has a wonderful way of then the rest can be my usual props in however good the technique – I have
bringing together the different objects various permutations. I tend to avoid wasted many a day only to find the
in the still life, as they’re reflected in its complicated shiny objects such as silver composition was wrong. I photograph
surfaces. Ceramics often have surprising with lots of facets, or cut glass, both of compositions as I go along to work out

p Three Malian Spoons, oil on canvas board, 838in


t Mustard Pot with Tangerines and Knife, oil on canvas

board, 12312in (30.5330.5cm).

20 artist April 2021 www.painters-online.co.uk

TA04p20_23_Lotta.indd 20 02/02/2021 13:54


roughly where I want each element to of odourless solvent and wait a couple p Lemon and Silver Teapot in the Sun, oil on
appear in the painting, cropping them of minutes before brushing it off with canvas board, 12316in (30.5340.5cm)
to reflect the size of the board I want to a cloth or paper. I like to paint loosely,
use. and doing this first means I won’t risk may look white, if something else is
I stop moving things around when having hard white sections showing brighter, the apparently white thing will
the composition works for me – if I through at the end. I then map out need to be painted darker, as with the
stop before that point the painting the key elements of the drawing using backdrop in the demonstration painting
will invariably fail. For me, good ultramarine and raw umber. (pages 22-23). I try to get the colours
compositions include: having a focus My next step is to map out the key accurate first time, as it helps keep the
away from the centre or the edges, dark areas, usually in a thin wash of brushstrokes loose if you don’t go over
probably around the third line; having ultramarine and raw umber, and then them again, but that needs to be held
a clear depth (lines can contribute to start blocking in the colours. As I start in balance with getting all the colours
creating this); having the light from one to apply the paint, I’m keenly aware of down speedily, as it’s hard to have a
side, usually from the left – this helps where the darkest and the lightest areas sense of their respective tone until
create depth; simple colours, possibly are and that even though something most of them are down. w
two opposites or more restrained – too
many bright colours can detract from
the subtlety of a painting. I also prefer
to have objects overlapping in some
way and to have some space around
the objects to let them breathe. When
painting shiny things, I make sure to
note the shiniest spot in the painting
to make sure it’s not accidentally in the
middle of the composition.

Getting started
I tend to use gesso-covered panels. As
a vegetarian I try to avoid oil primer,
which tends to be made with animal
bones. It’s a shame as I love the texture
but it’s a sacrifice I think it’s only right to
make (if anyone has any suggestions on
good alternatives do let me know!).
I start by mixing and applying a
relatively neutral base colour with lots p Local Eggs with Moroccan Bowl, oil on board, 8315¾in (20340cm)

www.painters-online.co.uk artist April 2021 21

DEMONSTRATION Persimmon with Teapot

l Oil paints: Michael Harding or Jackson’s: cadmium
yellow, lemon yellow, cadmium red, alizarin crimson,
ultramarine blue, raw umber, alkyd fast-drying white
l Panels: Jackson’s or Belle Arte, or I make my own
using Jackson’s gesso primer
l Brushes: always filberts, usually Jackson’s Akoya
range (synthetic)

This set up worked for me


l Be prepared to spend as long on composition as painting – it’s
equally important.
l Be careful where any highlights fall.
l Minimise the use of highlights to focus attention.
l Keep colours simple.
l Keep it loose to allow the viewer’s eye to do the work.
l Be careful not to allow strong contrasts or hard lines in a place
that is not designed to capture the viewer’s attention.

I used my paint brush to measure distance
between key points in the composition, then
drew the key elements with ultramarine and
raw umber

The dark areas were mapped out and I began
to block in the colours. For colours that I
find tricky, such as the red shadows on the
persimmon, I sometimes leave it and move
onto other colours, as here

Once all the colours are in, as in Stage
Four (top right), the long phase of
adjustments starts. I aim to keep the what is working and what is not. In the between colours is not too strong and
brushstrokes as loose as possible, while next phase of adjustments I try to keep crisp and that the paint is thin, or it will
introducing the subtleties that make the a number of ideas in mind: draw attention.
painting sing. It’s about this stage that • I stand back and double-check the • A variety of edges can make a painting
I’ll pick the painting up and move it to shadowed areas of the painting to more interesting and alive, as well as
a different place to look at it, as well as make sure they have maintained an add depth.
photographing it. Somehow seeing it appropriate level of darkness. • Areas of the same tone are often best
in a different spot, and in a photo, can • In areas not intended to be the main with a hardly perceptible edge between
help give you fresh eyes and notice focus, I try to make sure the contrast the two.

22 artist April 2021 www.painters-online.co.uk

I finished blocking in the colours. Reflections in silver tend to
be a bit darker than the original colours and can be warmer if
the silver could do with being cleaned. Whenever I paint, I try
to forget the subject matter and just paint the colours I see in
front of me, roughly where I see them

Persimmon with Teapot, oil on canvas board, 153/43193/4in
For paintings of this size I will often do them over two days,
coming back to check and improve on them the second day.
If nothing else, it can sometimes be good to go over the shiny
patch with one stroke the next day when the painting has
dried to accentuate the highlight, which can have a tendency
to get muddy

• I try not to add too many highlights – • It’s particularly important to get so the audience’s eye has to do some
restraint in highlights can help focus the highlights right first time, rather than work to make it out.
viewer’s eye. having several attempts, as crispness Finally, I leave most paintings as they
• Even the brightest part of a reflection makes it ‘pop’. If it’s not in the right are, although I do like to varnish dark
might not be pure white – on silver place, scrape it off and do it again. paintings afterwards as it brings out the
it will often be golden tinged, and to • It shouldn’t be ‘perfect’. Stand back depth of the dark – and thus the shine
paint it white may put the painting out frequently to see how it all comes of the highlights. TA

of kilter. together. I prefer to have looser strokes

www.painters-online.co.uk artist April 2021 23


Create a dramatic
landscape in pastel
Cheryl Culver demonstrates how she captures the
beauty of big skies and open spaces using pastel
and includes her top ten tips for pastellists

t the start of the first lockdown landscape/seascape, alters the mood
of 2020 I really wanted to and the colour, making each day alive
paint open spaces, the sea and different. Every walk or drive Cheryl Culver
and rolling countryside with through the countryside adds imagery studied fine art at Leicester College of Art
big skies. But there were the travel to the memory bank. and Design. She is a past president of the
restrictions, so I began searching I work on Arqadia Conservation Pastel Society and a member of the Royal
Society of British Artists. She has exhibited
through old sketchbooks to find Mountboard, putty 8009. For stability
throughout the UK and France and won
drawings I could work with, that could I glue two pieces together with neutral
awards for her work.
be regenerated. Fortunately I was able pH glue, pile weights on top and leave
to patch together three drawings, made it overnight. Next the board is primed
over the last two or three years, to with Golden Acrylic Pastel Primer using pastel will cover this completely.
create Ever Changing. a 2in house painter’s brush. This gives I like to start painting a sky in the
loads of texture, sometimes in very morning, perhaps I feel it has to be
The process inconvenient places, but overall the a fresh day, I’m fully alert and have
I always work from drawings made on effect is in keeping with my work. After no interruptions. I try to let the sky
the spot and which are very precious to drying overnight it is ready to work on. paint itself and keep the marks free
me, as painting reference, but also as The initial drawing is made on the and flowing. Recently I have started
a memory of a particular moment and board using a Derwent Pastel Pencil; to rub some of the initial colour into
place. Photos don’t help me one little errors can be removed with a wet cloth the board. Later layers of colour are
bit. and dried with a hairdryer if necessary. allowed to do their own thing and
My drawing is the structure on which I like to walk away from the completed benefit from showing the mark making
I can hang the colours; it is the catalyst drawing before the next stage as any of the pastel. If it goes well, that
for the painting and has to make sense mistakes seem to jump out when tingle of excitement is there and it’s
in terms of normal logic and realism. looked at with a fresh eye. If all is well worth getting up early to crack on the
Perspective, scale and a sense of place I then underpaint with acrylic paint, following day.
are really important to me but hyper- diluted like watercolour. This helps to Woe-betide those who demand my
realism is not. It is a matter of being seal the drawing and hold the structure. attention for the next few days. The
aware of the light, how it changes the It also sets the direction of light. The world has to wait! TA


Samphire Hoe is a favourite spot of mine, a
spit of land created from the spoil from the
Channel Tunnel. At low tide it is possible to
walk to the Warren at Folkestone and from
there to Folkestone itself, but it is important
to check the tide timetable!

t My composition drawings,
made using black marker pens

24 artist April 2021 www.painters-online.co.uk


After drawing the image on the textured
board, the image was underpainted with
Winsor & Newton acrylic cerulean blue hue,
gold ochre, yellow ochre, cadmium orange,
raw umber, cadmium red light and some

I often use Rembrandt gold ochre 231.5 as the
undercoat for the sky – it helps to enhance
the glow of the golds and greys and give life
to the sky. It is also not too juicy and can be
laid on in a very thin layer

Building the sky, I worked in some rough
strokes of colour using Schmincke vanadium
yellow light 008 M and permanent yellow 3
deep followed by Unison grey 10, quite thinly,
to allow for more layers to be added without
over clogging the work. If the golden horizon
feels too strong, some gentle dragging of
the greys, using my fingers, takes the steam
out of it. The horizon was drawn back with a
pastel pencil after the excess pastel had been
brushed off


Rembrandt Schmincke Schmincke Unison Unison Unison Unison Unison Unison Unison Unison Unison
gold ochre vanadium permanent blue blue blue blue yellow additional grey 9 grey 3 additional
231.5 yellow light yellow 3 violet 14 green green green green grey 48 grey 11
008 M deep 15 earth 3 earth 16 earth 2

www.painters-online.co.uk artist April 2021 25



l Find a support that suits you. There are
many choices available but you won’t know
whether you like it without trying it.
l Find pastels that suit you. Each brand has
a unique quality and colour range.
l Try to buy from an art shop where you
can see the pastels, or use a hand-painted
colour chart such as that from Unison Colour,
especially when you have to purchase
l Keep a note of the colours and brands you
like. Once you have removed the wrapper
it is very difficult to identify the colour from
p STAGE FOUR online or printed colour charts.
The sea was the next major area requiring freedom of movement and spontaneity. The
l Try to keep colours in separate containers.
most difficult bit is to retain the crispness of the horizon; it doesn’t matter if the marks
wander over the boundaries elsewhere as long as the water has movement and my I find that once they escape they all start to
horizon is left intact. look brown. When working on a piece, I try
There is often a dark line of water on the horizon and, to enhance the luminosity of the sky, to keep my colours grouped, eg sky colours,
I used Schmincke greenish grey 94D, dragged onto the board, moving to Schmincke etc, so that I can locate them easily.
greenish umber 30O to take the blue-greys into blue-greens, both thinly applied. A tiny l The joy of pastel is the high pigment
touch of Rembrandt gold ochre 231.5 underlies the greenish grey 94D content and the colours really glow. I tend to
work from dark to light.
l Keep a small piece of primed mountboard
to make quick colour test marks. Colour has
the annoying tendency to change its identity
when the underlying colour is changed.
Bit by bit, experience will help with this
l Glazing is another important aspect of
dealing with a pastel painting. I use UltraVue
UV70 Anti Reflective Glass, which I buy in
packs of two sheets measuring 36348in. It is
not cheap, but there is virtually no reflection
and there is no problem with steaming up,
should the work catch a strong beam of
l When framing a pastel, ensure the work
doesn’t touch the glass. A spacer, a slip or
a mount will ensure this doesn’t happen.
If your work is heavily laden with pastel, I
p STAGE FIVE advise avoiding mounts – after the slightest
The Unison colours shown in the chart (below) were used to build the colour changes of movement they are dotted with pastel dust
the sea, with the marks becoming more lively as they near the shore and less pronounced and, even worse, potential buyers will think
near the horizon. This helped to give a sense of distance. Picking up the white foam of that the whole painting could shed itself in
the waves added movement. It also helped to indicate the curve of the beach as well as the night and disappear.
making the immersion of the rocks more convincing. To achieve the translucent effect of l Be proud of your pastels. Don’t be
water flowing over the beach/pebbles, I worked in the beach colours and the pebbles and treated as second-class citizens of the art
then dragged some greenish blues over that before finally adding some whitish foam world. Pastel is a wonderful medium and
has qualities that outshine all the other
traditionally accepted media.

Schmincke Unison Unison Unison Unison Unison Unison Unison Unison Unison Schmincke
greenish grey ocean blue green blue green blue green blue green blue green blue green grey 23 blue green greenish
94D blue 6 14 earth 4 earth 2 earth 3 earth 16 17 10 umber 30O

26 artist April 2021 www.painters-online.co.uk

The White Cliffs of Dover and surrounding coastline
are not really white. When chunks of chalk break
away the clean breaks look white, especially in
bright sunlight, but when a section of cliff tumbles
it takes with it topsoil and grassy vegetation, hence
it is quite normal to see patches of green half way
down the cliff face and streaks of brown mud
staining the chalk. To create the grainy solidity of
the rocks, I began with a fine layer of Faber-Castell
Polychromos Pastel walnut brown 177. The rough
surface of the primer was enhanced by the mark
making of the pastel


Faber-Castell Schmincke Schmincke Schmincke Schmincke Unison Schmincke

walnut greenish greenish brown ochre mossy green grey 23 titanium
brown 177 umber 30B umber 30D 32B 75B yellow 007M


I constructed the Ever Changing, pastel on primed mountboard, 193/43351/2in
sections of rock in (50390cm).
stages, dragging the Finally I attempted to convey the thousands of pebbles.
underlying colours to Faber-Castell walnut brown was used as an undercoat,
build the textures and followed by Schmincke brown ochre 32B and Schmincke
shadows of the surface greenish umber 30D to indicate areas of sand. The pebbles
You can watch Cheryl’s painting
of the rock, finishing were a combination of most of the colours used in the rest
come to life in this video:
with the highlights on of the work, using scale and highlights to show distance and
the facing edges contours. I thought rhythms, ebb and flow when doing this

www.painters-online.co.uk artist April 2021 27


Bring wildlife to life in

Jake Winkle explains how you can use a variety of watercolour techniques to
bring movement and narrative to your wildlife paintings

hat do you want to paint, importance of observation, colour, the shape, and soon discovered the
why do you want to paint shape and design. powerful impact achieved by retaining
it and what emotions do the white of the paper.
you want to stir? These The built environment I have always had a love and respect
are three critical questions for any artist In adulthood my painting career started for wildlife and from the outset would
and for me, the answers kind of found with the landscape and the built be commissioned to paint animal
themselves. As a child I would sketch environment. Not feeling comfortable portraits alongside my ‘serious’ art. It
endlessly, trying to recreate the three- with landscape I became more was only a matter of time before I would
dimensional world around me on a flat, fascinated with the effects of light and combine my developing techniques
two-dimensional surface. I puzzled over shade on form in the built environment. into wildlife art. Nowadays I still paint
perspective and shape in my attempts I started to explore different ways to the built environment, with Venice
to make things look real and the more interpret it including wet-in-wet, direct being one of my favourite subjects,
real they looked, the better. dark-to-light painting and also the but my interest lies more in animal
My true training, however, began in more traditional approach of layering and wildlife paintings and human
my late teens at Bournemouth College colour from light to dark. As my painting portraiture. So this explains ‘what I
of Art and Design where I undertook developed, I would work with increasing want to paint’. ‘Why’ is because I can
my foundation year. It was the most intensity of colour, trying to get the relate to the subject on a personal level
intense year of my life because I was paint on the paper – rich and fresh but also on an artistic one, too. I enjoy
exposed to many different aspects of with as little fuss as possible. I would the freedom of colour and expression
picture making and I remember it as explore the individual effects that could of mark making afforded by wildlife
a whirlwind of ideas and tasks. I am be made by the brushstroke rather and portraits, in a way I don’t with the
eternally grateful that I was taught the than using it as just a tool for ‘filling in’ natural and built environment. Thirdly,
evoking a feeling for me means that
each picture should create a mood, tell
a story, or allow the viewer to interpret
their own story through it. So rather than
just a catalogue of what an animal looks
like, a portrait should be characterful
and hint at a back story, too.

Spontaneous and loose

Rocky Raccoon (left) is a curious little
fellow, maybe he’s about to steal your
lunch! Rather than using a rainbow of
colours the painting relies on design
and mark making; it deals with how to
select in terms of detail and definition.
The body and posture are clearly
important but have been understated
to allow the head and eyes to come
forward. The most intense contrasts are
in the head and that’s where you will
find the white of the paper and also the
only vestige of primary and secondary
colour. The body is full of lost-and-
found edges and movement created by
p Rocky Raccoon, watercolour on Arches Rough 140lb (300gsm), 12½318½in (32347cm). In contrast, Please, Sir, I want some
A fairly monochromatic painting made using the direct approach more… (top right) encompasses shape

28 artist April 2021 www.painters-online.co.uk

and colour – the silhouette of the little
dormouse tells the story. Both these
paintings use the direct method, which
is very spontaneous because everything
happens on the paper all at once.
Lights and darks combine wet-up-to-
wet and rich colour is also added wet-
in-wet. By holding the brush further up
the handle, away from the bristles, I can
make marks instead of ‘colouring in’,
the result being a combination of hard
and soft edges and white paper. I like
to use colour temperature and detail to
effect depth, so the ear and leg that are
furthest from the viewer are rendered in
dark but neutral colour compared with
the nearer ones, which are painted with
more detail and colour.
p Please, Sir, I want some more…., watercolour on Arches Rough 140lb (300gsm),
12½318½in (32347cm).
Creating movement
Holding the brush away from the bristles enabled me to ‘open’ the brushstrokes to reveal Movement can be achieved by simply
rendering a subject which is moving,
but the illusion can be enhanced with
different techniques and approaches.
A leaping hare will move across the
paper but it can appear a little more
static if too much emphasis is placed
on detail. Think about sprinters in a
100M race – they appear more of a
blur than anything else. It’s useful to
know which elements are important to
show and which can be left unpainted.
Sometimes it’s the overall silhouette I
want to suggest and what’s inside is left
‘undone’ and out of focus. Leaping Hare
(left) was largely painted wet-in-wet.
The head and legs were painted on dry
paper so the silhouette is discernable
but the body is wet-in-wet. Like most of

p Leaping Hare,
watercolour on
Arches Rough 140lb
Working wet-in-wet I
painted the body as a
blur whilst retaining on
dry paper the shape of
the head and legs

u Zebra Stampede,
watercolour on
Arches Rough 140lb
(300gsm), 12½318½in
I wanted the legs
to be a blur and
concentrated on the
stripes inside the body

www.painters-online.co.uk artist April 2021 29

t Searching Snowy Owl, watercolour on
Arches Rough 140lb (300gsm), 121/23181/2in
Using pale mixes of cobalt blue, alizarin
crimson and cadmium orange I painted

This works in watercolour because of

the transparency of the medium. For
instance, cobalt blue makes a clear
deep blue when applied rich and
creamy, but watered down it becomes
not only a paler colour but also less
intense (or ‘greyer’). I really enjoyed
painting Searching Snowy Owl (left); it is
a beautiful design that makes use of
lost-and-found white paper between
the owl and the background, and also
uses colourful shadows. Mixing on the
paper, I let cobalt blue run against
my paintings, the image is fragmented enhanced by the soft-edged horizontal crimson alizarin or cadmium orange and
to allow the white of the paper to be shapes in the background. then back to blue again. The effect is
part of the picture. Fragmentation similar to that of the paint before it has
increases light and also movement, Colourful greys dried, it shines with luminosity. To make
so even a static image like Please, Sir, I I like to retain the white of the paper the most of this technique you mustn’t
want some more… has an energy! In Zebra to create light and energy and find overstate the tone of the shadows; it
Stampede (page 29) I have subdued the this is enhanced when combined with works best if you can juxtapose these
silhouette and instead concentrated subtle changes in colour temperature. with jots of very dark, such as the tips of
on what’s happening inside. Again, the Rather than thinking of shadows as the wings.
image is fragmented but this time it’s ‘grey’ I see them as having a warm or
the stripes in the body that I wanted cool temperature; often when shadow Design
to retain. In this instance the legs areas are pale I will use unmixed cool I am drawn to simplicity when it comes
are moving so fast that they blur or blues alongside pure warm crimsons to design. Too much background can
disappear. The sense of movement is and oranges to create colourful greys. distract from the subject, which is

DEMONSTRATION Mother and Daughter

A wonderful subject and the challenge was to not get overwhelmed
with orange!
Having sketched the
orangutans, I worked on
dry paper and made use of
wet-up-to-wet. Strong light
and shade help to create
form and you will always
find interesting colour in
the darkest shadows if you
look for it. I started in the lit
area below the nose – when
working quickly, mixing
wet-up-to-wet, I like to do
the darker colours second.
Holding the brush up the
handle enabled brushstrokes
that left spaces of white
paper. I made use of cool greens and violets against p STAGE TWO
warm oranges and browns. Rendering the correct I continued into the face of
tone is most important and allows you to be free the baby, ‘locking’ it into the
with your choice of colour. This part of the painting mother’s with a soft edge. In
progressed into the dark area around the cheeks this way lost-and-found edges
and eyes and up to the pale forehead. As with most were achieved in the darks.
portraits, the eyes were very important so I took my I fused colour wet-in-wet to
time to get them right develop depth

30 artist April 2021 www.painters-online.co.uk


p Elephant Mirage, watercolour on Arches Rough 140lb (300gsm), 10½318½in (27347cm).

why I like to keep these simple. A detailed
A simple composition of one major shape comprising a group of elephants
background can compromise the silhouette
of the subject so I usually don’t include one. I
painted Elephant Mirage (above) because I was
drawn to the overall shape of the subject. There Jake Winkle
Jake’s work can be viewed on his website www.winkleart.
is very little detail but the shape of the ears
com. He has been the subject of a book by Batsford Books
and the light catching the trunks are enough to and has several teaching DVDs available from Town House
suggest the herd ambling towards us. I made use Films (https://townhousefilms.co.uk). Jake uses the Luxartis
of colourful greys and the legs disappear lost- range of kolinsky sable brushes available from
and-found into the ground, making a peaceful www.luxartis.biz
and understated image. TA

Mother And Daughter,
watercolour on Arches
Rough 140lb (300gsm),
12½318½in (32347cm).
The most challenging
part was the orange-
brown fur. I didn’t
want to overwhelm
the painting with a
blanket of warm colour
so elected for a loose,
broad brush approach
to encourage the shape
to vignette towards
the edges. I opened up
the brushstrokes and
made use of diagonals
to create energy. Finally
I applied a pale wash
of raw sienna to the
background and a little
watery spatter when dry

www.painters-online.co.uk artist April 2021 31

B E YO N D A L I K E N E S S – T U R N I N G A P O R T R A I T I N TO A PA I N T I N G : 4T H O F 4

The expression Ann Witheridge

In her final article in this series, Ann Witheridge studied art history at Christ’s College,
considers how best to capture the sitter’s expression Cambridge before moving to Italy
to study art full-time. She has been
teaching drawing and painting in the

hen we think of naturalistic tradition we can use many atelier tradition for over 20 years. Ann
expressions, we think elements to help convey a mood, a founded London Fine Art Studios to
teach the craft of drawing and painting
particularly of facial feeling and therefore an expression.
to dedicated artists.
features, and yet so much As always we should first consider the http://londonfineartstudios.com
of the expression is first determined by big shapes, the large topics before we http://annwitheridge.com
the overall mood of the painting. My delve into the details.
previous three articles looked at the I have a very systematic approach
background, the hair and the clothes, to my painting and to teaching; rather the pose, the scale, the clothing and the
all of which add to the mood of the than juggling all the elements of a hairstyle.
painting and, therefore, the expression. painting in the first brushstroke, I like • The angle or viewpoint. Is it from
to break it down into simpler steps: above, below or straight on? This can
Mood shapes, values, colour, edges and add a sense of tenderness, grandeur or
The mood of the painting can be paint handling. We can use this same directness.
conveyed both through the subject approach to build the mood we want in • The direction of the sitter’s gaze,
matter, as well as painting style and the painting. When thinking about the looking down, looking up or directly
paint handling. In this article we will overall plan for your painting, consider: at the viewer. This can also convey
consider naturalistic expressions as • The shapes, which includes the different emotions in the sitter.
opposed to the artistic movement we overall composition and the pose. Is it • The values, whether we go from
refer to as Expressionism*. Within a formal or relaxed? This is conveyed with strong contrasting values, or soft subtle

Each of the five small oil painting sketches shown here were done in one sitting,
but each has a very different mood.

p Sideways glance p Eyes closed

1036in (25.5315cm). 535in (12.5312.5cm).
Although the sitter is not looking directly at us, the The sitter has closed her eyes, which adds
expression is still strong and confident to the mood of gentle sensuality

32 artist April 2021 www.painters-online.co.uk

April 2021
p Portrait of a male u Raised
1036in (25.5315cm). eyebrows
Despite the fact there is no information in 1036in (25.5315cm).
the eyes, there is still a sense of strength and The eyebrows here are
directness raised, which gives a
slightly anxious and
alert look
values. Think of the difference between
Manet and Morisot’s palettes. t Portrait of a
• The colours. Are they vibrant and woman
chromatic, or soft and harmonious? 835in (20312½cm
• Your own painting style. Is it sharp In this portrait I think
and edged, well refined, or softer and there is a gentle mood.
more impressionistic? This might be because
All these elements will help clarify it was the only one for
a mood in the painting, which in turn which I had a little more
helps the expression, adding to the time and so moved
emotions we believe the sitter is feeling beyond a block-in. I
or conveying. could be a little more
nuanced with the
modelling and move
Having worked out the mood of the into the highlights of the
painting with the big shapes, let us eyes and the modelling
move onto the small and subtle shapes, of the lips
zooming specifically into the portrait,
into the eyes, the nose, and mouth, to
determine the expression. *The artistic movement
When starting a portrait, I think the that we refer to as
shape and structure of the nose is your Expressionism is the
one fixed point. Of course, a nose can use of free energetic
be very characterful, but it is also static paint application with
and therefore such a good anchor to a a less than naturalistic
portrait likeness. When we move to the use of colour – think
eyes, or more specifically the eyebrows of Van Gogh, Munch,
and the mouth, there are so many Schiele and Kokoschka.
variables, which really help us give an However, as a movement
expression to the portrait. The simple it is pushing expression,
large shapes and the five essential where expression is
darks lock into the likeness. But the beyond naturalism, using
expression of the sitter is a much more emotions to express
nuanced and subtle art. TA oneself with paint. w

www.painters-online.co.uk artist April 2021 33

B E YO N D A L I K E N E S S – T U R N I N G A P O R T R A I T I N TO A PA I N T I N G : 4T H O F 4


I often sketch and doodle in my mouth; or is it the five essential darks: the nose or the mouth that can guide.
sketchbooks. I am frequently trying two eye masses, the shadow shape under Do some drawings in your sketchbook,
portraits out, working out how much the base of nose, the upper lip and the simple ones, which don’t describe a specific
information I need to put on a piece shadow shape under the lower lip – the person, but change their expression. Just
of paper before it is recognisable as a five underplanes of the portrait? With these from your imagination create a little portrait
portrait. Is it the oval of the head; is it drawing exercises I am not trying to get and see how easily the expression can be
five lines indicating the eyes, nose, and a likeness, I am seeing if it is the eyes, the changed.

In this page in my sketchbook, I have

worked from my imagination to see
what it is that really changes the

I have omitted the mouth but changed the shape of the
eyebrows. The mouth will help with the expression, but we
can say so much with just the eyebrow line.

Upper Lip
In the second line I have left the eyes but changed the shape
and placement of the upper lip. It is amazing how we can
leave the eye neutral and yet the mouth can change the
mood so much.

In the third line I have changed the shape of the base of
nose. I feel the nose is really just the character. It doesn’t
help with the expression, like the mouth or eyebrows.

Mass as opposed to line

In the fourth line I have had fun with mass and tried to see
if this helps clarify the expression further. We always want
to move into mass and colour as this helps the painting and
mood, but I do find it amazing just how much we can convey
at the very start. Even at the initial stage of lines, before we
have contemplated mass, values or colour, we can already
describe so much of the expression.
Experiment with expressions, pencil on Strathmore toned paper,
14311in (35.5328cm)


When the large picture is established and rather than the eyes that create more their faces are more expressive, having the
we move into the details of the portrait, expression. lines of time. When I was little I used to
these easily adjustable edits will help to sit with my eyes scrunched up, as I really
l When I am painting a portrait commission
alter the expression of your sitter: wanted smiling wrinkles. I definitely have
I don’t think intentionally ‘this is the mood
l If your sitter looks these in abundance, along with all the
I am planning to capture’ or ‘this is the
(a) Melancholy, the mouth is too low other wrinkles age has offered me.
sitter’s psychology, which I need to express
(b) Anxious or surprised, the eyebrows are The reason we love painting portraits
in my painting’. It happens very naturally
too high is because of the subtleties and the
with the sitter in front of you. If we capture
(c) Cross, the eyebrows are too low, too close psychology and stories that we read into
a likeness it is hard to avoid the character
together or too angled works of art. It isn’t like still-life painting or
and expression. And an expression is even
(d) Not happy enough, you can extend the landscape, which has a much larger room
subtler than a likeness – a small brushstroke
corners of the mouth for error and therefore gives us much
to the left or right can change an expression.
more freedom with paint handling. As
l The cliché says that the eyes are windows In essence, it is all about the placement of
Sargent told Lady Radnor ‘Ask me to paint
to the soul, but we can create such clear shapes, but this placement is in its minutiae
your gates, your fences, your barns, which
expressions without the eyes, even with when we are dealing with expressions.
I should gladly do, but not the human
closed eyes. I would say it is the eyebrows l Older people are often easier to paint, as face’.

34 artist April 2021 www.painters-online.co.uk


Painting trees
Barry Herniman
organises and tutors painting holidays
in the UK and abroad and is available for and
workshops and painting demonstrations to
art clubs. To join his mailing list for future
events email bazherrflick@gmail.com.
Barry’s Cloverleaf Paintbox is available
online at: cloverleafpaintbox.com. His
books Painting Mood and Atmosphere in
Watercolour and Painting Landscapes in
Acrylics are available at discounted prices
from our online bookshop:
In the third of four articles on the elements of the
landscape, Barry Herniman demonstrates how to
paint trees and woodlands in acrylics

nless you live in a treeless painting trees, whether singularly or as foliage. All those greens! Now I
landscape like the Orkney a group, as they are so much a part of realise that I was missing out on some
islands or Patagonia in our native landscape. A lovely quotation wonderful British landscape scenes
Argentina, two places I have from Khalil Gibran – ‘Trees are poems because of it.
visited, you won’t be far from trees and that the earth writes upon the sky’ – By getting away from painting greens
woodland. I live in the Wye Valley and conjures up feelings in words that we, as with green, instead using an array of
am lucky to have an abundance of trees painters, can reproduce in paint. blues and yellows plus a combination
and woods that I never tire of painting of different colours, I found I had
in all their different moods throughout Greens without green opened up a whole new palette of
the seasons. Skeletal winter trees are a joy to paint both subtle and exciting greens. I have
With all the travel restrictions imposed as a fair amount of drawing is involved, held workshops on this very topic and
due to Covid-19 during 2020 and so far especially when outlining the filigree students have produced some really
in 2021, I have taken to painting a series patterns of the branches and twigs. exciting paintings, once they got over
of local views that are inevitably heavily Until recently I would always shy away the fact they would not be using the
biased towards all things woody. I love from painting trees in verdant summer colour green to produce their greens. TA w

DEMONSTRATION Morning Light, Early Frosts

Whilst on one of my early morning walks

that takes me past a secluded house, I
caught this lovely scene with the sunlight
catching the trees and long shadows over
the ground frost.

l Schmincke PRIMAcryl acrylics:
transparent golden yellow, Indian
yellow, transparent orange, carmine,
burnt sienna, cobalt turquoise, cobalt
blue, ultramarine, phthalo green blue,
transparent violet, titanium white.
l Clear painting medium
l Brushes: Stirling flat 6/4, DaVinci round
No. 4, rigger No. 2
l White gesso
l Mountboard
l 2B pencil After coating a piece of off-cut mountboard with white gesso I waited for it to dry then pencilled
in the main outlines of the subject with my 2B pencil

www.painters-online.co.uk artist April 2021 35


To pull areas of the foliage together I
mixed up my red/orange hues with the
painting medium and then started to
glaze these colours over the foliage.
This medium makes the paint even
more transparent – as you can see
from the close-up photo all the lovely,
underlying textures still show through.
Once most of the foliage had been
p STAGE TWO established I moved into the trunks
Using my yellows, orange and a touch of violet, I started to flick some basic textures into the
and branches. With my rigger and a
left-hand trees with the No. 4 brush. When flicking/spattering in a confined space, don’t use too
rich blue/brown mix I painted in the
springy a brush as the paint will go everywhere. Moving across the painting, I began flicking in
dark trunks around the scene. You will
the basic colours of all the different trees. With turquoise and a touch of violet I mixed up a fairly
see that by this stage I had built up the
fluid wash to build up all the cold, horizontal shadows over the frosty field, varying the mixes
strengths in all the shadow areas of the
as I moved across the painting. To paint the undergrowth beneath the trees I used a dark mix of
foliage, with relevant shadow colours
burnt sienna, ultramarine and violet, leaving a few white tree trunks
mixed with the painting medium

Working into the tree areas, I spattered in
the basic colours of each tree, then gently
blended some of the spatters together with
the tip of the brush – I was still leaving lots of
white spaces within these areas. I also started
to paint in some of the branches here and

36 artist April 2021 www.painters-online.co.uk


Morning Light, Early Frosts, acrylic on mountboard, 14321in (35.5353.5cm).
I just love doing the last bits of detail, the finishing touches. I mixed up my white paint to a
creamy mix and, with a loaded rigger, started to develop the highlights on the tree trunks and
branches. Still using the white paint I fashioned all the fence post highlights, together with the
gate on the left of the picture. I also touched in some of the light leaves within the dark areas of
the copse, which added a bit of sparkle to the painting. And that was it !

Next month: Paint a seascape in watercolour

Digital readers can paint along with Barry as he demonstrates wintry trees in gouache.
To subscribe to The Artist digital edition go to https://bit.ly/2yW77Fe

www.painters-online.co.uk artist April 2021 37


Paint wintry trees

in gouache
Barry Herniman invites you to join him in this quick, 30-minute exercise to
make a postcard-size painting in gouache
I tend to favour
MATERIALS Schmincke Horadam
l Schmincke Horadam gouache: gouache as this medium
Indian yellow, cadmium orange, is so versatile. You can do
burnt sienna, cobalt blue light, transparent watercolour
ultramarine deep, violet, washes in one stroke
titanium white. and opaque passages in
l Cold-pressed watercolour paper, another.
roughly 638in (15320.5cm).
l Brushes: DaVinci round No. 4 and
rigger No. 2.
l 2B pencil.

With dilute cobalt blue, p STAGE ONE
paint in the sky, leaving With your 2B pencil draw the tree lines, field boundaries and the
some white areas around foreground dark area
the tree tops

With a mix of orange, burnt
sienna and violet spatter some
paint into the foreground area

Using the same mix,
spatter paint into the
tree areas and, whilst
the paint is still wet, use
the end of the brush to
pull paint up into the tree
tops. At this point all basic
textures have been built up,
ready for the next stage

37i April 2021 www.painters-online.co.uk

With a dilute violet, start to paint in the
shadow areas within the trees. Then use
a dilute mix of Indian yellow to paint in
a swathe of foreground, going over all
the previous spatter texture. Do not over
brush or you will lift all the underlying
paint . Take a mix of burnt sienna and
violet and paint in the V-shaped area in
the foreground

With a juicy mix of
ultramarine and
burnt sienna, start to
fashion the numerous
tree trunks, working
from the ground level

p All the basic textures and foreground areas have been

developed p STAGE SEVEN
Take some semi-dry violet and dry brush the tops of the trees. Then, with
the rigger, weave the ascending branches up the into dry-brushed area with
the same blue/brown mix used for the trunks

With a brush full of fairly dilute white, start to paint over
the lower area of the trees, taking care not to be too
heavy-handed or you will dislodge all the underlying
paint. This will produce the lovely early morning mist
that cloaked the scene

Morning Mists, gouache on paper, 638in (15320.5cm).
To finish off , use your blue/brown mix to paint the bush
in the left-hand corner and add some dead grasses to
the foreground

www.painters-online.co.uk April 2021 37ii

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Inspiration from The Artist

Since our first issue was published in 1931 we have
When to stop
Learn more from
Liz Seward about the
developed a huge resource of inspiration, advice, right time to stop fiddling
practical demonstrations, tips and information from and finish a painting in
past features, which today’s readers can enjoy on this feature from our
our website at www.painters-online.co.uk. To March 2011 issue
access this great content click on the links below
each of the highlighted features
Underground subjects Flowers in watercolour
Looking for new sources of subject In this demonstration article in our March 2001 issue,
matter for his Elizabeth Blackadder shows how to paint tulips and
watercolour irises in watercolour. http://bit.ly/3nv2ypn
John Lidzey
how he went
and found
inspiration in
observing travellers in settings of bright
lights and colours in this feature from our
March 2001 issue. http://bit.ly/389eHdm 2001
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38 artist April 2021 www.painters-online.co.uk

Make a tone study

of a still life
In her new three-part series Adele Wagstaff explores the fundamentals of
making the transition from drawing into painting. She begins by focusing on
tone, using black and white to make a still-life painting in oils

Adele Wagstaff
trained at Newcastle University and the
Slade School of Fine Art. She has taught in
Belgium, Germany, Italy and the UK. Adele
has been shortlisted for the Jerwood
Drawing Prize and the BP Portrait Award,
and her work has been exhibited in the
National Portrait Gallery, ING Discerning
Eye, Royal West of England Academy and
the Royal Society of Portrait Painters.
Adele has published two books. For more
details, see www.adelewagstaff.co.uk

am using the same still-life
arrangement throughout this
series; in the first two parts the
oil sketches will demonstrate how
very simplified palettes can be mixed
to explore tone and temperature
relationships before beginning to use
colour. In the last part I will incorporate
colour. Analysing the tone values
through using a palette of black, white
and mixed greys is a helpful exercise
for the painter who wishes to study and
understand the relationships of light
through to dark within the composition,
before beginning to work with colour.
Working with black, white and a
hierarchy of greys will give you time to
closely observe the shifts of tone over
the surface of an object, or the tone of
one object when placed against another
and the relationship of tones of the
background, surface, drapes or wall that
your still life will be positioned against.
Using only black and white oil paint Hyacinth, oil on board 113/438in (30320cm).
allows you to quickly mix a range of When painting this oil study of a hyacinth, I replaced black with raw sienna. When mixing a
contrasting tones to use as you explore range of tones with white it gives a warmer and softer range of tones, much more like sepia than
how light falls on and describes your black and white, which I prefer to use when making tone studies. You may prefer to use another
objects. darker pigment to mix with white: umber, Payne’s grey or blue black w

www.painters-online.co.uk artist April 2021 39


right of the composition. from the start. You may prefer to layer
THIS MONTH’S EXERCISE All drawing will be made with a brush the marks, applying thicker paint over
and paint from the very start, no need to earlier thinner applications. Let each mark
You can use any black and white oil paint for use charcoal or pencil to draw out your describe and provide as much information
this exercise, although some blacks will give composition. It’s always worth making a as possible: it’s scale, direction, shape,
a subtle hint of blueish-purple, as you see in small exploratory drawing in a sketchbook length, speed and pressure will all
my demonstration. In this oil sketch I used if needed to gain understanding of the broaden the language of your mark-
titanium white and ivory black; the black may basic shapes and weight of composition making.
give a subtle blue hint to each mix rather than before you begin to use paint. The surface I used for this oil sketch is a
a flatter grey. Any studies made in oil in preparation gesso wood panel, which is incredibly
This small, still life of a shell placed on top for a longer sustained painting of your smooth to work on. There is no tooth
of sheet music provides many contrasts of still life may be quickly painted, with a on the surface so the brush glides over
the more organic, curved lines against the spontaneous and direct response. The the primer. The gesso by nature is very
straight sharper defined edges of the music. paint that you apply on the surface may absorbent so the paint tends to sink in
The still life is lit by natural light and the shell be a little thicker than it would be for quite quickly. This helps to apply the paint,
casts a soft-edged shadow leading to the a longer painting, so that it is opaque and layer areas if needed quite quickly.

 Before beginning to paint, pre-mix a number of grey tones on the palette. Here,
white was placed on the left, and black on the right. Using a palette knife, a mid-
grey tone was mixed and placed in the centre. Judge the mid-tone visually, as using
exactly half white and half black in equal measure doesn’t make a ‘mid’, it tends to
be darker. Make quite a generous amount of this mix as it will be used for the lighter
and darker grey mixes. These are placed in between the white-mid, and mid-black
so that you have a total of five tones that can be used during the early stages of your
oil sketch.
The tone that has
been placed beneath
the main row is a
small amount of the
mid-tone diluted
with a small amount
of Sansodor. This
thinner mix is used to
make the first marks
when drawing out the p This shows the four grey mixes that were made
composition. from the initial hierarchy of five greys. A small
amount of each grey has been mixed to extend
the palette, resulting in seven mixed greys

The first lines of the composition were made with a
fine rigger brush with the mid-grey mix diluted a little
with Sansodor. This sketch, made by drawing directly p STAGE TWO
with paint, focuses on positioning the main shapes Using a larger filbert-shaped brush, the first areas of tone were patched, selecting
and angles of the objects within the rectangle and is as greys that had been pre-mixed on the palette as shown (above). These first
much concerned with the space around the still life as applications are very simplified as light, mid and dark tones, and taken directly
the objects themselves from the palette

40 artist April 2021 www.painters-online.co.uk


Patching-in continued over the entire surface so that most of
the gesso primer was covered. Lighter tones were then added to
the shell and the brushstrokes began to follow the direction of
the form, which began to suggest its volume. As more paint was
applied, shapes and edges were adjusted with contrasting tones/

Before going any further the darkest and
lightest values were added; the design on the
cover of the music is the darkest tone within the
composition so once this had been painted all
the surrounding tones could be checked and
adjusted. The shapes and proportions of the
objects were continually checked, as were the
diagonals of the edges of the sheet music, which
were redrawn. The lightest mixes of grey were
now used to pick out the highlights within the
shell and also to delineate the short, scalloped
curves along its edges

I began to look at the smaller areas of tone and
some of the more subtle changes of light within
the composition – the way the light falls on the
back wall and the contour and smaller tonal
changes across the top of the shell. Directional
brushwork follows the shape of the shell to
suggest its volume, using a larger flat brush
alongside a smaller round bristle. The text on
the music cover was suggested with a few fluid

Shell with Manuscript, oil 83113/4in
Attention was given to the surface of the
table and to the wall. There was too much of
a jump in tone from the lighter part of the
wall to where it became darker, creating too
sharp an edge, so this transition was softened
by scumbling over a tone in between the two
areas. The edges of some of the shapes and
shadows on the tabletop were also picked out
and given a little more definition Next month: Tone and temperature

www.painters-online.co.uk artist April 2021 41


Taking the
medium further p Autumn Field Near Malton, North Yorkshire,
gouache on Arches Not paper, 7371/2in
In his final article aimed at newcomers to gouache, After applying a light coat of texture paste
to the paper I began by introducing red and
Robert Brindley explains that the medium is not yellow washes over the entire surface. When
only suitable for plein-air sketching, but also for dry the details were added using progressively
thicker mixes of gouache. Finally, a little spatter
mixed media, as he demonstrates here was used to texture the foreground

ouache is ideally suited Before you accept any of your p Windbreaks, Sandsend Beach 1, gouache
for small plein-air works or paintings are finished, I advise you to on Not watercolour paper 140lb (300gsm),
sketches. Like watercolour, consider the following points: 31/2391/2in (9325cm).
the equipment required is • Does the composition work? A The background darks were painted very
minimal and extremely portable: a successful painting should have a visual quickly and, when dry, the hints of detail
sketch pad, four or five colours, two path through the painting, leading to were overlaid carefully with lighter tones. The
or three brushes and water are all the focal point. foreground was painted by using three or
that is needed. In hot conditions it is • Does the tonal sequence work? Tone four variations of colour applied almost wet-
advisable to paint small as the drying is all important, therefore it is prudent into-wet. When dry, small flecks of light were
time is almost immediate; however, to carry out a few small, tonal studies added to suggest texture. The windbreaks
unlike acrylics, any paint left on the before starting to paint. were added last, using very simple, almost
palette can still be used by rewetting it • Does the colour harmony work? After crude, blocks of colour
at a later date. tone it is important to ensure that the
I painted one of my first plein-air colour harmony works. Never have too
gouache paintings almost 25 years ago many strident colours opposing each
on a warm, early summer day and, as other in your paintings. your painting. It may help to squint your
with all my plein-air work, I remember • Do the edges work? Too many hard eyes to identify the worst offenders.
the day perfectly. The painting, edges scattered around the painting By softening a few edges and retaining
Windbreaks, Sandsend Beach 1 (above), was will destroy the balance and lead-in. some of the harder ones, you will
done directly onto the paper, with no In general, eliminate most of the be able to move the emphasis and
tinted ground. harder edges around the outer areas of strengthen the focal point.

42 artist April 2021 www.painters-online.co.uk


p Cafe Foscarini, Academia, Venice, gouache on acrylic-primed and heavily p Beehives, Bank of The River Esk, Whitby, gouache on Arches
textured mount board, 51/2351/2in (14314cm). Not paper, 140lb (300gsm), 171/23191/2in 45350cm).
Painted en plein air, I didn’t have to think about the composition of this Before any gouache was used I applied a loose, colourful,
painting as the light draws the viewer’s eye directly to the figures under the acrylic block-in. When dry, gouache paint was then built up as
umbrella that is creating a focal point described in Windbreaks, Sandsend Beach 1

DEMONSTRATION Poppies near Windrush, the Cotswolds

l Arches 140lb Not paper, painted with
one coat of white acrylic primer.
l Winsor & Newton acrylic colours: raw
sienna, cadmium red, Winsor violet,
alizarin crimson and ultramarine blue.
l Winsor & Newton Designer Gouache:
primary yellow, permanent yellow
deep, yellow ochre, spectrum red,
primary red, ultramarine blue,
primary blue and white.

I observed this subject whilst driving to the Cotswolds to teach
a painting course. There was no possibility of parking anywhere
nearby, so I pulled into a lay-by a few miles down the road and
made a quick sketch as a memory-jogger. On considering the pros
and cons of the subject, I felt that it lacked a focal point. There was,
however, an effective lead-in created by the deep gully running
from the foreground into the picture plane. To make full use of this
I decided to place a cottage at approximately a third in from the
left and top border. To add vibrancy to the work, I also decided to
underpaint the paper with bright purples using acrylic paint

I drew out a very simple outline in 2B pencil

www.painters-online.co.uk artist April 2021 43

I began the acrylic underpainting. I used mixes of raw
sienna plus a touch of cadmium red applied as a very
diluted, warm wash in the sky and distant fields. For the
distant left-hand trees and the right-hand foreground I
used two mixes of Winsor violet, one diluted more than the
other. The distant right-hand trees and the dark gully are
a mix of Winsor violet, ultramarine blue and yellow ochre,
and the pale foreground areas are alizarin crimson and
ultramarine blue

For the gouache block-in I started to develop
the greens throughout the painting using
the following mixes: ultramarine, a touch of
spectrum red and a touch of yellow ochre
(for the extreme darks), ultramarine blue,
primary yellow, a touch of primary red and a
touch of white; primary blue, primary yellow
and a touch of white. Care was taken not to
cover all of the acrylic underpainting, which
was needed to increase the vibrancy of the
finished painting

Continuing the gouache block-in I also
worked on the distant fields and cottage.
The following new mixes were used in p STAGE FIVE
conjunction with those from the previous I continued to develop the painting, especially the foreground grasses. I
stage: yellow ochre, ultramarine blue and used the previous mixes with the addition of the following for the details
white; primary yellow, primary blue and in the grasses: permanent yellow deep and white; primary yellow, primary
white; primary yellow, primary blue, a touch blue and white; primary yellow, primary red, a touch of primary blue and
of spectrum red and white (distant fields); white. I used a Pro Arte Series 203 No. 2 rigger for the fine details. For the
yellow ochre, a touch of spectrum red, touch cottage roof I used ultramarine blue, alizarin crimson and white and, for the
of ultramarine blue and white for the cottage windows, ultramarine blue, spectrum red and a touch of yellow ochre

44 artist April 2021 www.painters-online.co.uk


Continuing to develop the texture and
grasses throughout the painting, I introduced
the first poppies with mixes of primary red,
spectrum red, alizarin crimson, a touch of
yellow ochre and white. I then painted the
sky using very loose brushmarks. For the top
of the sky I used white and ultramarine blue;
in the centre I used white, primary blue and
a touch of alizarin crimson and, keeping it
extremely light near the horizon, I used white,
yellow ochre and a touch of alizarin crimson

Poppies near Windrush, the Cotswolds, gouache, 113/43153/4in (30340cm). Robert Brindley
To finish I continued to paint the poppies as before, being careful to paint large poppies in the is a member of the Royal Society
foreground, reducing the size as I moved further into the painting, indicating drifts of poppies in of Marine Artists. His book Painting
the distance. Landscapes in Oils is published by
The positioning of flowers can be a bit tricky as they can look too ‘placed’ and unrealistic. I use Crowood Press (www.crowood.com) and
his four DVDs are available from Town
what I call a ‘random dotting’ technique where I squint, almost shutting my eyes, then dot them
House Films
in at speed without placing them with any care. It’s important that many of the foreground
poppies overlapped naturally as too many separate flower heads wouldn’t look natural. Finally, www.robertbrindley.com
additional details to the fields and trees were added

www.painters-online.co.uk artist April 2021 45

TA04p42_45_Robert Brindley.indd 45 01/02/2021 10:40


Scumbling and
This month Alan Bickley focuses on a few traditional techniques
that will help to add interest to your oil paintings

cumbling and glazing are two difficult to master with a bit of practice. over a darker one, and a warm colour
traditional techniques that will over cool, although this doesn’t have to
increase the visual interest Scumbling be the case.
in an oil painting; both were Scumbling is a dry and broken The result will leave the lower area
used extensively by JMW Turner but application of paint that involves of colour exposed – complementary
they are as relevant today as they dragging fairly dry and sticky paint colours work particularly well. If
were then. They can, if used correctly over an existing layer of (preferably) necessary, you can add your paint to
and selectively, help to create greater dry colour. It’s generally more effective a piece of absorbent material such as
interest in a painting, and aren’t too optically if you scumble a lighter colour unwaxed cardboard; any surplus oils

will leach out to give a drier consistency

of paint that will drag over the surface
and break up far more easily.
Use a large flat brush – I find that a
stiff hog bristle brush works well – then
lightly drag your loaded brush across
the area to be scumbled, keeping it
fairly flat to the canvas. A painting knife
will also give you some interesting
textures, and you can thicken your oil
paint with a pinch or two of chalk dust if
you find that it’s too wet.

The second of these useful techniques
is glazing, which is often used in
combination with scumbling – these
two techniques complement each
other rather well. Glazing is a method

t This close-up shows how scumbling can

be used for sky and land

46 artist April 2021 www.painters-online.co.uk


A selection of glazing mediums

t q Lichfield Cathedral, plein-air oil sketch on board,

111/4391/2in (30324cm).
Here you can see the difference between the original,
unglazed sketch (left) and after glazing (below)

of adding a thin layer of transparent

paint over a dry layer; optical mixing
occurs and the colours appear to have
more luminosity and depth, and also
reflect light. Waiting for the layers to
dry can be a little time-consuming but
the intensity of colour that is created
by this process can’t be achieved by
mixing colours on your palette. You
need to use a soft brush and my choice
in general is a Jackson’s Black Hog,
which has soft bristles and is perfect for
the job.
Linseed oil is too thick for glazing, so
opt for one of the many purpose-made
mediums that are available. Winsor &
Newton Blending & Glazing medium
will give you good transparency; Liquin
is another. I also like Gamblin Neo
Megilp oil painting medium, which
gives a satin gloss finish. You can apply
numerous separate layers to achieve
your desired colour and luminosity.
Work on just the specific areas that are
required – these can either be large or
quite small passages in your painting
that you feel would benefit from glazing.
In Lichfield Cathedral (above and right),
which was a plein-air oil sketch, you can
see the luminosity and subtle colour
changes that glazing can achieve.

Knife painting
This is a really expressive direct
application technique that is sure to
bring out the best of your creativity –

www.painters-online.co.uk artist April 2021 47

you can develop a whole new range can be obtained. Don’t layer the paint help to create an overall colour balance
of styles and add inspirational mark on too thickly or it may start to crack in throughout my work.
making to your repertoire. A painting the future. You can add broken colour A mid-tone grey ground is a good
knife (which generally has a cranked over a drier layer (scumbling), leaving option as it will allow you to judge your
handle, palette knives don’t, they interesting underpainting to show tonal range both up and down the tonal
are designed to mix paint) is a great through. scale. I like to start by blocking in my
tool for adding heavy impasto and Correct any mistakes by scraping darkest tones, then work progressively
texture. The paint can be thickened the paint off, rather than adding more towards the lightest areas. You don’t
by adding a modifier such as Gamblin paint. The finished work will (or should have to limit yourself to a neutral grey
Cold Wax Medium or Winsor & Newton have) a lively, spontaneous and fresh of course, raw sienna, burnt sienna and
Oleopasto, but there are numerous look with clean vibrant colours. Knife other variations will all provide you with
brands for the artist to experiment with. painting isn’t about detail, it’s a way of a useful ground to start your painting
Choose a metal knife that has a flexible applying paint in way that is different on. Selecting a colour that gives you
spring to it – you will only get this in a from a brush, and it may help those a degree of harmony throughout your
quality branded metal knife. Avoid the artists who want to loosen up their painting is one way of proceeding, but
plastic ones. Different sizes and shapes painting – too much detail can often be quite often a contrasting ground colour
will give different effects, so buy a small the artist’s Achilles heel! can also work well.
selection to experiment with.
It’s not essential that you complete a Underpainting and coloured Importance of tonal values
whole painting using a knife, although grounds Although this isn’t actually a technique,
this can be great fun. Use it for areas This is often referred to as imprimatura. this important aspect of constructing a
that need a bit of ‘beefing up’, perhaps I’m generally looking for a degree of painting is worthy of a few paragraphs.
a cloud structure or just to add a few unification in my paintings, so working I touched on this in my first article
layers of texture to a foreground. They on a coloured ground is an important (February 2021), but its importance
aren’t the easiest tool to use though, first step to achieving this. I often leave cannot be overstated. Tonal values
and they certainly aren’t good for detail, small areas of this ground to show will occur naturally in a painting, but
but with practice some useful effects through in the finished piece, and these the secret of a successful painting is
to further exploit these values to help
create an illusion of depth – as though
‘Value is the relative lightness and darkness we’re looking at a three-dimensional
image, when we know that it’s actually a
of a specific colour’ flat plane.
Value is the relative lightness and
A value finder
darkness of a specific colour. It’s worth
bearing in mind that simply relying on
strong colours alone is not necessarily
the way to achieve a strong visual
artwork. Tonal values are not shades of
grey – many of us get confused here. All
colours have a value and with the help
of a tonal scale such as the one shown
(left), it should be simple enough to
establish these values.
Don’t confuse tonal value with colour.
Tone or value refers to how light or dark
a colour is, from black at one end of
the scale to white at the other and the
mid-tones in between. Colour can have
an infinite number of different tones.
It’s important to have tonal contrast
and balance; paintings that have little
contrast by just relying on mid-tones
can often look flat and without life. If
you photograph a finished painting and
convert it digitally to greyscale, you will
be able to see how successful you’ve
been in mastering tonal value. Selective
use of these values will go a long way to
creating visual impact in your work.
Chiaroscuro, which is basically the use
of clear, strong tonal contrasts of both
light and dark, will achieve the illusion
of three-dimensional volume on a flat
surface, generally using a single light
source with strong shadows, giving a
clear contrast. Interiors with figures will
feature prominently in chiaroscuro, as will

48 artist April 2021 www.painters-online.co.uk


p Valletta Harbour, oil on board,16320in (40.5351cm).

I painted this using a selection of painting knives in two studio sessions, working from my
plein-air sketchbook studies

still life. It’s a useful way to learn about entirely with white spirit. For larger
value and tone at its widest spectrum of areas that have become too difficult
light and dark. Caravaggio is one of the to work over, and which could include
most notable painters who used this the bulk of your painting, the top layer
method and it’s worth having a look at can be removed with a process known
his work. as tonking. To do this, place a sheet
of absorbent paper, such a newsprint,
Making corrections over the work and gently rub the surface
One of the many benefits of painting of the paper – you should find that a
with oils is that you have the ability to whole layer of top paint lifts off. Alan Bickley
studied fine art and graphic design
correct problematic passages of work as If you follow the tried and tested
at Stafford College of Art and spent
you progress. Not that I’m advocating methods of building up a painting using many years as a designer and
fiddling around with areas all over the either the direct or indirect approach, editorial artist in the newspaper
painting, you should never get to that none of this should be necessary, industry. He has won many awards in
stage. Often you will get a build-up of but inevitably issues will occur at The Artist Open painting competitions
thick unmanageable paint that you just some point, but which can be easily and is a regular contributor to the
can’t do anything with, generally in the addressed with little or no detriment to PaintersOnline e-newsletter*. Alan’s
foreground region, but skies can also your painting. TA more recent work can be seen here:
have a tendency to be overworked. www.painters-online.co.uk/artists/
The easiest and quickest method
is to scrape off any excess paint with *To receive Painters-Online e-newsletters,
a painting or palette knife, which Next month: how to prepare and present sign up here:
will generally leave a ghost image your finished oil paintings for display by adding www.painters-online.co.uk/register
underneath that can be left or removed a home-made frame.

www.painters-online.co.uk artist April 2021 49


The Last Snows of Winter in the Pennines, mixed-media on Canson Heritage 300lb (640gsm) Not
100-per-cent cotton watercolour paper, 20322in (51356cm).
Having created the initial foundation with acrylic inks, acrylic spray paints and photo montage
techniques combined in several layers, oil pastels were used to add contrast as drawn areas.
Masking techniques were used to create straight edges, which the oil pastel helped to sharpen
up. Scumbling techniques with lighter colours were used in the foreground, which allowed
saturated ink washes to be absorbed between the open drawn marks of lighter oil pastel
colours. The close-up, left, shows these creative techniques in greater detail. The final painting is
one of intrigue, with lost and found shapes and forms throughout

Explore the creative

possibilities of oil pastels
new and rewarding ways of using the
Robert Dutton shows am constantly surprised that oil
pastels are often regarded as a medium, especially with mixed media.
that oil pastels are medium that is second rate, difficult
to work with and thus overlooked
versatile to use and an for painting and drawing, yet they I advise using professional quality oil
essential part of the make a great contribution to the artist’s
repertoire. Getting to understand the
pastels, even for the beginner, because
they have a high ratio of top-quality
artist’s creative tool kit properties and advantages of using pigments to binder. Cheaper brands
oil pastels to paint with is an exciting contain lower-quality pigments and
journey – I’m constantly discovering far too much binder; wax is often used

50 artist April 2021 www.painters-online.co.uk

u Moorland Coppice in Evening Light, oil
pastel and acrylic on Canson Heritage Not
watercolour paper, 300lb (640gsm), 30322in
Expressive washes of acrylic ink and paint
created the initial layers on gesso- and
pumice-primed heavy-duty watercolour
paper. Using large and medium size Sennelier
oil pastels, I switched between dark and light
colours, using the pastels on their tips and
sides. To create details and further expression,
heavily saturated areas were painted into
with different brushes loaded with Winsor &
Newton Sansodor low-odour solvent. The
same solvent was applied to different palette
knives, which were used to press oil pastel
deep into the textured surface and to mix
and blend the soft oil pastels in areas and to
create sgraffito drawn marks between all the
final oil pastel layers. This study will now form
a reference for a much larger mixed-media
studio painting

as the binder, which is why they are

often described as being like children’s
crayons. Fundamentally you get what
you pay for.
My go-to brands of oil pastels are
Sennelier and Royal Talens Van Gogh.
Both brands are highly pigmented,
a joy to work with and available in
many different gorgeous and useful
colours. Sets are also offered by both
brands; these are a good idea and are
an affordable way to acquire some oil
Royal Talens Van Gogh oil pastels
are made with pure pigments, mineral
oils and some wax binders and have a
remarkably soft and smooth application For artists requiring a harder pastel, painting solvent with them, such as low-
on all sorts of supports – paper, card, Caran d’Ache Neopastels are a great odour thinners or turpentine to soften
canvas, board, even stone. They have a choice. There are two types – Neocolor and paint with them. The professional
wonderful tinting strength and are easy I and Neopastel. Neopastel is slightly brands of oil pastels discussed here
to use because of their softness. softer than Neocolor I. Transitions of readily mix with solvents. A coloured
Sennelier oil pastels have an colour on all types of surfaces are soft ground or base layer of acrylic inks
extraordinarily high pigment content and the medium easily responds to and paints allowed to show through
that gives a high colouring and covering solvents such as turpentine, to thin it subsequent translucent and semi-
potential, excellent brightness and a and blend it for wash effects. Finger opaque layers of oil pastel creates
high degree of light stability throughout blending is easy with Neopastel but really exciting mixed-media paintings,
the colour range; they are a joy to work with Neocolor I you have to work that too.
with. There are metallic oil pastels bit harder. Colours remain sharp and
too, which I also use. Three sizes of clean with both types of Caran d’Ache Supports
Sennelier oil pastel are available: oil pastels and radiate from the support Oil pastels can be used on many
normal, standard and giant. The colours – especially on white. different supports but the oil content
mix beautifully to create so many will weaken and leach through un-
variants of tone and shade that you’ll Combining with other media primed supports (card and paper in
always find the perfect match for what Dry drawing media such as graphite particular). To increase longevity, there
you need. The white is very soft and is fantastic to use with oil pastels. I are a number of options for paper and
creamy and perfect for creating lighter intermix. The graphite cuts through card supports. I advise stretching all
tints and shades with colours. The black the oil pastel to make interesting and papers below 140lb (300gsm) and, when
and the white pastels are the perfect expressive ‘shiny’ drawing marks and oil dry, coating them with a gesso base.
drawing tools for sketching monotone or pastel over graphite covers it. This protects the paper and thickens it;
to use with other drawing media such as Another exciting way to use oil pastels, the oil pastel oxidises outwards rather
graphite and ink. oil sticks and related oil bars is to use a than back into the paper when drying

www.painters-online.co.uk artist April 2021 51


1 2 3

4 5 6


1. Thick acrylic paint on canvas board primed
with gesso and pumice. Heavy applications
of soft oil pastel were worked into the
surface in layers to create impasto and
scumbled effects.
2. Oil pastel washes (thinned with solvent)
on canvas paper. This underpainting with oil
pastel acts as a resist to thin applications of
white acrylic paint to create scumbled colour 7 8
effects with both media.
direction of the strokes, oil pastels create photocopier-type papers are a great way to
3. Oil pastel was loosely applied to Canson
depth in drawing with colour. create straight-edged shapes when working
Mi-Teintes ‘Touch’ pastel paper, allowing the
with oil pastels. Masking tape is useful for
colour of the support to show through and 6. Graphite with oil pastel on Canson Mi-
masking out areas before oil pastel is applied
become an integral part of the painting. Teintes ‘Touch’ pastel paper (white). Graphite
if you want to work hands-free without
Acrylic inks were applied next. The result is was applied first, then oil pastel, then
holding the paper. In this example soft oil
both transparent painted areas and impasto graphite again to cut through the oil pastel.
pastel colours were blended, working one
drawn marks in the same painting. A soft light green oil pastel was applied last
into the other with firm strokes. Other areas
4. Toning and blending with oil pastels on of all. IMPORTANT: wipe the pastels and
were blended with fingers to create smooth
Canson Mi-Teintes ‘Touch’ pastel paper. graphite sticks with a soft cloth between
transitions. The two central areas were then
Heavy pressure creates a dense heavily applications to keep both media clean.
protected with strips of masking tape and
saturated area of oil pastel on the support. 7. Diluted water-soluble graphite applied red soft oil pastels applied. The top colour
Lighter applications create an implied lighter on a prepared textured ground (Wallace and middle were finger blended and the
tone. Different coloured supports will give Seymour ‘Bone Ash’) on acid-free card, which bottom section left as open, drawn strokes.
different optical effects, making the applied was allowed to dry, then drawn into with a Once the masking tape was removed,
colours appear warmer, darker and so on. On scalpel blade. Oil pastel was applied next pink oil pastel was then applied to an area
the right, white oil pastel was used with the then drawn into as well with a scalpel to between two pieces of torn paper to give
red to create a lighter opaque tint. reveal the graphite under drawing. Harmony a contrasting shape with a ragged edge.
5. Hatched layering with oil pastels both in layering. A good example of how to achieve sharp
soft and hard. By varying the pressure and 8. Masking techniques with thin edges and layering with oil pastels.

52 artist April 2021 www.painters-online.co.uk


out. Gesso is available as white, black Spring in the Pennines, oil pastel on Canson Mi-Teintes ‘Touch’ 350gsm black pastel paper,
and clear. I use all three depending on 193/43251/2in (50365cm).
my creative directions. Oil pastels are an excellent medium for drawing with – especially on location. They are
White gesso can be used on its own lightweight, don’t dust or easily smudge, are quick and efficient to use and water-resistant. I
or tinted with a colour and texture quickly capture a scene with little fuss, preparation or set up, with enough visual information to
gel mediums can be used to create create a mixed-media painting
extra tooth for more expressive oil
pastel painting. Clear gesso is perfect
for protecting coloured textured card painting techniques. It is slightly creamy
when you want the colour to become an (a little off white) in colour and adds
integral part of the painting. warmth to washes, and is cold-pressed
Papers above 300gsm do not need (Not), so the texture is similar to
stretching as they are heavier, but still watercolour paper and not as intrusive
need a coat of gesso to protect them. In or as prominent as some canvas-type
place of gesso, acrylic inks, acyclic paint oil pastel and painting papers.
and Derwent Inktense are ideal media Canson Mi-Teintes ‘Touch’ is another
to use for an oil pastel underpainting. ideal paper for oil pastels. The slightly
The advantage of using these in place of sanded surface is unique as it allows
gesso is that the surface of your paper detail and looser, more expressive
support can be utilised much more. techniques when required. It’s a very
Dedicated oil pastel papers and receptive surface that works with you
mixed-media papers are available as you paint. Available in 10 different Robert Dutton
and are my preferred support for oil colours it is very much a pick-up-and- is an associate member of the Society of
pastel, as the surface textures are go-type of paper for oil pastels and Graphic Fine Art. He teaches mixed-media
not so prominent that they become mixed-media painting. The white colour drawing and painting techniques in the
intrusive in your work. Canson Figuras is particularly useful for graphite and Lake District, the Peak District, the Wirral
(290gsm) is perfect for oil pastels. oil pastel in combination – the high and north Norfolk as well as workshops
Designed especially for oil painting, white background enhances drawn and and masterclasses online (www.
it has a high-performance barrier to painted graphite marks especially. shopkeeparty.com). Robert has won many
awards for his work. His book Drawing
absorb oil and bonding agents evenly, Oil pastels are versatile, exciting and
Dramatic Landscapes, New Ideas and
while guaranteeing superb resistance to rewarding to use and offer unique and
Innovative Techniques using Mixed Media,
pigments leaching through. Uncoated, inspirational new creative directions published by Search Press, rrp £19.99, is
the paper has a natural texture similar for your work. They add an exciting available to purchase at a discounted price
to that of canvas. dynamism to my work, especially in from our online bookstore:
Canson Acrylic paper 400gsm is one my mixed-media paintings, for adding http://bit.ly/3cw1AUX
of my favourites when I require a strong wonderful textured and broken colour www.rdcreative.co.uk
paper support for oil pastels and acrylic effects over base colours. TA

www.painters-online.co.uk artist April 2021 53


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woodlands in iman THE UK ’ S BE S T-SEL
acrylics with Barry Hern INT M AG A ZINE

How to paint
from photos

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Be inspired by
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LP April 2021 Cover £4.80v2.indd


Self Portrait, watercolour on Aquaboard, 16320in (40.5351cm)

Paint watercolour
portraits that glow
hen I teach my older
students, who have more
Jo W Pickering demonstrates a watercolour
often than not taken the portrait using layering and glazing techniques
decision to rekindle their
passion for art since retiring, I ask
which medium they first painted with. in building layers and even glazes of entire painting I prefer to work on one
The answer is invariably watercolour. colour to achieve the required depth section at a time in building layers. I
And one of the questions, as a portrait in my paintings. Who knew we could usually begin with light flesh tones.
tutor, I used to dread being asked was build layers of glaze in a watercolour Remember with watercolours to build
‘Can you demonstrate watercolour painting? Not I! from light to dark. When one layer
techniques?’ As an oil painter I like the ‘process’ is completely dry I work glaze layers
As an oil painter for most of my career of oil painting, from sketching to over the top, which will strengthen the
I have always considered watercolour underpainting to ‘building’ layers. I underlying colours. A glaze is simply
painters to possess some sort of mistakenly thought that watercolours a watery layer with a touch of colour
magical qualities – to be able to create had to be a one-layer wonder. added. You can add as many glazes
such watery masterpieces with just I also began experimenting with as you wish in order to achieve the
the fine flick of a brush! In short I have different surfaces and discovered required density of colour. For the flesh
always struggled with watercolours and Ampersand Aquaboard, which is tones I use a mix of white, yellow ochre,
found that my paintings lacked any essentially a fine layer of clay over cadmium red (I find crimson shades can
sense of depth or richness. a board, which holds watercolour be too harsh for portraits) and a very
extremely well and will never buckle. It small amount of Prussian blue to tone it
Build layers of colour can be expensive, so I only use it for big all down and become less ‘peachy’.
About a year ago, however, I decided projects. The same effects, however, can Although I consider myself a relative
to face my watercolour fears head- be achieved with watercolour papers. newcomer to watercolours, I now
on by researching watercolour I prefer to use watercolour pan sets as thoroughly enjoy taking my time, and
techniques in depth and practising tubes can often be too vivid for portrait building layer upon layer of colour in
on several watercolour paper samples painting. Rather than work across the building intensity. TA w

www.painters-online.co.uk artist April 2021 55



I began, as is necessary with I selected a really colourful photo of my aunt and used the
� Reeves watercolour pan set of 24,
including cadmium red, yellow ochre, Aquaboard, to apply a layer grid system to achieve accurate results with a light pencil.
titanium white and ultramarine blue of water over the entire There are various drawing grid apps but I still prefer to
for the flesh tones board and then left it to dry print my photo, which gives the advantage of being able
completely. This brings any to fold it and only draw one section at a time. I really like
� Brushes: sizes 2 and 6 and a micro
detail series 25 fine brush air bubbles to the surface to take my time with the drawing stage as it saves a lot of
and gives a smoother finish time when starting the painting process. I was careful after
� Support: Aquaboard
to the painting drawing to erase any grid lines


I began as always with a large area of skin tone and wet that area of the painting I worked around the face, in turn painting an
first, which is the wet-on-wet technique. I then lightly added my flesh tones, which area with water and adding wet-on-wet or
I mixed in the pan set. I used a dragging technique of moving the paint around the revisiting a now dry area and adding further
area. I then left this area to dry completely before adding further layers glaze layers

56 artist April 2021 www.painters-online.co.uk


This close-up shows the effects of glaze layers over a dry area
on the t-shirt

The rest of the painting was done by simply
working around the different sections,
building layers before moving onto another

Alex in Shades, watercolour on Aquaboard,
20316in (51340.5cm).
I decided to leave the background plain for
this piece as I thought a background might
take away from the highlights in the face;
I also think it makes for a more contemporary

Jo W Pickering
graduated from Duncan Of Jordanstone
School of Art, Dundee and is currently
Head of Art at a Stockton secondary
school, having taught art to secondary
school students for 30 years. She also
teaches adult workshops in portrait
painting. Jo has exhibited widely in her
local area and also featured on Sky Arts
Landscape Artist of the Year in 2017
and 2018.

www.painters-online.co.uk artist April 2021 57

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Be your own best critic

Mike Barr offers some sensible advice about criticism,
Mike Barr both constructive and destructive, and urges you to
is a Fellow of the Royal South
Australian Society of Arts and a
take a hard look at your own output. If you can be
member of The Australian Guild of honest with yourself there will only be one critical
Realist Artists. Mike has won over 80
awards, including 17 first prizes. You
voice you need to listen to – your own
can find more of Mike’s work at

ritique is a big word in the world to believe it! Although family and friends art in perspective. The next big step is to
of art. From the humblest painting are being polite, they are actually setting put our work into open exhibitions. When
done on the back porch to art worth up an artist for mediocrity. However, our work is hung with the works of others,
millions, there is always a critic at encouragement is a different thing our paintings are seen in a completely
hand and they are more than ready to offer altogether and it can be done without different light. What may have seemed like
a few words of their wisdom! Criticism is resorting to gushing untruths! a masterpiece at home, suddenly doesn’t
nothing to artists at the top of their game – Having just started painting as a hobby seem quite so good. This is not self-inflicted
their success is enough encouragement for or career, it’s almost impossible to improve cruelty, it’s self-imposed honesty! When we
them. However, for most artists criticism can when we already believe our work to be realise that we can improve, improvement
be crippling. great! The answer is to be our own best critic. is possible. When we think we’ve made it, it
There are three main types of criticism. But how do we do that? just means we’ve stopped learning.
l There is the unsolicited critique. We all Firstly, get on the internet and look at Critique other artists’ works by all means,
know how annoying this is! Being on the some amazing art – trawl through sites like but keep it to yourself! Private critiquing is a
receiving end of it can be very discouraging, Pinterest and you’ll come to the realisation great way to learn. Take note of what is good
particularly if it is in earshot of those around that there are many artists in the world and what is bad in other’s paintings and see
us. who produce amazing work. This is not to if it applies to you. Painting truly is a journey
l Constructive criticism always seems to be put ourselves down, but just to put our and it never stops – enjoy that journey. TA

available from our peers. Many of

us even seek such opinions, but
asking for such critiques will often
just bring in a flood of conflicting
personal views that add nothing
for the artist.
l The most devastating of

critiques, though, are the

dishonestly kind ones given by
family and friends. You know,
the ones that tell you how
talented you are, how wonderful
the painting is and many other
buttery things, which may
be completely untrue. The
devastating thing about this is
that artists can actually begin

Storm Cocklers – Goolwa,

acrylic on canvas, 29½339½in
There is one place criticism
shouldn’t take place and that is at
an art show with potential buyers
in earshot! One artist tried to
give me a ‘constructive critique’
in such a situation and it wasn’t
appreciated. The painting sold
and won a special award

www.painters-online.co.uk artist April 2021 59

A R T I S T S’ P R O F E S S I O N A L D E V E LO PM E N T: 3R D O F 6

How to sell your

work online
Marine Costello’s five top tips will help you to sell
your work online by getting it in front of potential
Marine Costello,
Communications Officer at Parker Harris
Parker Harris was created by Emma Parker Get your work on an introduction to this body of work. Then,
and Penny Harris in 1990 and it is now one marketplaces start building (or updating) your website
of the leading visual arts consultancies in Another avenue to explore is an online to support not only a virtual gallery but
the UK. Parker Harris manage some of the
marketplace. Sites such as Artsy and also online sales. It is crucial to make the
most important art prizes and exhibitions
Saatchi are the major players for visual payment process as safe, and the purchase
in the UK and mentor artists through all
aspects of their careers. To learn more about arts, but you will also find a marketplace as seamless, as possible. This entails using
their professional development and online specialised in any type of artworks you an easy and secure payment method –
marketing coaching programmes, might sell: prints, multiples, crafts, etc. The there are plenty to choose from, including
email info@parkerharris.co.uk. You can key advantages of online marketplaces are PayPal and Stripe, being clear on any
also stay in touch with Parker Harris that a lot of people use them daily, which additional costs and timings – namely for
on Instagram, Twitter and Facebook at means your target audience is most likely framing and shipping. Do be responsive
@ParkerHarrisCo.  on these sites already, and that they work when potential buyers email you – you
like search engines, so buyers can browse should have a contact form on your website
through pieces by keywords, sizes, price – and an email address through which

sk any art professional how the making it more likely for the right collector viewers can easily reach you.
market has changed in the last to find the right work: yours.
few years, and they’ll answer one Harness the power of social
thing: online sales are rising and Find the right buyer media
are here to stay. Although the It’s important to point out here that An online exhibition has many advantages
internet has been around for a while now everyone – yes, everyone – is potentially – not the least being able to reach collectors
most art galleries, artists and collectors have a buyer. We often hold this idea of an ‘art from around the world – but it doesn’t
taken a while to embrace online avenues. collector’ as someone with vast sums of provide you with a buzzy – and sometimes
This all changed when the Covid-19 crisis money, an encyclopaedic knowledge of boozy – private view. You will need to find
forced brick-and-mortar galleries to close visual arts, and a collection worthy of the new and innovative ways to create events
their doors and made it impossible not to go MoMA. Those collectors do of course exist that draw attention to your show and make
online. Today, collectors expect to be able but the majority of people who buy art buyers feel like they have to get their hands
to purchase art online – and actively look do not necessarily fit this mould or have on your work now…before it sells out! A
for new artists to follow – so, how about the same reasons to purchase an artwork. few ideas you can explore are: hosting an
getting your work in front of them? Here People may buy a piece from you because online talk with a curator or fellow artist,
are five ideas you can look into right now to it reminds them of something they love, giving select prospects a virtual studio
start selling work online or to up your digital it fits with the décor in their living room, tour, or granting your email subscribers an
marketing strategy. or they want to gift it to someone special. exclusive preview of the upcoming show.
You need to get your work in front of these In order to get the most out of your online
Enter open exhibitions everyday art collectors. So, put yourself in exhibition, you will also want to drive
If you’d like to sell your work online and your buyers’ shoes, think about what might traffic to it through your own social media
reach new audiences, look for open drive them to take a look at your work, and pages. Use all the tools in your tool box!
exhibitions that complete their physical use the right key words to attract them First of all, make a link from your profile to
presence with a virtual gallery, or that are – with #hashtags on social media, and the most relevant page of your website, ie
100-per-cent online. A few examples of search-engine-optimised text on your site. where people can look through your works
successful on and off-line open exhibitions for sale and purchase them in a couple of
are Wales Contemporary and Wells Art Create an online exhibition clicks. Secondly, write a call to action in your
Contemporary (usually call for entries until Now that you’ve attracted people to bio – the part of your profile that shows up
the summer), the Sunday Times Watercolour your site, show them the work that is at the top of your Instagram and Twitter
Competition (closes in September) and the waiting in your studio. With the help profiles, and at the top left of your Facebook
ING Discerning Eye (until early October) of the internet (and maybe a couple of page – such as ‘click below to see my online
as well as the TALPOpen Competition (see contacts who know how to write and exhibition’ or ‘follow this link to purchase
pages 14-15 for full details). I am a little design a website), you can create your my latest works’. It may seem elementary,
biased as we manage most of these shows very own online exhibition. Here are the but the easier you make it for people to find
at Parker Harris – but these events do drive first steps you should take: first, curate a your work, the more likely they are to buy
thousands of pounds worth of online and coherent selection of recent pieces, get it. Last but not least, schedule regular posts
off-line sales each year. high-quality pictures of your art, and write leading up to and during your exhibition. TA

60 artist April 2021 www.painters-online.co.uk

Q How did you get the idea to launch what I had achieved before, during and after Q Any tips for artists who would
your first online solo exhibition? lockdown. I wanted to show a number of like to sell online or launch a virtual
A My online exhibition, Quiet, Beauty & beautiful locations in East and West Sussex exhibition?
Space, showcases a group of paintings through a mix of oil and watercolour works. A To any artists out there thinking about
inspired by local National Trust sites. They picked themselves.  going online, I’d say ‘do it’. Like it or not,
During the first lockdown in 2020, I started we are in a digital age. And we are a
to think about putting the whole show Q How did you go about creating the creative bunch who are good at moving
online without looking for any face-to- exhibition? with the times.  
face exhibition. I was not going to let a A I realised that putting on an online
global pandemic stop me painting or offer exhibition, creating a quality catalogue and Q Anything else you’d like to add? 
my work to be seen! accepting sales online required a different A Whilst the virtual experience will not
skillset to mine. And it takes time, too. As an replace galleries and gallery shows, I do
Q Why did you make the decision to go artist, it was sensible to focus on what I do think it’s important for an artist to have
online? best – paint – and look to others who deliver an online presence in today’s world.
A The decision to go exclusively online online experiences every day. The public is And if you work with a good website
was driven out of the need to get my work very sophisticated today and expectations developer, it can come pretty close to
seen and to give my viewers an insight are high for online viewing. giving a flavour of the experience. It’s
into my process. It is amazing how the I contacted Parker Harris, who made the like an old-fashioned business card – you
world really turned digital in 2020. Now, whole process of creating an online show need a place for people to be able to see
my website and social media are a way for straightforward. It was a great experience your work and potentially buy.  
me to share artwork with a new and much and the end product is wonderful. The
bigger audience. exhibition definitely has a feeling of me, my https://www.lucymarks.co.uk
personal style and art process within it and
Q How did you choose a body of works that’s thanks to Parker Harris taking time
for the exhibition? to listen to what I wanted and helping me Next month: Talking/writing about
A I put together a story that reflected technically achieve that vision. your work

www.painters-online.co.uk artist April 2021 61

Share the joy of painting
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learn-to-paint magazine.
How to paint
It is written especially for
from photos
beginners and amateur
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APRIL 2021 £4.80
with tutorials, demonstrations
and practical advice
finish a painting? Paint winter Paint along with LP

landscapes Paint along with LP

Painting project
Paint along with LP

Part 1 Chris Pendleton introduces this month’s painting from a photograph

– a delightful kingfisher – and discusses how to plan the painting

■ How to prepare to paint a portrait
of a bird
■ Consider composition, background
and layout of your painting


 Sketch 1 A thumbnail of the
kingfisher looking to the left
I love painting kingfishers and, although
Sketch 2 Here I experimentedthey’re  Sketch along
with quite common
placing the bird on a branch. and canals andshading
and ponds, they’rebird,
3 This isour
sometimes and
usually I placed
least likely background
it’s unbalanced with the
far to the left.

TALP Open winner difficult to sketch. Often all you see is a

dab of electric blue on whirring wings as
it whizzes past, low over dark water. They
are vocal birds though, so listen out for
their shrill whistles, or you might hear a
little splash as one dives for a fish from an
overhanging branch. If you can get close,
they are sometimes good subjects, posing
beautifully as they gaze down into the
water, their gorgeous colours often set off
by dark foliage behind.
It is this extraordinary tropical colour
combination of hot orange and exquisite
 Your reference material for this project: a copyright-free photograph of a kingfisher, taken
blue and turquoise that makes them
unique amongst all our native birds. from www.pixabay.com
For years I used a Victorian stuffed
specimen for detailed reference, together The subject handling software, like Gimp, for image
with gestural sketches made in the The photo (above) is extremely sharp and manipulation or just use Paint in Windows
 Sketch 4 This isn’t much  Sketch 5 This is a possibility. Ifilike
there are lots of free sources
 Sketch has the bird in a typical pose, perched
6 My final decision. Accessories, which will do a basic job.
better and the bird is still of the tips of the twigs becoming ofbuds, just
photographs for artistsNotice
nowhow andthe
I’dbird’s headover
is water, looking for fish. You could, Image handling is memory-intensive so
too far to the left. coming into leaf and showing well against a dark
recommend Pixabay, wherenicelyimages
aligned are
one third ofof
thecourse, print the photo, but why not feeble old pcs are best disconnected from
background below. The bird’s position
free toisusebetter.
for domestic way from the top.
or commercial set up an old computer in your studio the internet and emptied of any other
purposes. instead? You can download image software and files; you can also load the
images on from a memory stick.
I began by making loose thumbnail
Paint from sketches Many of you will be familiar with the ‘rule
of thirds’, which, like all rules in art, is made
sketches using cheap drawing paper and
a 7B pencil (above right). A soft dark
to be broken, but there’s no doubt that lead like this lets me place basic areas of
placing the focal point of a painting roughly light and shade quickly. At this point, I
a third of the way into an image often leads wasn’t bothered about making accurate
to a successful composition. We are so used drawings, but I did sketch the borders of
to seeing images designed with this rule
the thumbnails to help fix elements of the
in mind it goes unnoticed, but it’s worth
looking around to see how ubiquitous it composition within its frame.
is in our visual culture, from advertising to From a commercial point of view I prefer
television and films. portrait-shaped designs, because, if I

I wanted my subject to be quite large in decide to publish them as greetings cards,

the composition so, when I placed it in the this is the shape that displays best in card

Develop your middle of the painting, the focal point of

its head would be about a third from the
top. I also positioned the bird somewhat
racking in shops. For the same reason,
I usually place the bird’s head, the most
interesting part of the design, towards the
brushstroke skills to the left-hand side so the strong line of
its beak wouldn’t lead the eye out of the
top of the painting, as that is often the
770024 071195

 House Sparrows, only part of a greetings card visible in the

composition. watercolour on Goldline racking. SHOW YOUR WORK
Next, I needed to think about the 200gsm cold pressed paper, Although I made one thumbnail of the
background of the painting. It’s good to 12x9½in. (32x24cm). The How did you get on? Please send a jpeg image of
bird pointing from right
your finished to left
painting as seen in
to dawn@tapc.co.uk along
Chris Pendleton
provide some habitat context and I wanted background wash is expressly the original Find out more about Chris
withphoto, for no
a few lines reason
on how other this project,
you found
FIND YOUR SUBJECT the bird to be perched on something more

 Photo 2 is another view of plum tree twigs

lively to help indicate the
birds’ nervous tension.

than personal
the imagewebsite,
for inclusion
I decided
on the painting to flarea
so the bird now
ip of our and his work by visiting

Be inspired by www.painters-online.co.uk APRIL 2021 21 www.painters-online.co.uk

faced right, which is easy to do in Gimp.
ƒ Photo 2 To help with the composition, APRIL 2021 23
nature & wildlife here is a photo of twigs on a plum tree

20 APRIL 2021 www.painters-online.co.uk


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nature & wildlife

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Check out the latest competitions to enter and make a note of important deadlines

The John Ruskin Prize Royal Institute of Painters across the UK and Ireland, where
Sending-in days in Water Colours (RI) they have four hours to complete
Details: A multi-disciplinary art
their artwork. Prizes include a
Bath Society of Artists prize with the values of John Details: Annual open watercolour
£10,000 commission.
Ruskin at its core. Sign up to the exhibition. Acceptable media
Details: 116th annual open website to receive up-to-date include watercolour or water- Closing date: April 30,
exhibition of works in all media, news. soluble media – including 12 noon.
except photography. Two works watercolour, acrylic, ink or
may be submitted. Selected Closing date: Submissions Contact: To apply visit
open in February. Awaiting gouache (excluding water- www.skyartsartistoftheyear.tv
works will go on show at the soluble oils) painted on paper or
Victoria Art Gallery in Bath in confirmation - check website for
paper-based support. This year is
June/July; dates to be confirmed. details.
the RI’s 209th exhibition, which
Society of Equestrian
Contact: takes place at the Mall Galleries,
Artists Open Exhibition
Closing date: Submission dates
still awaiting confirmation. Please www.ruskinprize.co.uk London, from May 20 to 29. Details: Annual The Horse
check the website for details. in Art open exhibition, held
Closing date: Closing date at Sally Mitchell’s Gallery,
New English Art Club extended to Friday March 5.
Contact: www.bsaorg.uk Nottinghamshire in September,
(NEAC) invites entries. Check the
Contact: Enter online at
Broadway Arts Festival Details: The NEAC seeks https://mallgalleries.oess1.uk society’s website for up-to-date
Open Art Competition 2021 work that demonstrates information.
excellence in both concept
Details: Open to all artists in all and draughtsmanship. Artists St Barbe Museum & Art Closing date: July, tbc.
media, including photography, over the age of 18 may submit Gallery Open Exhibition Contact:
sculpture, ceramics and design paintings, drawings, pastels Details: Now in its 21st year, www.equestrianartists.co.uk
makers. Up to three entries per and original framed prints, not anyone can enter up to two
artist, with fees of £15 for the first photography or sculpture. All works of art, including sculpture
piece entered and £10 for the
work to be submitted online. and textiles on any theme. An
subsequent three. A top prize of Details: Organised by The Artist
The exhibition will take place at exhibition of selected work will
£1,000 is offered plus many more and Leisure Painter in partnership
the Mall Galleries, London from go on show at St. Barbe Museum
prizes. The exhibition runs from with Patchings Art Centre, the
June 17 to 26. & Art Gallery, Lymington,
June 4 to 21. TALPOpen is looking for the
Hampshire, May 17 to June 6.
Closing date: Submissions open best two-dimensional works in
Closing date: Registration now on Monday February 22 and Closing date: Submissions open any media including drawing,
open; closes on April 23. close on Friday April 23, 12 noon. on March 5 and Close on April 2. painting, printmaking and digital
Contact: artwork – from amateur painters
Contact: Contact:
For details and to download in the Leisure Painter category
https://mallgalleries.oess1.uk Enter online at https://www.
entry forms go to www. and from more experienced and
broadwayartsfestival. professional artists in The Artist
com/artcompetition/ Postcards from the category. Up to 140 selected
or email competition@ Trafalgar Way 2021 Sketch for Survival works, 70 from each category,
broadwayartsfestival.com Details: The competition invites Introducing will be exhibited at Patchings Art
you to take a photograph or Details: Sketch for Survival Centre, in two separate galleries,
Chelsea Art Society sketch, paint or design a postcard Introducing is a charitable Covid rules permitting, from
scene along the Trafalgar Way initiative organised by Explorers August 21 until September 26.
Details: Artists of all levels of Prize awards worth over £13,500,
experience and any age are from Falmouth to London. Open Against Extinction to help
to all ages. raise awareness about species include The Artist Purchase Prize
eligible to submit work in all of up to £3,000.
media including painting, extinction and habitat loss
Closing date: April 16. while also raising vital funds for
sculpture, drawing and prints, Closing date: extended to June 3.
for the exhibition at Chelsea Old Contact: nominated frontline conservation
www.thetrafalgarway.org projects through the sale of Contact: Full details on pages 14
Town Hall, from June 14 to 21. and 15. Submit entries online via
artworks. The exhibition is free
Closing date: Submission forms to enter. One hundred selected www.talp.co.uk
available from March/April. Royal Academy Summer artworks join the Sketch for
Exhibition 2021 Survival exhibition alongside UK Coloured Pencil
Details: The Royal Academy of invited artists and celebrities and Society
Art’s Summer Exhibition is the are included in the end of year Details: Annual international
world’s longest running and auction.
Holly Bush Emerging largest open-submission show.
exhibition open to all artists.
Woman Painter Prize When: Now open for submissions Each work must comprise at least
The initial round of selection will
until June 30. 50-per-cent dry coloured pencil.
Details: The prize is aimed at be from digital images. Please
supporting, encouraging and see website for full details. The Contact: Enter online at www. Closing date: Online entry dates
mentoring emerging women exhibition of selected work explorersagainstextinction.co.uk/ open March to June, tbc.
painters. Each year 21 artists will go on show at the Royal Contact:
are chosen from a competition Academy of Arts, Piccadilly,
to exhibit at Burgh House, London W1, from June 15 to
Sky Arts Landscape Artist www.ukcps.org.uk
Hampstead in July, with a first August 17. of the Year Series 7
prize awarded to a painter who Details: Open to amateur and Wells Art Contemporary
Closing date: Open for entries professional artists, Landscape
has demonstrated exceptional Details: Wells Art Contemporary
from mid-January; deadline for Artist of the Year is a televised art
potential to become an is an open competition for visual
registration and submission of competition from Sky Arts, which
established professional artist. art based in Wells, Somerset.
work digitally is 23.59 on Monday celebrates artistic talent. Artists
Closing date: Opens for entries February 22. are selected on the basis of a Closing date: Spring 2021 – dates
March 1 to June 1. landscape submission artwork. awaiting confirmation.
Contact: Full details available at
Contact: www. https://summer.royalacademy. Contestants take part in one of Contact:
ecclestoneartagency.com org.uk/ six heats at various locations https://wac.artopps.co.uk/

www.painters-online.co.uk April 2021 63

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ART BOOKS Reviewed by Henry Malt

The Whole Story – painting John Nash: The Landscape of Painting Animals in
more than just the flowers Love and Solace Watercolour
Christina Hart-Davies Andy Friend Liz Chaderton
Books on Unlike his older There is no shortage
natural brother, Paul, of books on painting
history John Nash had animals, but this
painting are no formal art pleasant general
not exactly training, but introduction should
thin on the nevertheless suit those who
ground. managed to are not looking
Many of emerge more for detailed
them cover or less fully- explanations of
very similar fledged into individual species.
ground, the London art This is not to
albeit from slightly different perspectives scene in 1913. He suggest that it
and different hands. Only the most became highly is superficial,
dedicated enthusiast would rush to add regarded by his contemporaries, including rather that Liz Chaderton avoids the
each new one to their burgeoning library. Walter Sickert, Dora Carrington and complication and over-explanation that
So, why should you consider this one? Harold Gilman and, in his turn, went on can mar understanding in larger tomes.
Well, for a start, it’s magnificently done. The to influence Eric Ravilious and Edward This is a compact book, both in format
small format and limited extent prevent Bawden. and extent, but it is genuinely surprising
an anything-and-everything scattergun Working in both oils and watercolours, how much Liz manages to pack in.
approach and, while the range of subjects Nash was also an illustrator, cartoonist and Crowood books are often characterised
is actually quite wide, the way the material wood engraver. As well as his extensive by longer writing than some alternatives,
is presented is nicely focused. Christina, and sensitive work on landscape, he was a but here they show that their designers
who has written for this publisher before, is fine botanical painter. Inevitably, perhaps, are adept at creating visually attractive
a sensitive artist with a light touch. for someone of his generation, he was also pages that convey a great deal even at a
Here are flowers, leaves, fruit, fungi, a First World War artist. glance.
lichens, butterflies, moths and even a This extensive and thorough account Liz’s style is pleasantly loose, but by
cat. There’s very little instruction as such, of Nash’s life looks at both his artistic and no means lacking in detail, and her
mostly just short descriptions of each personal relationships, particularly with explanations, concise as they are, are
subject. You’re left largely to draw your his wife, Christine Kühlenthal. She takes a complete and easy to follow. Examples,
own conclusions and learn by example. A major part in the story, as revealed in her exercises, hints and tips complement
few demonstrations help to point the way, letters and journals, published here for the a good variety of species and details
though. first time. The complete tale is here. including textures and features.
Two Rivers Press £15.99, 76 pages (P/B) Thames & Hudson £30, 352 pages (H/B) Crowood Press £9.99, 112 pages (P/B)
ISBN 9781909747630 ISBN 9780500022900 ISBN 9781785007873

Addictive – An Artist’s Sketchbook

Adebanji Alade
Looking at another artist’s sketchbook can feel like an
invasion of their privacy. It can also be unenlightening
as you look at half-worked ideas and visual notes that
had so much meaning for their creator and tell the
viewer precisely nothing. When the artist is Adebanji
Alade, however, it’s a different ball-game altogether. The
work here is surprisingly complete because sketching
is what he does. These are real people, captured in
real time and they live, breathe, even move on the
page. The images are mostly faces, and they’re active,
attentive, thoughtful, in repose. To catch the subtlety of
expression requires quick working and you’ll be amazed
by what Adebanji – and you – can achieve.
This isn’t an instructional book, but the sheer volume
of work and the busyness of the pages is inspiring.
Search Press £19.99, 288 pages
The spiral binding could make it seem mannered, but
(Spiral Bound)
actually conveys the feel of a much-used sketchbook.
ISBN 9781782218739

For a huge range of inspiring practical art books that can be purchased by our UK readers from our
online bookshop visit www.painters-online.co.uk/store and click on the link for books

www.painters-online.co.uk artist April 2021 65


National Gallery William Morris Gallery

LONDON Trafalgar Square WC2.
☎ 020 7747 2885
Lloyd Park, Forest Road,
Walthamstow E17.
Bankside Gallery
48 Hopton Street SE1. www.nationalgallery.org.uk ☎ 020 8496 4390 Watts Gallery Penlee House Gallery
Morab Road.
☎ 020 7928 7521 Dürer’s Journeys: Travels of www.wmgallery.org.uk Down Lane, Compton.
www.banksidegallery.com a Renaissance Artist; Within the Reach of All; ☎ 01483 810235 ☎ 01736 363625.
March 6 to June 13. exploring the aesthetics and www.wattsgallery.org.uk www.wisegal.com
Spring Mini Picture Show;
legacy of The Century Guild In Print: 20/20 Vision; 4th Newlyn School Interiors;
online exhibition of
National Maritime – an influential association annual print show, featuring bringing together work
small, unframed work by
Museum of artists, designers and 20 artists working in a from the Newlyn School of
members of The Royal
Greenwich SE10. craftspeople, diverse range of printmaking Painters, including Walter
Watercolour Society and
the Royal Society of Painter ☎ 020 8312 6608 February 27 to May 31. techniques, until April 25. Langley, Stanhope Forbes,
www.rmg.co.uk Art & Action: Making Elizabeth Forbes and Frank
Tudors to Windsors: British Change in Victorian Britain; Bramley, and providing
until March 14.
Royal Portraits; exploring until May 23. a snapshot of the living
RWS Spring Exhibition;
new work by members the changing nature of royal
portraiture over 500 years,
REGIONS conditions in Victorian
of The Royal Watercolour
extended to April 17.
Society, February 26 to October 31. KINGSBRIDGE
March 18 to April 24. BATH
National Portrait Harbour House
Barbican Art Gallery Gallery Victoria Art Gallery The Promenade. SHERBORNE
Silk Street, Barbican EC2. St. Martin’s Place WC2. Bridge Street. ☎ 01548 854708
www.barbican.org.uk ☎ 020 7306 0055 ☎ 01225 477244 www.harbourhouse.org.uk The Jerram Gallery
Jean Dubuffet: Brutal www.npg.org.uk www.victoriagal.org.uk Collective Beginnings: An Half Moon Street.
Beauty; Closed for essential building Kurt Jackson: Biodiversity; Emergence of Practice; ☎ 01935 815261;
until May 23. works until the spring 2023, paintings, sculptures and work by eight graduates www.jerramgallery.com
but you can still explore the mixed-media works, from the Totnes Art and Patrick Cullen, Tom
Gallery@OXO collection online. March 29 to April 11. Hoar and Leisure Painter
Design Foundation course,
Oxo Tower Wharf, Barge consultant, Pamela Kay;
March 9 to 14.
House Street SE1. Royal Academy of Arts March 13 to 31.
☎ 020 7021 1600 Piccadilly W1.
www.oxotower.co.uk ☎ 020 7300 8000 BRISTOL Vanessa Bowman, Lynne

Wales Contemporary/ www.royalacademy.org.uk

LIVERPOOL Cartlidge and Emma
Royal West of England Haggas;
Cymru Gyfoes; Tracey Emin/Edvard April 24 to May 12.
international open Munch: The Loneliness of Academy Walker Art Gallery
Queen’s Road, Clifton. William Brown Street.
competition, the Soul; until February 28.
February 25 to March 7. Francis Bacon: Man and ☎ 0117 973 5129 ☎ 0151 478 4199.
Beast; until April 18. www.rwa.org.uk www.liverpoolmuseums.org.uk
John Moores Painting
Mall Galleries Michael Armitage: Paradise 168 Annual Open WOLD
The Mall SW1. Exhibition; postponed Prize; selected work by
Edict; exploring East African
☎ 020 7930 6844 culture and folklore, until further notice, but is established and emerging Fosse Gallery
www.mallgalleries.org.uk available to view and works talent, until June 27. The Manor House, The Square.
March 13 to June 6.
The Pastel Society; David Hockney – The can be purchased online at ☎ 01451 831319;
annual exhibition, Arrival of Spring, www.rwa.org.uk www.fossegallery.com
available to view online. Normandy, 2020;
NEWCASTLE Pamela Kay: New Paintings;
Words Made Beautiful; iPad drawings, UPON TYNE until February 27.
celebrating the centenary March 27 to August 22. CHICHESTER Laing Art Gallery
Anthony Yates: Out of
of The Society of Scribes & Darkness;
Illuminators; Tate Britain New Bridge Street.
Pallant House Gallery March 1 to 27.
dates to be confirmed. Millbank SW1. 8-9 North Pallant.
☎ 0191 278 1611 Seren Bell: New Works;
Dandelion; work by Ed ☎ 020 7887 8888 ☎ 01243 774557 www.laingaartgallery.org.uk April 11 to May 1.
Burkes, winner of the www.tate.org.uk Changing Convention;
Jonathan Vickers Fine Turner’s Modern World; exploring the lives and
Richard Hamilton;
Art Award; dates to be a fascination with works of four women artists
confirmed. industrialisation, until March 7.
until April 18.
– Vanessa Bell, Laura Knight WAKEFIELD
Degas to Picasso:
Royal Society of British and Dod Procter,
International Modern
Artists; 304th annual Tate Modern March 27 to June 19. See The Hepworth Gallery
exhibition, Bankside SE1. pages 12 and 13. Wakefield
until April 18.
March 4 to 20. All dates to ☎ 020 7887 8888 Gallery Walk.
be confirmed, check website www.tate.org.uk ☎ 01924 247360
for details. Zanele Muholi; NORWICH www.hepworthwakefield.org
until May 31. COOKHAM Vision & Reality: 100 Years
Messum’s Norwich Castle of Contemporary Art in
28 Cork Street W1. The Wallace Collection The Stanley Spencer Museum & Art Gallery Wakefield; exploring how
☎ 020 7437 5545 Hertford House, Manchester Gallery Castle Hill. the collection has been
www.messumslondon.com Square W1. High Street. ☎ 01603 495897 strategically developed since
In Arcadia; online exhibition ☎ 020 7563 9500 ☎ 01628 531092 www.museums.norfolk.gov.uk the gallery opened. The
of oil paintings and sketches www.thewallacecollection.org www.stanleyspencer.org.uk A Passion for Landscape: exhibition was to have run
from the estate of Henry Rubens: Reuniting the Love, Art, Loss: The Wives Rediscovering John Crome until April 24 but has been
Lamb, RA (1883-1960), Great Landscapes; of Stanley Spencer; (1768-1821); postponed. Check
until March 13. April 19 to September 13. until the autumn 2021. April 23 to September 5. the website for updates.

66 April 2021 www.painters-online.co.uk


Restored; online exhibition. Salvador Dalí to Jenny Queen’s Gallery p Vanessa Bowman
WOKING Mondrian; major exhibition Saville; a showcase of Palace of Holyroodhouse, Hellebores & Tangerines,
featuring work spanning the gallery’s most recent Canongate; www.rct.uk oil on card, 14316in
The Lightbox Mondrian’s entire career. acquisitions including ☎ 0303 123 7306 (35.5340.5cm) at the
Chobham Road. Check with the gallery for paintings, sculpture and Victoria & Albert: Our Lives Jerram Gallery, Sherborne,
☎ 01483 737800 updates. films by artists such as in Watercolour; a touring
Dorset, from April 24 to
www.thelightbox.org.uk Zurich Portrait Prize 2020; Damien Hirst, René Magritte, exhibition of the collection
shortlisted portraits available Oskar Kokoschka, John May 12
Hubert Arthur Finney: Out of hundreds of watercolours
of the Shadows; to view online. Bellany, Marie Harnett and built up by Queen Victoria
until March 21. Living with Art: Picasso to Pablo Picasso, and Prince Albert,
Bridget Riley: Pleasures of Celmins; a British Museum March 27 to March 20, 2022. March 5 to September 5.
Sight; celebrating the artist’s touring exhibition, Check website for up-to- Check before you visit
90th birthday, until May 16. until May 30. date information on gallery In these uncertain
reopening times.
WALES times we advise that
you check all exhibition
IRELAND SCOTLAND Scottish National
Portrait Gallery CARDIFF
details before making
journeys as exhibition
schedules are subject to
1 Queen Street.
DUBLIN EDINBURGH ☎ 0131 624 6200 National Museum
change at short notice.
Please keep an eye on
www.nationalgalleries.org Cathays Park.
gallery websites for
National Gallery National Gallery of You Are Here / 2020: ☎ 0300 111 2333 up-to-date information
of Ireland Modern Art Stories, Portraits, Visions; www.museum.wales
on gallery reopening
Merrion Square. 75 Belford Road. exploring issues currently Artes Mundi 9; 9th bi-annual
arrangements and
☎ +353 1 661 5133 ☎ 0131 624 6200 facing Scotland. Postponed. Artes Mundi international
online exhibitions.
www.nationalgallery.ie www.nationalgalleries.org Check with the gallery for exhibition and prize,
Murillo: The Prodigal Son New Arrivals: From updates. until June 6.

www.painters-online.co.uk April 2021 67

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www.painters-online.co.uk artist April 2021 69
PaintersOnline editor’s choice
Meet this month’s editor’s choice winner from our PaintersOnline gallery

arren Sealey began
his art training in
Toronto, Canada,
before moving to
Florence, Italy where he stayed
for four years studying classical
painting techniques. ‘After leaving
Florence,’ he writes, ‘I returned to
my home city of Bristol and
started painting on commission,
producing works for sale, teaching
classes and demonstrating for art
‘I paint a variety of subject
matter including portraits,
landscapes and still life. I mainly
paint in oil, which is the medium
I trained in, but I also paint in
watercolour and pastel. Raining in
Bristol (right) was a recent
commission. My client had seen
some of my rainy-day scenes on
Instagram and wanted a picture of
his street in the rain. I didn’t have
to wait too long!
‘Painting it on location wasn’t an
option as my easel would have
completely blocked the
pavement, so I made a series of
sketches and notes and took
reference photographs. I was so
glad the campervan was parked
where it was as it gave a really
strong point of interest. However,
to make this work I had to omit a
car that was blocking the front of
the campervan. As well as
removing some things like the car,
I also wanted to add some figures
to give the scene more life. I
decided to invent the cyclist and
introduced the bicycle’s light
reflecting in the road to help
describe the soaking wet street.
‘I drew the scene out carefully
back in the studio, knowing that
the row of Victorian terraced
houses would be tricky. I painted
it in the traditional way – blocking
in the darks first and working my
way to the light. After much WIN £50 TO SPEND AT JACKSON’S!
p Warren Sealey Raining in Bristol, oil, 15¾311¾in (40330cm)
refining I arrived at a result I was happy
with and, more importantly, my client
was very pleased with it. on my website and I am available for To upload your own images to our online
‘I teach watercolour and oil painting commissions.’ For more information gallery, with an opportunity of being selected
both as group classes and one-to-one, go to www.warrensealey.format.com or as the editor’s choice, visit
in person and online. Work is for sale Instagram @warrensealeyartist TA www.painters-online.co.uk

70 April 2021 www.painters-online.co.uk

1931– 2021
artist &

Search Press
to be won each
In association with

We’ve selected these key monthly events of 1931, below, to inspire your entries
To celebrate The Artist’s 90th year, we invite all artists to join in
FEBRUARY with our series of monthly challenges, hosted on our website at
1931 www.painters-online.co.uk. Simply draw or paint an image in any
Malcolm Campbell sets the media, inspired by some of the key events that took place during
world land speed record of 1931, the year of our launch. Each monthly winner will receive
246.08 mph driving his famous a voucher worth £50 to spend on art and craft books from Search
Blue Bird car at Daytona
Press and the opportunity to see their work featured online and in
Beach, Florida.
our magazine.
Paint on the theme of, or
inspired by speed
Ghostly Hunter by Alison Perkins
FUTURE CHALLENGES Salvador Dalí opens his second solo RCA Victor introduces the LP record
exhibition at the Pierre Colle Gallery in YOUR SEPTEMBER CHALLENGE: Create a design
MARCH Paris. for an album cover.
Charlie Chaplin receives France’s YOUR JUNE CHALLENGE: OCTOBER
distinguished Legion of Honor. Be inspired by the Surrealists to paint from Dick Tracy comic strip by Chester Gould debuts.
YOUR MARCH CHALLENGE: Paint on the your imagination YOUR OCTOBER CHALLENGE: Have fun and
theme of, or inspired by silence. draw a cartoon character.
APRIL Trans African railway in use. NOVEMBER
Bridget Riley is born in London. YOUR JULY CHALLENGE: Maple Leaf Gardens opens in Toronto.
YOUR APRIL CHALLENGE: Focus on colour Paint an African scene, which could YOUR NOVEMBER CHALLENGE: Paint an autumn
and/or paint in the style of artist Bridget feature wildlife or simply a typical African garden scene.
Riley. landscape.
MAY AUGUST New York’s Metropolitan Opera broadcasts an
Empire State Building opens in New York. Yangtzee river floods in China. entire opera over the radio.
any other iconic city scene. scene featuring or inspired by water. theme of, or an image inspired by music

“Just be Yourself”, 50cm X 70cm, Nitram Charcoal on Fabriano Roma Paper


“The biggest challenge as a realist artist is to capture one's likeness while communicating passion
and emotion. "Just be Yourself" is a portrait of my father, a spontaneous and brilliant man. My father,
unlike most, never let the child inside him be silenced.
I knew that I could rely on Nitram's superior quality and consistency. Since discovering Nitram
charcoal, I have stopped using all other charcoal and graphite completely. When I use Nitram,
I know I have full control of the medium. I can achieve smooth, consistent tones and create highly
rendered finished pieces.”
~ Marco Feray Ridolfo

The Nitram Starter Kit contains:

1 x 5mm H, 1 x 5mm HB, 1 x 5mm B and 1 x 6mm B+ charcoal, and 1 Slim Sharpening Bloc with 1 set of replacement pads

Marco Feray Ridolfo comes from Milan in Italy. As a son of an artist, Marco developed admiration and interest for classic art and portraiture since an early age. Marco received an academic
training in classic art at the Liceo artistico Caravaggio in Milan and kept expanding his knowledge by also attending the Atelier ‘Voli d’arte’ of the ‘Maestra’ Valeria Vieti in the province
of Monza. According to Marco’s opinion under the teachings of the Maestro Enzo Rossi (Bujinkan ninjutsu) to whom Marco will always be grateful and in the Atelier of the Maestra Valeria
Vieti he was shown and introduced to Art for the first time as he could literally breath, absorb and live what he feels is art to an invisible level as well as to a practical level and this was like
an initiation that changed completely his life. He currently lives and works in West Oxfordshire where he does commissioned portraits and bespoke pieces. www.feray-fineart.com


www.nitramcharcoal.com FINE ART CHARCOAL