Artist & Illustrators - January 2015

January 2015 4.
20
www.artistsandillustrators.co.uk
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I L L U S T R A T O R S
01
Artists &
Quentin
Blake
Seven golden rules
for better drawings
Paula
vintage
fashion
The Portuguese artist

reveals her techniques
PoRtRaits
A masterclass in watercolour
New
Year's
Resolutions
Rego
Nine projects and ideas for a creative 2015
Royal Institute of Oil Painters

Annual Exhibition 2014
10 to 21 December
The Mall, London SW1
www.mallgalleries.org.uk
Image: Lucy McKie ROI, Water Jug on Cardboard Box (detail)
Free entry
with this
voucher
welcome
these macarons
can help you!
Ok, I realise that seeing delicious French confectionery is

probably not what you need right now. With the New Year
approaching, this is usually a time of resolutions and abstinence
after all. Well, you can relax. Artists & Illustrators is with you on
this one. Weve got your back.
The picture is part of Jane Moores 2014 resolution to create a
drawing a day for an entire year. The plan was a simple one: to
devote a little time to something she loves every day. Shes made
more than 300 drawings so far and even landed an exhibition in the process.
Jane features as part of our 12-page guide to making artistic New Years
resolutions which begins on page 13. Whether youre looking for a new
exhibition to visit, a competition to enter or just some inspiration for a different
direction to take, we hope we have something here for you.
In keeping with our theme, Id also like to welcome artist and author Jake
Spicer to the Artists & Illustrators family. His article on page 62 is the first in a
series based on everyday subjects, making it easier to fit art into your daily life.
Steve Pill, Editor
Get in touch
If you make an arty New Years

resolution, wed love to hear
about it. Drop us an email or
share photos on social media...
info@artistsandillustrators.co.uk
@AandImagazine
ArtistsAndIllustrators
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Artists & Illustrators 3
CONTENTS
JANUARY 2015
X
andinmacoteurrisaelss
on page 39
5 your letters
52 QUENTIN BLAKE
Write to us for the chance to win a 50 voucher
His seven golden rules of illustration revealed
7 THE DIARY
54 PROJECT
Januarys best events and exhibitions
Turn a grey vista into an atmospheric cityscape
13 RING THE CHANGES
62 DRAWING EXERCISES
Start 2015 creatively with our resolution ideas
Jake Spicers new series on figure sketching
35 THE WORKING ARTIST
64 MASTERCLASS
Columnist Laura Boswell on being sociable
Step-by-step guide to painting vintage fashion
39 COMPETITION
68 DEMONSTRATION
Win 1,000 worth of art courses and materials
For the perfect painting recipe, just add salt
40THE GALLERY
70 CAREER ADVICE
This months best new Portfolio Plus artworks
How to survive and thrive as an artist
43 NOTEBOOK
82 MY FAVOURITE THINGS
16 NEW MEDIUMS
24 TIME FOR A CAREER CHANGE?
29 ROLL UP! ROLL UP!
36 MIND THE GAP
48 DAME PAULA REGO
59 MAKING A SPLASH
72 PHOTO FINISH
Our new section of practical tips and deadlines
Why its never too late to paint professionally
Talking techniques with the Portuguese legend

4 Artists
& Illustrators
With art school principal Veronica Ricks
Making pastels in the wilds of Northumberland
Your seascape questions answered in detail
Be inspired to try something different in 2015
Inside the art studio on a Scottish train platform
Compose paintings with the aid of your camera
YOUR LETTERS
LET TER OF THE MONTH
CALMING EFFECT
RE: Mr Turner, Issue 344

Launch day of the film Mr Turner saw me painting at the Cambridge
Arts Picturehouse. Local artists were invited along to use the venue as
their studio. It was a fantastic day with cinemagoers and staff really
interested in the painting process. The organiser Jack Toyle said he
found it calming having artists working in the venue.
This got me thinking: wouldnt it be fantastic if all businesses made a
small studio space in offices and factories
for artists to come and use? It would be
interesting to see how having a working
artist around would affect the staff.
Judy Logan, via email
Great idea, Judy. We think all businesses should
consider having an artist-in-residence, even if it
is only for a day. If any companies would care to
offer a space, wed love to hear from them!
FIRST EXPOSURE
I am in the second week of my
first solo exhibition. West
Dunbartonshire Council asked if I
would be interested in a solo
exhibition at The Backdoor
Gallery. Reading about other
artists in your magazine has given
me the confidence to produce 52
paintings for the exhibition.
Having left school, served an
apprenticeship in marine
plumbing and lectured for 30
years, I can now concentrate my
efforts on enjoying art and
hopefully selling my paintings.
I look forward to my delivery of
Artists & Illustrators each month.
They have a prominent place in
my studio, where they are used
either for reference or just to
enjoy browsing. I like to specialise
in acrylics and watercolours with
an emphasis on detail. My subject
matter is varied but I like to return
to the shipbuilding on the Clyde.
Alex Moffat, via email
keep in touch
GENERAL INTERESTS
RE: Your Letters, Issue 346
I read the letter of Mr DM Howard
with great interest. I am an
extremely amateurish artist but
have occasionally sold a picture.
My relatives and friends seem to
like them. I also play bridge, at
which Im even more amateurish.
I have tried on occasion to
combine my two hobbies.
Ellis Field, York
write to us
Send a letter or email to

the addresses below for
the chance to win a 50
GreatArt voucher
POST:
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Artists & Illustrators
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The writer of our letter
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partner GreatArt, who
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range of art materials
with over 50,000 art
supplies and regular
discounts and
promotions.
www.greatart.co.uk
JOLLY GOOD READ

I enjoy getting your magazine and
I wanted to share a book I
consider to be very helpful
on the business side of
things its called Art Inc. by
Lisa Congdon. Ive found it
inspiring and hope that your
other readers might as well.
Eszter Rajna, via email
Thanks for the tip! If other
readers are inspired by a
particular book, please share
your recommendations with us.
info@artistsandillustrators.co.uk
@AandImagazine
HOT TOPIC
At www.artistsandillustrators.co.uk, we
picked out five great films about artists
and asked you to name your favourites
on social media
JASON CRAMER
I love Pollock, especially when you
consider the research and hard work
that went into it. Ed Harris is brilliant
MARION BODDY-EVANS
@PAINTING
The best artist film ever is Vincent by
Paul Cox John Hurt reading Van Goghs
letters to an unfolding sequence of
images
CHRISTIAN CAMACHO
Girl with a Pearl Earring should be on
that list
STELLA DAVIS
Carrington is one of my favourites.
Set in the era of the Bloomsbury group,
it illustrates how relationships influence
artistic output
SARA GLENDINNING
@BOTSWANAARTIST
You forgot the dark and depressing
Caravaggio and Carrington with Emma
Thompson, which I loved!
RICK WHITE
I would have picked The Yellow House
over Lust for Life
JAN CAVANAGH
I havent seen any of these yet but
I really enjoyed the Desperate
Romantics series on BBC2
thoroughly entertaining!
ArtistsAndIllustrators
AandImagazine
AandImagazine
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the diary
THE FORGOTTEN COLOURIST

Jean Joseph Benjamin-Constant is hardly a household name in the UK but that may be set to change. A new monograph,
Benjamin-Constant Marvels and Mirages of Orientalism (Yale Books, 40), is the first time that this Toulouse masters story
has been told in detail. Born in 1845, he established his reputation in the Parisian salons of the 1870s. Extensive travels
across Spain and Morocco inspired vast decorative canvases, filled with Moorish architecture and striking portraits of local
people. By working with a saturated palette and layering his oils with confidence, he drew comparisons with Delacroix and
Rembrandt. For fans of elegant 19th-century portraiture, Benjamin-Constant is a name worth getting accustomed with.
the diary
join us to toast our

artists of the year
The Artists & Illustrators Artists of
the Year 2014 exhibition opens at
the prestigious Mall Galleries this
month. We will be hosting a special
drinks reception on 6 January 2015
for all the shortlisted artists and we
are offering our subscribers and
Portfolio Plus members the chance
to join us at the evening event.
To apply for your free ticket,
call Ebba Jacobsson on (020) 7349
3712 or email ebba.jacobsson@
chelseamagazines.com, quoting
either your magazine subscriber
number or Portfolio Plus web
address. Please note that places are
limited and subject to availability on
a first come, first served basis.
The Artists & Illustrators Artists of
the Year 2014 exhibition runs from
6-17 January 2015 at the Mall
Galleries, London SW1.
THE ESTATE Of STAnLEY ROYLE
Landscape painters should make a beeline to

Sheffields Graves Gallery for a major new free
exhibition by the 20th-century painter Stanley Royle.
The Great Outdoors is the first major retrospective
of his work for almost 30 years. Born in Stalybridge
in 1888, Royle trained at the Sheffield School of Art
where he later taught. He spent the 1930s in
Canada, painting the Rocky Mountains and vast
coastlines, On his return to Britain, he was often
found touring Yorkshire on a motorbike adapted to
accommodate his canvasses and paintbox.
The Great Outdoors runs from 13 December
to 30 May 2015 at the Graves Gallery, Sheffield.
8 Artists
& Illustrators
SHORT
COURSES
CENTRAL
SAINT
MARTINS
Online
Weekends
Daytime
Evenings
Bespoke training
Courses for under 19s
Dual city and Study abroad
Art, Design, Fashion and Performance
www.arts.ac.uk
Search: csm short courses
london
atelier of
representational
art
The London Atelier of Representational Art [LARA]

offers full time and part time training in drawing
and painting in the atelier tradition.
LARA provides students and professional artists
with the opportunity to perfect their skills on
intensive one or two week workshops and
weekend courses.
The London Atelier of Representational Art W0012/14 Basement Studios Westminster Business Square 1-45 Durham Street London
SE11 5JH Tel: 0207 738 8884 Email: info@drawpaintsculpt.com
w .
PORTRAIT PAINTING
WORKSHOPS
FIGURE PAINTING
WORKSHOPS
SCULPTURE WORKSHOPS
DROP IN LIFE DRAWING
Week long portrait painting workshops in creating an oil portrait from

a live sitter. Taught by the tutors of
the full time course.
Learn how to paint a full figure in

oils using the sight size method on
intensive week long workshops.
LARA offers one or two week

workshops in figure and portrait
sculpture working as one of eight
students from the live model
Drop in quick life drawing sessions

run every Wednesday during term
time from the Vauxhall studios.
8 per session, 18:30 - 20:30
the diary
OF THE MONTH
the art school formerly

known as prince
The Princes Drawing School has been given the highest seal of approval by
Her Majesty The Queen and will now be known as the Royal Drawing School.
The title was bestowed in recognition of the London schools academic and
artistic excellence much to the delight of all of those involved, including
deputy chairman Loyd Grossman OBE. One thing that hasnt changed since
the school was established in 2000 is the heart, the core mission of the
school, remains a devotion to the importance of drawing and particularly
observational drawing, explained the broadcaster.
The school now joins an elite group of arts institutions to bear the royal
imprimatur, including the Royal Academy of Arts and the Royal College of Art.
Brighten your coffee table with Monets

Impression, Sunrise (Editions Hazan, 30),
a beautifully-illustrated insight into the
canvas that inspired a whole art movement.
in
popular view
Congratulations to Juliette Losq who won the visitors

choice award at the John Moores Painting Prize 2014
exhibition. The 36-year-old artist scooped the 2,014 prize
for Vinculum, an urban scene in watercolour and ink that
measured a staggering 2.9 metres high.
The Midas touch?

The publisher of popular
Derbyshire wildlife artist
Pollyanna Pickering has
insured her right hand for
1 million in case of
accident during her many
expeditions. Im not allowed
to go skiing, rock-climbing
or even to sculpt, she says.
Unique view of the coast
Norman Ackroyd CBE
chartered a whale-watching
boat to sketch the Yorkshire
coastline for a new series of
etchings. The coastal cliffs
of Yorkshire are deceptively
beautiful, says the Royal
Academician. From
Saltburn to Flamborough
runs until 21 January at
Zillah Bell Gallery, Thirsk.
Show me
the Manet
Norwich Castle
Museum and
Art Gallerys
Homage to
Manet, opens
on 31 January. Taking its
title from William Orpens
1909 painting (above), this
major new loan exhibition
explore douard Manets
influence via works by
Claude Monet, Gwen John
and Vanessa Bell.
The new generation
The sixth edition of the
Catlin Guide launches at
the London Art Fair 2015
on 21-25 January. The book
selects 40 rising stars from
recent graduate shows.
With December drawing to a close, its time to start planning

for the New Year. Over the next 12 pages, we have put together
a host of inspiring resolutions, projects and challenges to help
you make the most of your artistic talents in 2015
words: terri eatON, steve pill aND jeNNY White IllustratIon: bett NOrris
1 see more art

When youre looking for encouragement, nothing beats seeing
a great painting in the flesh. Weve picked out 10 top exhibitions
opening in the next six months that are sure to inspire
NATIONAL MUSEUM OF WESTERN ART, TOKYO
Sargent: Portraits of Artists and Friends

12 February to 25 May 2015
With loans from many major US galleries, this
personal set of figurative paintings is set to
reveal a looser, more experimental side to the
great John Singer Sargent. Look out for our
technique feature in the next issue. National
Portrait Gallery, London WC2. www.npg.org.uk
Joshua Reynolds: Experiments in Paint

12 March to 6 June 2015
Based on the findings of the four-year
Reynolds Research Project, this free
exhibition will provide new insight into the
18th-century painters techniques. Artists will
find much to learn from his once-radical use
of pigments, oils and varnishes.
Wallace Collection, London W1.
www.wallacecollection.org
LAKELAND ARTS TRUST. ESTATE OF TERRY FROST
Inventing Impressionism
4 March to 31 May 2015
Art dealer Paul Durand-Ruel played an
important but largely unsung role in the
Impressionist movement. All 85 artworks
in this Sainsbury Wing show passed through
his hands at one time and they include
masterpieces by Monet, Renoir and more.
National Gallery, London.
www.nationalgallery.org.uk
Leonora Carrington
6 March to 31 May 2015
Born in Lancashire in 1917, Leonora
Carrington spent 70 years in Mexico where
she remains hugely revered. Alongside her
surreal paintings, this collection also includes
her costume designs, stories and films, made
with Dal cohort Luis Buuel.
Tate Liverpool, Liverpool. www.tate.org.uk
Canaletto: Celebrating Britain

Giovanni Antonio Canal is famed for his
vedutes of Venice, which he sold to wealthy
Britons on their grand tours. In 1746, he
moved to London and spent nine years
recording our fair isles in equally epic detail.
Compton Verney, Warwickshire.
www.comptonverney.org.uk
14 Artists
& Illustrators
DES MOINES ART CENTER, DES MOINES, IOWA
TOP LEFT Claude Monet,

Poplars in the Sun,
1891, oil on canvas,
93x73.5cm
LEFT Terry Frost, Straw
and Purple Visage,
63.2x63.2cm
ABOVE John Singer
Sargent, douard and
Marie-Louise Pailleron,
152.4x175.3cm
>
Richard Diebenkorn
One of the most consistent and disciplined
American painters of his generation, Richard
Diebenkorn tackled the landscape of his
native Californian landscape with a bold and
sometimes abstract eye for colour.
Royal Academy of Arts, London W1.
www.royalacademy.org.uk
Grayson Perry
23 May to 13 September 2015
Everyones favourite cross-dressing Royal
Academician returns with a fresh set of

ceramics, tapestries, prints and more, all
crafted with typical love, wit and insight.
Turner Contemporary, Margate.
www.turnercontemporary.org
Jean-tienne Liotard
6 June to 13 September 2015
Was Jean-tienne Liotard the worlds first
hyperrealist painter? Rare 18th-century oils,
miniatures and prints all make the case.
Scottish National Gallery, Edinburgh.
www.nationalgalleries.org
Taking Flight: St Ives in the 1950s

26 June to 3 October 2015
Glorious modernist abstract art from five key
figures including Patrick Heron and Terry Frost.
Abbot Hall, Cumbria. www.abbothall.org.uk
10
Sickert in Dieppe
4 July to 4 October 2015
After honeymooning in Dieppe in 1885, the
Camden Town artist returned almost every
summer to paint the French resort.
Pallant House Gallery, Chichester.
www.pallant.org.uk
>
16 Artists
& Illustrators
R ES O LU T I O N S
2 change styles
Thinking about switching subjects, techniques or medium? David Grosvenor
did all three at once and reaped the rewards for following his muse
hey say a change is as good as a rest, but, for

David Grosvenor, there was no pause when he
decided to make an abrupt change in mediums,
subjects and styles. In fact, he decided to put the
works together in the same exhibition.
The painter, who lives in Cardigan Bay, created a
show at Oriel Plas Glyn y Weddw with two distinct
halves. One room was filled with the type of paintings
he was known for: delicate, colourful watercolours,
mostly of flowers. In the other room was a set of
dramatic mountain landscapes, executed in thick
impasto oils. It was interesting watching people arrive
because they walked through the first room with the oil
paintings saying, Where are David Grosvenors
paintings? Later they would wander back into that
room and realise that the oil paintings were by me too.
It was a brave move that was inspired by an
instinctive need to start painting the dramatic
landscape surrounding his North Wales
home. A former graphic designer, David
had taken up painting professionally
when he moved to Wales two
decades before, but had never
properly tackled the mountains prior
to that point. I focused on still lifes
because when you are surrounded by
so much stunning scenery its actually
quite difficult to get a handle on it. However,
just being here for this amount of time breeds
familiarity with it, and you start to feel able to depict it.
For a while he had only ever painted
tranquil views of that landscape, typically
focusing on the sea or a lake, with the
mountains in the distance. More recently,
however, his perspective changed again.
It happened around the time that I did my
first walk up the mountain. It took me 20
years to decide to go up there, but the
experience opened my eyes.
Another significant factor was a visit to see
an exhibition of work by the late Sir John
Kyffin Williams, the celebrated Welsh
painter of impasto mountain scenes, at Oriel
Ynys Mn on Anglesey. I met him a couple of
times when he was alive and he had been
very complimentary about my work, even
though it was so different to his. He worked
with a knife and lashings of paint. I couldnt
afford to use that much paint, but there were
Change style
and your buyers
wil often fol ow
LEFT David Grosvenor,

Rocky Coast of the North
Llyn Peninsula, oil on
canvas, 40x40cm
BELOW David Grosvenor,
Camellias, watercolour
on paper, 30x21cm
some seascapes that particularly struck me. He liked

to finish each painting in a day, even the big canvases,
and I was influenced by that too.
Although he claims that he will never tire of the
complexities of watercolour painting, the switch to oils
was liberating. He enjoyed the spontaneity of working
with palette knives too. If youre working with brushes
you need about a million of them in order to prevent
your colours from becoming dirty, whereas if you work
with a knife, you can wipe the paint off and youve
instantly got a clean tool to work with.
Making the change has worked well for him so far.
Ive got a whole new audience, he admits. Some
have followed, and there are people who have told me
they bought one of my oils even though they had never
liked oil paintings before.
For his most recent show, David kept both sides
happy by including a number of watercolour paintings.
Revisiting the medium, he found that his style has
become bolder and freer, and he is now able to explore
contrasting moods within one exhibition, covering
everything from moody windswept mountains to
tranquil still life. Making the switch was a commercial
risk but Im glad I did it, he says. If youre not happy
with your own work theres no point in doing it. If you try
something different and you feel it is working, the
chances are that there will be people out there who
follow you on that path. Youve just got to have the
nerve to follow your instincts.
www.welshart.net
>
enter an art competition
r es o lu t i o n s
Submitting artworks to open exhibitions is a great way to

build your reputation. Here are the details for 12 major UK
competitions to enter in the next six months.
Royal Institute of Painters
in Water Colours
The annual open exhibition returns
SUBMIT: Before 2 January 2015 at
www.registrationmallgalleries.org.uk
PRE-SELECTION: 9 January 2015
RECEIVING DAY: 7 February 2015
EXHIBITION: 25 March to 11 April 2015
at Mall Galleries, London SW1
Royal Society of Portrait Painters
Includes the 15,000 7IM Conversations
Prize for multiple figure portraits
SUBMIT: Before 9 January 2015 at
PRE-SELECTION: 16 January 2015
RECEIVING DAY: 14 February 2015
EXHIBITION: 16 April to 1 May 2015 at
Mall Galleries, London SW1
RA Summer Exhibition 2015
Follow in the footsteps of Mr Turner
SUBMIT: Online from 6 January 2015 at
summer.royalacademy.org.uk
PRE-SELECTION: March 2015 (dates tbc)
RECEIVING DAY: March 2015 (dates tbc)
EXHIBITION: 8 June to 16 August 2015
at Royal Academy of Arts, London W1
RECEIVING DAY: 18 April 2015

EXHIBITION: 19-27 June 2015 at
David Shepherd Wildlife Artist
of the Year 2015
A top prize of 10,000 is on offer
SUBMIT: Before 13 February 2015 at
www.davidshepherd.org/way
RECEIVING DAY: Spring 2015 (dates tbc)
EXHIBITION: 30 June to 4 July 2015 at
Aviation Paintings of the Year 2015
The Guild of Aviation Artists 45th annual
summer exhibition, open to non-members
SUBMIT: Email admin@gava.org.uk for
entry forms and submission details
RECEIVING DAY: 10 May 2015
EXHIBITION: 21-26 July 2015 at
National Open Art Competition
The Chichester Art Trusts gala event
SUBMIT: Online from 10 January 2015 at
www.thenationalopenartcompetition.com
RECEIVING DAY: August 2015 (date tbc)
EXHIBITION: September 2015 (dates tbc)
BP Portrait Award 2015

The worlds premier portrait competition
SUBMIT: Before 3 February 2015 at
www.npg.org.uk/bp
PRE-SELECTION: 27 February 2015
RECEIVING DAY: 16-20 March 2015
EXHIBITION: 18 June to 20 September
2015 at the National Portrait Gallery,
London WC2
Royal Society of Marine Artists

Includes the Classic Boat Prize, awarded
by our sister magazine
SUBMIT: 6 April to 10 July 2015 at
PRE-SELECTION: 17 July 2015
RECEIVING DAY: 15 August 2015
EXHIBITION: 14-25 October 2015 at
New English Art Club

Championing figurative painting
SUBMIT: 8 December to 13 March 2015
at www.registrationmallgalleries.org.uk
PRE-SELECTION: 20 March 2015
RECEIVING DAY: 18 April 2015
EXHIBITION: 19-27 June 2015 at
Society of Wildlife Artists

Paintings evoking the natural world
SUBMIT: 4 May to 7 August 2015 at
PRE-SELECTION: 14 August 2015
RECEIVING DAY: 12 September 2015
EXHIBITION: 29 October to 8 November
2015 at Mall Galleries, London SW1
The Haworth Prize

A new 4,000 prize for a Northern
English cityscape or landscape made by
a northern artist under 35
SUBMIT: 8 December to 13 March 2015
at www.registrationmallgalleries.org.uk
PRE-SELECTION: 20 March 2015
Artists of the Year 2015

Our annual search for fresh talent
SUBMIT: Online from 22 May 2015 at
RECEIVING DAY: September 2015 (tbc)
EXHIBITION: January 2016 (tbc) at
>
R ES O LU T I O N S
4 Share your work

Keen to take the next step in your journey as an artist?
Establishing an online portfolio is a great way to raise your
profile and find a new audience for your artwork
The Portfolio Plus scheme on
www.artistsandillustrators.co.uk has been
designed to help you share, showcase
and even sell your work to a monthly
audience of more than 104,000 unique
users. Sign up today to receive a
personalised web address and start
uploading your artworks. Portfolio Plus
members receive many additional
benefits, including:
SELL YOUR ARTWORK

We take no commission so you can sell
your work with maximum returns
SHOWCASE YOUR TALENT

Take part in regular online exhibitions
and be featured in Artists & Illustrators
5 Bag a bursary
Times are hard so why not apply for one of these three
funding opportunities to help kick start your 2015
RSA RESIDENCIES
FOR SCOTLAND
WHAT? The Royal Scottish Academys
residency programme provides the
chance for artists to conduct research
or develop a body of work at one of more
than 25 venues across Scotland.
Successful participants can request
up to 5,000 in bursary monies.
WHEN? Apply before 21 January 2015.
HOW? Applications and guidelines
are available at www.royalscottish
academy.org
ROME SCHOLARSHIP
WHAT? The Federation of British Artists
offers this valuable award to figurative
artists who can demonstrate a good
standard of draughtsmanship. This
bursary includes a four-week stint at the
British School in Rome, complete with
flights and half-board accommodation.
WHEN? Apply online before

31 December 2014.
HOW? Visit www.royalsociety
ofbritishartists.org.uk for more details.
DISCERNING EYE
DRAWING BURSARY
WHAT? First awarded in 2002, this
annual bursary provides UK artists with
the chance to develop their drawing
practice in their chosen direction.
A 1,500 first prize is up for grabs,
alongside runner-up prizes of 150 each.
WHEN? Details for 2015 will be
announced soon.
HOW? Visit www.parkerharris.co.uk
for more details.
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and then you will be ready to begin
sharing your work with friends, family
and even potential clients.
draw
every day
Every January, Jane Moore vows to make a New Years

resolution worth sticking to, whether thats abstaining from
chocolate or taking up a particular sport. Like many of us,
her good intentions tend to fizzle out after a few months.
However, Jane was adamant that 2014 would be different
when she decided to keep a daily sketching journal.
I love drawing and I felt the project could help generate
concepts for my current role as a storyboard artist, reveals
the 33 year old. Its really developed my drawing skills
immensely. I can see it clearly when I look back.
It hasnt always been easy for Jane to find the
time to sketch, but even on hectic days shell
allow herself a few minutes to honour her
resolution. I normally draw in the morning
before I start work. I find Im fresher and I can
generate better ideas, says the Belfast-born
artist. Plus, it gives you something to look forward
to the night before.
Janes enthusiasm is infectious and shes received a
flood of support for her project on social media. I upload
my pictures onto Twitter and I love reading the feedback,
she explains. It gives me encouragement to keep going
and do better ones.
Janes mission to sketch every day is nearing its climax
but this isnt really the end. With hopes to continue drawing
every day in 2015, and for every year that follows, her
artistic adventures have only just begun.
Janes Sketch a Day exhibition runs 23-28 January 2015
at Shapes, London E9. www.sketchadayproject.com
>
Try sketching in
the morning when
you feel fresher
R ES O LU T I O N S
TRY
s o m e th i n g
n ew
Five practical workshops to broaden your artistic skills
Sketch like a master

The London Atelier of
Representational Art (LARA)
is renowned for teaching the
traditional skills. Travis
Seymours Classical Figure
Drawing (19-23 January) is a
perfect introduction to LARAs
approach, as it focuses on
comparative measuring.
LARA, London SE11.
www.drawpaintsculpt.com
2 Draw in colour
Pare things back
As your paintings develop, learning what to

leave out can be an important skill to learn.
Emma McClures Simplicity and Form
(26-27 February) shows you how with a still
life project, while The Art of Keeping It
Simple (2-6 March) turns to the St Ives
modernists for inspiration.
St Ives School of Painting, Cornwall.
www.schoolofpainting.co.uk
Embrace abstracts
With Freedom in Painting

(19-25 April and 4-10 October),
experienced abstract artist
Ashley Hanson combines study
work in the harbour with
in-depth critiques and
demonstrations in the studio.
Lifeboat Art Studio, Porthleven.
www.ashleyhanson.co.uk
Nel Whatmore and

Rebecca de Mendonas
Foundation Course in
Pastels (6-8 March,
18-20 April, 10-12 July) is
a great way to truly get to
grips with the medium.
The New Pastel School,
Yorkshire. www.thenew
pastelschool.co.uk
Make a new mark
Keen to dabble in printmaking

but dont know which technique
to try? An Introduction to
Printmaking (2-23 February)
teaches monoprints, linocuts,
drypoint and screenprinting on
four consecutive Monday
evenings. Green Door, Derby.
www.greendoor-printmaking.co.uk
Art Courses
2015
May to September
Drawing
Painting
Sculpture
Calligraphy
Textiles
Stone Carving
artinactionartcourses@gmail.com
www.artinaction.org.uk
07980 091 297
Organised by the School of Economic Science Registered Educational Charity no 313115
swap
career
24 Artists
& Illustrators
r es o lu t i o n s
Give up your job to focus on art full-time can take

confidence, but after switching psychiatry for painting
Vic Harris tells us: I wish Id done it years ago
itting down with former psychiatrist Vic Harris in the

Saatchi Gallerys caf, we suddenly feel a little
self-conscious. What if an accidental scratch of the
nose says something negative about our character?
Until 2009, Vic had made it his lifes work to analyse
human behaviour, but these days his attention is focused
entirely on painting, especially portraits. So were eager to
discover whether Vics years of studying people in a
professional capacity has helped him understand how to
capture a good likeness. However, we soon gather were
not the only ones feeling vulnerable today. Im not used to
talking about my art if Im honest. I just do what I do. I
understand personality types and human nature but
theres no magic to it, says the 60-year-old, who has twice
been shortlisted in our Artists of the Year competition.
The candid Welshman began painting in 2010 after his
son Stefan declared he wanted to become an artist. At the
time, Stefan was excelling in sciences and the decision to
do a foundation year at Blackburn College came as shock
to his parents. Vic warned of the difficulties trying to make
a living from art and hoped his son would change his mind
but a few months later, it was Stefans turn to give his
father some worthwhile advice.
He said to me, Dad, you like drawing. Why dont you
have a go at painting? and so I began with oils. I wish I had
done it years ago, but I needed my son to get me going and
inspire me. We joke its because Im a competitive father,
but we bring out the best in each other.
Though youd never guess from his realist
portraits, Vic hasnt had any formal training.
In 1989, he bought himself an airbrush but
that was about as artistic as it got until his
sons recent intervention.
An avid reader of Artists & Illustrators, Vic
has learned how to paint by spending hours
looking at paintings in galleries (the Muse
dOrsay in Paris is a particular favourite) and
wondering how exactly they were created.
Ive tried to learn the traditional techniques but
now Im building my confidence, I want to loosen up
and do more alla prima paintings, he says. However, the
difference between a good portrait and a great one is how
you use colour, which Im still finding my way with. I look at
someone like [19th century French artist William-Adolphe]
Bouguereau and he painted with lots of greens and greys
rather than flesh tones. My paintings tend to be quite
monochromatic but thats something I want to change.
As well as taking tips from the greats, Vic enjoys
receiving feedback about his own work from his
contemporaries and finds YouTube to be the perfect way to
share his paintings. Stefan encouraged me to upload
time-lapse videos of myself in the studio and theyve had a
fantastic reaction, explains Vic, whose first clip has been
Could your old job

help inspire a new
career in art?
ABOVE Stefan 3,
oil on canvas,
51x61cm
OPPOSITE PAGE
Carla 3, oil on
canvas, 50x70cm
viewed over 55,000 times. People ask if I give lessons

but I reply saying I dont know what Im doing myself!
While Vic protests ignorance in some areas of his
craft, he has an interesting theory about what makes
a successful portrait that might surprise his YouTube
followers. They say the eyes are the windows to the soul
but I dont think its true, he says. Its the mouth. When
youre talking to someone, you spend little time focused on
the eyes. Ive worked with schizophrenics and they often
make eye contact too much because they think that it
equates to having good social skills, but if theres any part
of the face that drives me mad when I paint, its the mouth.
Vics former occupation is clearly informing his newfound
passion for painting. Hes swapped Sigmund Freud for
Lucian Freud and, in doing so, proven once and for all
that its never too late to make a change.
www.vicharris.co.uk
>
9 Get organised
Plan your year in style with one of these arty calendars and diaries
Never miss
another competition
deadline
Clockwise from top: Norman Rockwell 16-month calendar, 9.99, www.calendarclub.co.uk; Redstone The Art of Simplicity diary,
15.95, www.theredstoneshop.com; New English Art Club calendar, 15, www.newenglishartclub.co.uk; Royal Academy of Arts
desk diary, 12.99, www.flametreepublishing.com; Tessa Galloway City Illustrations calendar, 14, www.notonthehighstreet.com;
Charles Rennie Mackintosh Decorative Designs calendar, 10.99, www.calendarclub.co.uk
Centre: The Glasgow Boys calendar, 9.99, www.flametreepublishing.com
2015
ashurst
emerging
artist prize
Open for entries

enter now
www.artprize.co.uk
deadline
1 February 2015
prizes include
Cash prizes of
3,000 and 1,500.
Jeremy Gardiner
Solo show at the

Emerging Artists Gallery,
London
In addition, optional
feedback given
on every entry
Jurassic Coast
17 January 1 March 2015
Access to talks
and events
Victoria Art Gallery

By Pulteney Bridge Bath BA2 4AT
Tel 01225 477233 www.victoriagal.org.uk
Tue to Sat all day, Sun pm, all works for sale
In Silence by Ella Prakash
4923_EmergingArtists2015_ad_final.indd 1
Jeremy Gardiner Mupe Rocks Dorset (detail)
21/11/2014 17:10:48
Sainsbury Centre for Visual Arts
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Until 1st March 2015
*Temporary exhibition, charges apply
Sainsbury Centre for Visual Arts,

University of East Anglia, Norwich,
NR4 7TJ 01603 593199 www.scva.ac.uk
Opening 18th April 2015*
A unique collaboration with the State Hermitage Museum,

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Photo: Pete Huggins
Free admission to permanent collections

Opening Times Tuesday - Friday 10am-6pm,
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Coming Soon:
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PASTEL CORRESPONDENCE
AND STUDIO COURSES
Designed and taught by renowned pastel artist and teacher
Annabel Greenhalgh, either online or in my cottage studio.
Learn to make the most of your pastels with
Annabels personal guidance.
Free course notes, price structure and testimonials.

Please e-mail - annabel@annabelgreenhalgh.com
Or Tel 01834 831 633
www.annabelgreenhalgh.com
28
talking techniques
the
c o lour
farm
Founded by a frustrated artist in the 1980s, Unison

Colour now produces a quarter of a million pastels by
hand each year. We paid a visit to see how they do it
Words: terri eaton PHoTos: richard kenworthy
painting projects
30 Artists
& Illustrators
above left
Rolling out the
pastels; jars of
raw pigment; the
Coach House
opposite page,
clockwise from
bottom left
Following the
recipe; dollops of
colour mixture;
freshly-rolled sticks
COACH HOUSE PHOTO: DAN HERSEy
ifting the lid off a fresh set of Unison Colour soft

pastels is like opening a jewellery box of gems
theyre wonderful to admire but best enjoyed when
put to good use. Each and every one of the companys
400-plus vibrant shades is made by hand so we decided
to visit them and find out how its done.
Unison Colour is based in Tarset, a remote parish set
deep in the Northumberland National Park. Were
welcomed on the doorstep of the beautiful Thorneyburn
Old Rectory by four dawdling chickens. Come in, says
Unison Colour director Kate Hersey, as she shoos away the
chooks. Ill make us some tea.
The Old Rectory was built in 1818, along with the
neighbouring St. Aidans Church, to provide a living for
ex-Royal Navy chaplains after the Napoleonic Wars, but it
has been Kates home since 1980 when she moved here
with husband and artist John Hersey.
John was the founder of Unison Colour. He was inspired
to create his own pastels because he felt the other
mass-produced options failed to cut the mustard.
John gave up doing any of his own artwork while we
were creating the first batch of colours, says our hostess
as we follow her into the kitchen. He worked solidly on that
for years and he wouldnt stop on a colour until it was
perfect. They became his art.
We sit at a large farmhouse table. Theres a pan of
homemade soup simmering away on the AGA and a sense
of calm in the air, unexpected for somewhere that produces
around 250,000 pastels every year.
Were joined by Dan, one of Kates three sons and the
only one to have joined the pastel-making trade. He has
taken over from the now-retired Kate as head of business
and marketing.
I helped dad early

on making pastels
when he first started.
Out of my other
brothers, I was the
one who most
interested, he says.
Its exciting to take
it on, to create a
product that people
love and people
aspire to use thats
the lovely thing about it. That would have pleased Dad.
John sadly passed away in 2008, but Kate and Dan were
adamant his legacy would live on through Unison Colour.
They pay special thanks to their close-knit team of eight
staff too, who they consider to be more like friends than
employees as they share Johns passion for perfection.
Every morning and afternoon, we all sit around this table
for a tea break and a catch up, she says. Theres not
much time for chat during the day everyone is very
hardworking and so this quality time together is essential.
Dan takes this as his cue to introduce us to some of
the individuals who make the magic happen here at
Thorneyburn Old Rectory, as we make our way towards
the coach house, where John first began making pastels
three decades ago.
The stone steps leading up to the first floor workshop are
weathered and worn from nearly 200 years of use, but the
space inside is still in fine form with its wooden beams
overlooking rows of pastels lined up perfectly on the tables.
Oliver Coats is one of Unisons three pastel-makers and he
considers it a good day if he can make 600 pastels.
Ive worked here for 10 years and so I can tell by the
look or texture of a batch whether its going to turn out right
or not, which is a time-saver, he says, as he scoops out
dollops of fresh pigment mixture onto blotting paper.
Some of the recipes have up to eight varieties of pigment
in them therefore a few grams of colour here and there can
make all the difference.
talking techniques
on a good day
each person makes
600 pastels by hand
The pasTels
are made wiTh
a loT of hearT
and soul
32 Artists
& Illustrators
UNisON COlOUr sigN pHOTO: OlivEr COATs
talking techniques
The secret recipes were originally concocted by John,

but are followed meticulously by the makers on site to
ensure the colours remain vibrant. Once the pastels have
been dried and tested, they are sent to the packing room
downstairs to be labelled, boxed and shipped all by hand,
of course. The walls are lined with shelves of unlabelled
pastels waiting to be dressed.
Weve got to make sure we get them on tight enough to
ensure the label doesnt move, that no fingerprints are
visible and that its equidistant from top to bottom,
explains Cathi Dixon, who is in charge of the packing room
and is Unisons longest-serving employee, working here for
24 years. No machine could replace what were doing
unless you get a machine to make them in the first place
then it would be a completely different product.
The stillness of the packing room is broken when Dan
pops his head through the door and invites everyone to
join him and Kate in the kitchen for their afternoon
refreshments. We meander to the room in which our tour of
Unison Colour began and theres a selection of cups and
saucers lined up on the counter. Everyone is chatting and
chortling sometimes about pastels, sometimes about
another topic altogether and it feels more like a party
than a tea break.
And why shouldnt it? Unison Colour is something to
celebrate and not just because they make lovely handmade
pastels but because, as weve discovered today, theyre
made with a lot of heart and soul too.
Discover our step-by-step guide to how Unison Colour Soft
Pastels are made at www.artistsandillustrators.co.uk/unison
CLOCKWISE frOm
tOp A welcome tea
break (with Kate
Hersey, centre);
each pastel is
carefully labelled
by hand; the sign
in the lane; the
finished products
Special
Winter Deal
only
Sketch Book tour starting datses. Booking now
2 November 2015 & 2016

of all levels with a sense
of adventure will enjoy this expierence.
Small groups of 12-16 persons staying in 4 Star quality boutique
traiditional styel accommodation with all the luxuries you would expect.
A 1 night option to experience a traditional
style machiya house.
learn the methods used by professionals.

In the evenings, relax in convivial
surroundings, with fine food and wine.
You will be immersed into the lyrical
395 for three nights B&B with a
beauty of the Yorkshire dales, with
welcome dinner & wine and a tutored
carefully structured teaching, cosy indoor
two day course. 1st - 3rd February.
painting and brisk outside sketching.
Partners and dogs
welcome toA&I
stay! Mag
a bold beginner
or aspiring
amateur,final:Call
for As
Entries
ad SBA
A&I 2015
forare
Entries
Come and join us for a fabulous
painting break at Simonstone Hall!
E: enquiries@simonstonehall.com T: (01969) 667255

www. simonstonehall.com
The Society of Botanical Artists
In Pursuit
of Plants
Annual Open Exhibition 17 to 26 April 2015
Westminster Central Hall, London SW1
0
3
Celebrating
years
Receiving Day: Monday 23 February

Entry schedules available by SAE from SBA 2015,
1 Knapp Cottages, Wyke, Gillingham, Dorset SP8 4NQ
w w w. s o c - b o ta n i c a l - a r t i s ts . o r g
Please support the Charity Reg. No. 1110869
34
Profusion of Plants by Sandra Wall Armitage PSBA
*Rates include accommodation and some meals, all entry and land transport costs listed in the
itinerary. Airfares and travel insurance are not included. Rates are subject to seasonal variations.
Winter light in Wensleydale

Landscape painting
at Simonstone Hall
CALL FOR ENTRIES
We sketch and paint

our way around famous
Kyoto, meet local artists,
visit their studios, art
galleries, explore the
preserved streets,
gardens, temples and
tea houses that
make Kyoto what
it is today.
Call
Maybe stay in
a traditional
machiya and do
a sumi painting
class with awarded
local artis Saori...
395
20/11/20
c o lu m n i s t
Art can be a solitary pursuit at times, but socialising

with other creative types is worth the effort says our
columnist Laura Boswell
i wouldnt say
that i am a party
animal but i do
enjoy meeting
like-minded
artists
artist
hile I wouldnt say that I am naturally a party animal, I do both enjoy and
actively seek out the chance to meet other artists. Being an artist can be
a lonely business, but there are many reasons for mixing with fellow
artists beyond the pleasure of meeting like minds.
When meeting other artists, dont restrict yourself to your own area of interest or
skill: the broader your network, the more useful it can be and there are several ways
to make good connections. I started with local art groups and fairs. Some I joined
and others I just visited. Getting involved in my local open studio event was the
easiest way to meet a huge variety of local artists.
I am also on the mailing list for various art organisations that run networking and
career development meetings for artists. A quick search of the internet will throw up
plenty of opportunities local to you. Finding events is often the easy part, harder is
to go along and actively make contact.
Be bold, it does get easier with time. Do swap business cards or some form of
contact details and do follow up with a friendly email or call if youve found a friend
or enjoyed their work. I also drop people an email if I like their website, which has
led to some good friendships.
A wide network of artist friends will greatly improve your chances of hearing about
opportunities or being recommended for your skills or work. You might find yourself
with an unexpected chance to collaborate on a project or show. You will also have
the means of asking for a wide range of advice and opinions. At the very least, you
will find people who truly understand you and that alone has to be worthwhile!
www.lauraboswell.co.uk
ABOVE Laura Boswell, Mistletoe, Japanese water-based woodblock print, 73x34.5cm
in the studio with
kirsty
lorenz
Words: steve pill PHoTos: gill murray
irsty is a full-time floral painter and art tutor. She graduated from Londons Goldsmiths College in 1992,
before going on to work as a hospital arts co-ordinator and arts education consultant. For the past 10 years,
she has focused her time on painting flowers, as well as running regular workshops. In 2008, she moved
into a studio on platform 2 of Ladybank railway station in Fife.
What first brought you to Fife?
After living in Edinburgh for 17 years, I wanted a life

closer to nature and the changing seasons. Some friends
introduced me to the area and its a real hidden gem,
very lovely landscape and near to beautiful coastline.
How did you find this space at the station?
Amazingly I found it during my first week. Id asked

around and put notes in newsagents windows. Someone
told me about unused rooms at the local railway
station, so I went to meet the station master. As soon as
I walked into the room, I knew I was meant to be there.
What did you do to convert it into a working studio?
On a practical level, the space needed new windows,

electrics, plumbing and heating, as well as a toilet and
functioning sinks, various repairs, a massive clean and
a redecoration. ScotRail runs an excellent scheme called
Adopt a Station that encourages local communities to
use disused railway buildings, this meant that although
I had to raise the money to renovate the space, my rent
is nominal. I raised funds from The Railway Heritage
36 Artists
& Illustrators
Trust, Business Gateway

and Fife Contemporary
Arts and Crafts, as well as
putting in some of my own
money. In the end it took
me a year from finding the
space to getting into it.
How did you divide
up the space?
I have two large interconnecting rooms: the old station

restaurant and a waiting room. The larger one I tend to
use as a classroom for workshops and the other as my
studio where I paint. I also have the old gents toilet
down the platform, which I use as my toilet and storage.
Is the station still in use?
Yes, the station is still functioning there are over 60

trains a day stopping here, even though its quite a
sleepy place. The occasional high-speed train flashes
through without stopping and makes my brushes rattle
but on the whole I dont really notice the trains any more.
in the studio
What do students and clients make of the studio?
They love it. Its a very creative and fun space to be in,
and it really suits my work. Not only that, but they can
get the train when they come!
When it comes to your works, do you collect
specimens from the area surrounding the studio?
I paint flowers from everywhere, close by and further

afield. Fife is wonderful for wild flowers. The local
woods are literally like a florists in May, full of wood
sorrel and forget-me-nots. My most recent body of
work, Flowering on the Edge of the World, was inspired by
a field trip to the Outer Hebrides to visit the Machair
the crofted land between moor and sea, which is
abundant in wild flowers.
What types of flower make better subjects?
I couldnt choose! Different flowers invite a different

interpretation so sometimes I paint isolated flower heads,
sometimes very large or small, sometimes in chains or
formations adding symbolic meaning, some within
compositions set within the flowers environment.
How does a new work typically begin?
New work begins by taking photos and making

sketches. Though I am a painter, photography is an
important part of my work. I photograph flower images
to work from oil paintings in particular takes weeks
and months to create, so working from life isnt possible.
Are there particular materials that you swear by?
When Im teaching, I use Lascauxs Sirius Primary

range because its excellent for colour mixing and the
consistency is lovely my students love it. Im really
enjoying acrylic inks at the moment too, great with a
bamboo dipping pen to free up my drawing.
Do you keep regular hours in the studio?
Yes, I work around school hours. I like to do half an

hour of yoga or take a half hour walk in the countryside
before I start work in the studio. I find that really helps
me to settle down and focus on my work, and make the
most of the time I have got.
When you are teaching a course, do you have
particular techniques you like to focus upon?
My workshops usually combine a flower theme with

particular materials. My next course in January is
Orchids in Inks and Washes, in which we will look at
different artists approaches to representing these
strange and beautiful flowers and then focus on
creating work with Indian and acrylic inks.
www.kirstylorenz.com
37
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worth of courses and materials
for you and a friend
WORTH
1,000
As we approach the end of the year,

it is time to stock up the studio for winter and
start planning new ways to be creative in
2015. And this month we have a bumper
East Anglian painting prize to help!
THE PRIZE
If your name is chosen at random from our
prize draw, you will win a place for you and a
friend on a course with Paint n Canvas
Holidays. Based at Norfolks Broad Skies
Gallery, experienced tutor Linda H Matthews
hosts a range of workshops and holidays in
the UK, France, Morocco and beyond. You
can choose from the spring (5-6 May),
summer (21-22 July) or autumn (13-14
October) courses hosted at the Old Vicarage
Gardens in East Ruston, Norfolk. For more
information on these and other courses
hosted by Linda, please visit
www.paintncanvasholidays.co.uk
In addition to this, The Art Trading
Company is offering two bumper packs of art
equipment and materials worth 500. Both

will contain a range of paints, inks, brushes,
pastels, supports and an artists knapsack.
Based in the picturesque market town of
Bungay, The Art Trading Company is Suffolks
premier art materials shop. In 2015, it will be
moving to new premises and offering a series
of practical art workshops. For more details,
visit www.thearttradingcompany.co.uk
EAST ANGLIAN
PRIZE DRAW
Name:
Address:
HOW TO ENTER
For your chance to win, enter online at
www.artistsandillustrators.co.uk/competitions
by 5 March 2015. Alternatively, fill in the form
on the right and return it to:
East Anglian Prize Draw, Artists & Illustrators,
The Chelsea Magazine Company Ltd, Jubilee
House, 2 Jubilee Place, London SW3 3TQ
The winner will be announced in the June
2015 issue of Artists & Illustrators, on sale
24 April 2015. Terms and conditions apply.
For more details, please visit
www.chelseamagazines.com/terms
Postcode:
Email:
Telephone:
Please tick here if you subscribe to Artists & Illustrators
The closing date for all entries is 5 March 2015
Please tick here if you prefer not to be contacted by Artists & Illustrators
or our competition providers
gallery
the
Dawn Cruttenden,
Irish Shoreline
(detail)
Portfolio Plus is an
online gallery that lets
you share, showcase
and sell your work to
tens of thousands of
visitors sign up today
at www.artistsand
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Sophie Penstone,
Hydrangeas
40 Artists
& Illustrators
Sally Prendergast,
Lotties Apples
As molorrum
wertwet iscidio
nseditatum ipid
Heather Howe,
Summers Last
Bouquet
As molorrum
wertwet iscidio
nseditatum ipid
Stephie Butler,
Believe
Fiona Mitchell,
Self-Portrait in
the Yellow Room
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notebook
QoR WateRcolouRs
QoR is an acronym that stands for Quality of Results but it is also something akin to the noise you might make when you
paint your next masterpiece with these new watercolours from Golden. QoR is the first brand to replace the traditional
watercolour binder of gum Arabic with Aquazol, a water-soluble synthetic resin that is used by conservators.
While Golden claims the main advantage of this switch is greater tint strength (in other words, the ability to create bolder, more
saturated colours), we were more impressed with the different hues and textures they offered. In like-for-like comparisons with
other brands, QoRs colours were often more subtle and earthier, particularly in traditionally brighter pigments like Viridian
Green or Hansa Yellow. Likewise, the easy-flowing colours increased our options for experimentation. www.qorcolors.com
Est. London 1770
WE ARE MOVING
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Museum
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Soho and Chapple,

Russell
Square
the canvas and fine art textile specialist,
will relocate in early December to
30/31 Store Street, London WC1E 7QE
T: 020 7836 7521 E: info@randc.net
www.russellandchapple.com
St
Painting Holiday in Florence

Date: 22nd March, 18th October and
29th November 2015 for 7 days
Wonderful hotel in the city centre
enjoy your breakfast on the 7th floor
terrace with spectacular views over
Florence
Tuition takes place in a beautiful Studio
based in a Florence Palazzo - tuition in
painting and/or sculpture
Week includes a class in ceramics,
Florentine paper marbling, an Art
History lecture, tea in The British
Institute and other surprises.
1599.00 (no single person
supplement) includes airport transfers,
excellent accommodation, tuition,
dinners with wine in great restaurants.
You will see many things that everyday tourists dont have access to such as a private tour of the Accademia delle Arti del Disengo,
the Varsari Corridor with private guide and visits to special artisan shops in Florence we know you will love this special holiday.
Painting in Italy run painting holidays in the most beautiful locations in Italy see website for more details
Go to: www.paintinginitaly.com
Contact Freephone: 08081185729 Email: info@paintinginitaly.com

44
notebook
one to watch
turns tutor in umbria
tips
Three top tips we learned from
Alvaro Castagnets latest DVD
Brick textures
For a weathered look when

painting buildings, work wet-on
wet. Drop in splashes of colour
and let them bleed.
Value ranges
Establish four values: two light

and two dark. Make the darkest
value very strong to make the
painting sing out.
Cloud effects
To create clouds or mist, apply

watercolour neat from the tube
with a finger. Use the spray gun
if you want to diffuse it.
After being selected among our ones to watch in 2014, James Bland has
been signed up by Arte Umbria to host a week-long painting holiday with
them on 10 June. The Grimsby-born painter has previously scooped the first
prize in the Winsor & Newton Oil Painters Awards so his colourful and
inventive approach to both oils and acrylics should make for a particularly
inspiring stint in the Italian sunshine. www.arteumbria.com
These tips are

taken from Alvaro
Castagnets The
Passionate Painter
in Havana Part 1
(APV Films,
RRP 28.55).
www.apvfilms.com
Starting figure drawing in January? Here are five life class must-haves
A2 drawing pad Daler-Rowney, 15.95, www.daler-rowney.com / Artists charcoal Dorset Charcoal Co., 7.99, www.frankherringandsons.com /
Chamois leather Jacksons Art Supplies, 13.45, www.jacksonsart.com / Fixative Sennelier, 12.95 for 400ml, www.sennelier-colors.com /
Studio sketching set Cont Paris, 21, www.conteaparis.com
notebook
OF THE MONTH
heading south
After 19 years and hundreds of
workshops, tutor Tony Hogan is
swapping Yorkshire for Cornwall and
moving south. He will continue to run
courses in the Lake District and
Scarborough, while hosting workshops
at his new Wadebridge studio.
www.hoganart.co.uk
When you read this, artist Carol Marine will have been creating one small painting a day for
2,984 days and counting. Her new book, Daily Painting (Watson-Guptill, 16.99), collects together
a range of simple strategies and exercises to help improve your skills at a steady and enjoyable pace.
Royal Society of Portrait

Painters Open Exhibition
Brief: Annual open
submission of portraiture.
Individual awards include
the 10,000 Ondaatje Prize
and the new 15,000 7IM
Conversations Prize for
portraits containing two
or more figures.
Submission closes:
9 January 2015
Receiving day:
14 February 2015
Fee: 15 per artwork
Enter online:
www.registration
mallgalleries.org.uk
More info: www.therp.co.uk
Ashurst Emerging
Artist Prize 2015
Brief: International law firm
Ashurst LLP sponsors this
new award. First prize
includes 3,000 cash and
a solo exhibition at the
Ashurst Emerging Artists
46 Artists
& Illustrators
diary
Gallery in London.
Submission closes:
1 February 2015
Receiving days:
25-29 March 2015
Fee: 20 for a first artwork,
10 for each additional one
(up to a maximum of five)
Enter online and more info:
www.artprize.co.uk
Royal Society of PainterPrintmakers Associate
Membership
Brief: This prestigious
society, whose previous
members include Dame
Laura Knight and Edward
Bawden, is inviting
applications to become
an associate member.
Submission closes:
11 February 2015
Receiving day:
27 February 2015
Fee: 30
Enter online and more info:
www.banksidegallery.com
Books such as Lessons in Classical Drawing and Classical

Painting Atelier have made Juliette Aristides an international
star with artists thirsting after a more traditional grounding in
techniques. In something of a coup, the Edinburgh-based
Academy of Realist Art has secured her services for a
summer workshop. Painting the Figure runs 8-12 July
book your place today at www.academyofrealistart.co.uk
JAMES KIELLAnD
dates
Classical coup for Edinburgh academy
INTAGLIO PRINTMAKERS 1-4
7/5/10
09:41
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Forest Hill
Painting Holidays and Workshops - France

Bixxy Nash
May to September
Painting Holidays
Small groups, sketching and painting in our fully equipped studio, within the
extensive grounds, or out on location. Watercolour and mixed media. Ensuite
bedrooms, delicious home cooking. Suitable for beginners and the more
experienced. Full board accommodation. All materials included.
2015 Workshops
1. Stephie Butler
June 28th
2. Eugen Chisnicean
July 19th
3. Joanne B. Thomas
August 2nd
August 9th
(Second Week)
4. Keiko Tanabe
(Second Week)
France Painting Holiday
May 31st
August 23rd
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France Painting Holiday
ta l k i n g t e c h n i q u e s w i t h
On the eve of her new exhibition at the House of

Illustration, the grande dame of British art shares her
painting and printmaking methods with Steve Pill
PHOtO: Paul GrOver
Paula
rego
PAuLA ReGO. cOuRTeSY OF MARLBOROuGH FIne ART
ta l k i n g t ec h n i q u es
TOP The Kings

Death, pastel
on paper,
119.4x180.3cm
OPPOsiTe Page
Dame Paula Rego
at the opening of
her new House of
Illustration show
here is always something immensely satisfying about

that moment when you discover that the personality
of an artist you admire dovetails perfectly with the
works that they produce. After all, great art requires
character and honesty, so matching that to a person is
reassuring in a way. You want to imagine that Van Gogh was
colourful and troubled, for example, or Salvador Dal was
wild and surreal. It validates their work and makes it appear
more truthful somehow.
In much the same way, it is pleasing to know that, even
as Dame Paula Rego approaches her 80th birthday next
month, the Lisbon-born, London-based artist is every bit as
fanciful and imaginative as her many hundreds of paintings
and prints.
Ask her what, on the most basic level, makes a great
illustration and her answer reaches back to the beginnings
of her career and the haunting memories of a favourite
artist. The first illustrations I liked were in the American
comic books which my father bought me. They were simple,
they told a story even before you could read words, and all
the lines joined up all the way round. I preferred it when the
line was definite not suggestive.
For the sheer terror they inflicted on me I loved Gustave
Dors [illustrations for] Dantes Inferno best, she adds.
Its all there: agony, writhing bodies, dark caves and
demons. Dor nailed that vision of hell. It terrified me but
there was also pleasure in the terror.
That combination of wonder and fear has proved a key

theme in Dame Paulas art. Over the years, she has openly
tackled topics such as death, violence and sexuality in her
work that have attracted controversy elsewhere, but what
is often overlooked in all of the hullaballoo is the sheer
accomplished nature of her draughtsmanship skills.
Born in 1935, she drew from an early age. In 1952,
she enrolled at the Slade School of Art where she met her
husband-to-be Victor Willing, who encouraged her to keep
a secret sketchbook in which she could draw from the
imagination without fear of others seeing. The first Dog
Woman was in one of those sketchbooks, she says,
referring to her 1994 series. She was more of a dog then
and less of a woman. I dont have secret sketchbooks any
more. Dont have many secrets either.
While Dame Paula has mastered a variety of mediums
across her career, her early works were mostly made in
collage. One of her favourite subjects during this time was
the political situation in her native Portugal under the
conservative rule of president Antnio de Oliveira Salazar.
She would cut up her grandfathers magazines and
newspapers on the subject, colouring them with gouache
or crayon. By cutting the material up and reassembling it,
I could deal with a topic in a more lyrical way. I got away
with things during the dictatorship, a time of censorship,
which I wouldnt have done otherwise. And in the cutting and
reassembling there was a violence that seemed right.
>
TA L K I N G T EC H N I Q U ES
I PREFER IT
WHEN A LINE IS
DEFINITE NOT
SUGGESTIVE
1
TECHNIQUES
2
MATERIALS
3
INFLUENCES
I dont usually amend etchings, says Dame

Paula. If the image isnt working or I want to try
something else I just do another one. Sometimes
I reject them and they dont become an edition.
Dame Paula buys her pastels fom L Cornelissen &

Son in London. I never smudge the pastel, she
says. I draw with it. It is hard but you can draw
with it while still making a picture.
Dame Paula is a great admirer of many artists

including Honor Daumier and Francisco Goya.
One art movement does nothing for her though:
Ive never liked the Impressionists.
50 Artists
& Illustrators
ALL ImAGeS PAuLA ReGO. COuRTeSY OF mARLBOROuGH FIne ART
ta l k i n g t ec h n i q u es
Since that time she has explored pastels, watercolours

and printmaking, but there is one medium that she has
never got to grips with. I always felt I should be painting in
oils because oils are proper, she explains. I even had
lessons a few years ago, but it doesnt feel right. The
wobbly bit of the paintbrush gives me the willies!
For her latest exhibition at Londons new House of
Illustration, the 79-year-old artists etchings will be shown
in tandem with the lithographs of Honor Daumier, the
19th-century French caricaturist. Scandal, Gossip and
Other Stories explores the common ground between the
two artists and Dame Paula found much to admire when
she helped curator Catarina Alfaro select prints for the
show. I love the way that Daumier captures expressions
with a gesture, or in the way that people are standing.
You just know whats going on. Two women are gossiping
and you know they are saying something catty. Hes not
poetic like Goya, but hes very human and his work is full
of humour. He draws cruelty without being cruel himself.
I dont think Ive learned from his technique although
Ive always admired how well he draws the fluidity and
ease of his line. Im amazed to find we had so much in
common as I hadnt seen these prints of his before.
A double-header exhibition of prints was an apt choice
as Dame Paula enjoys the collaborative element of the
process. Her first attempts at the Slade were derailed by
her tutors insistence on only focusing upon the lines, but
collaborations with Barto Cid dos Santos at Slade and later
with Stanley Jones at Cambridges Curwen Studio have
been much more rewarding experiences. I really started to
learn with Barto, she says. He was a printmaker, an artist
and a marvellous teacher. He taught me to use aquatint.
The technicians can assist when it comes to creating the
editions, but the images themselves are purely down to the
artist herself. Getting the drawing right is the bit I have to
do, then we work on backgrounds and effects together.
Reflecting on the prints featured in Scandal, Gossip and
Other Stories, she talks us through the refinements she
made on her 1989 etching Baa, Baa, Black Sheep, which
was part of her Nursery Rhymes portfolio. I wanted the
sheep to be bigger, more menacing, she says of the
original etching. The solution was to add aquatint.
It allowed me to make severe changes and add drama.
In contrast, some of her other series required much more
reworking. The background to the Peter Pan print of the
children flying took ages to get right, she says of a work
from her 1992 series. I think I stole one of the poses from
a Titian and I wanted them floating against a clean blue.
With the prints collected together at the House of
Illustration, Dame Paula is now able to appreciate the
sheer breadth of her achievements. Oh boy! she says.
We got there though, its worked out well.
Paula Rego and Honor Daumier: Scandal, Gossip and Other
Stories runs until 22 March at the House of Illustration,
London N1. www.houseofillustration.org.uk
top right
Scarecrow,
2006, lithograph,
101.5x69cm
right The Fat
Cook, 2012,
watercolour on
paper, 52x35.6cm
opposite page
Unhappy Courtship,
2006, lithograph,
89x65cm
TIPS
QUENTIN BLAKES
7 GOLDEN RULES OF
Illustration
INTERVIEW: MATT KETCHELL. QUENTIN BLAKE, 2014
The iconic illustrator shares his guidelines for making great pictures
1. LOSE YOUR INHIBITIONS
2. MEET YOUR CHARACTERS
Everybody can draw something. Some

people are embarrassed because they
think theyre not very skillful, but what
I say to them is: Draw what you can
see in front of you. If you look at it
later, youll be surprised at what you
brought away from that person, that
situation, that landscape. Youve
grasped something. It may not be
what you thought youd get to begin
with, but that degree of concentration
is very good for the system. Ive been
doing it for 75 years and its
continuously interesting.
Introduce yourself to your characters

by drawing them. If youre creating the
character yourself, keep thinking
about that character and the situation
youve invented. The illustration will
start to take on the character and you
sort of meet them by drawing them.
By the time youve finished the book it
becomes somebody you know.
3. play up to the author

A good illustration is one that both
complements and contrasts with the
text. You need to form a double act
with the author. The author is the main
character though; as an illustrator, you
have to play up to them. I had to do a
lot of that with Roald Dahls books.
Theres a point in Matilda where
Trunchbull is so cross that she picks
up a plate and smashes it over Bruce
Bogtrotters head. I chose to draw the
moment when she lifted up the plate,
not the bit where she hits him with it,
because thats the writers moment.
Your job is to work around that.
4. DONT JUDGE A
BOOK BY ITS COVER
But do always appreciate its
significance. This is an important
aspect of good illustration and very

interesting to me because drawing
book covers is one of the most
difficult things. You need to make the
book look interesting and give a
feeling of its atmosphere and flavour,
but at the same time you dont want to
say too much. It needs to stimulate
your appetite without satisfying it.
5. TAKE INSPIRATION FROM

YOUR SURROUNDINGS
Im influenced by the landscape in
France, where I live. One of my books,
Cockatoos, is set around a house in
France. I normally leave out
backgrounds if I dont need them, but
in that book each spread is set in a
different room of the house. I enjoyed
drawing in all the French detail.
6. DONT BE PRECIOUS
I didnt know Roald Dahl very well for
the first book or two. Somebody said
he was a formidable personality but
this wasnt really a problem. I started
visiting him at his home in Great
Missenden and Id do rough drawings
of what I thought the characters would
look like. We established a very good
collaboration: we talked about the
drawings and I was ready to change
things. Im not fussy like that its part
of the job, after all but we wanted
the drawings to do part of the work.
We were very different, but a lot of the
humour was the same.
7. BE ADAPTABLE
With Roald Dahl you never knew what
was going to come next. For example,
The Twits is a very stringent caricature
sort of book, while others, like Danny,
the Champion of the World are almost
lyrical. The contrast is interesting
you have to adapt yourself to a new
book each time.
Quentins latest book, The Five of Us,
is published by Tate Publishing,
RRP 11.99. www.tate.org.uk/shop
Atmosphere
PROJECT
ADDING
Artist Mark Harrison shows you how to turn a grey

urban landscape into a colourful, imaginative scene
54 Artists
& Illustrators
P R O J EC T
The Challenge
If you think youve found the perfect

subject but the weather is bad or the
lighting is wrong, its time to use a
little artistic license.
To show you how, we challenged
Mark Harrison to put his former
career as a fantasy illustrator to
good use and turn a grey city view
into a colourful narrative painting.
y primary interests as an artist are mood,

atmosphere, strong design and interesting colours.
If these four elements are all in place, I feel I stand
a chance of painting a successful picture.
Chrysler Blues is the latest in a short series of paintings
of buskers. The main reference for the painting was a
photo of Fifth Avenue in New York.
EMBRACE THE RAIN

As you can see from the final painting, however,
I completely changed the weather conditions and time of
day to suit the atmosphere that I wanted to create. For
some reason paintings of cities always look good in poor
weather, particularly when raining as you get all the lovely
reflections of the shop windows and traffic lights on the
wet pavements and roads.
I wanted a soft atmosphere to this picture both in terms
of the colour and tonality with an almost out-of-focus look
to the edges, so I decided to paint this on canvas as it is
naturally suited to soft lines and edges.
MOODY BLUES
I had two earlier pieces of mine in mind that influenced how
I wanted this painting to look: a pastel study of the Chrysler
Building and another complete painting that had the misty,
rainy look that I wanted here.
I find it fun thinking of
titles, a good one can add
something extra to a picture.
Chrysler Blues features a
busker playing a blues guitar
in front of the Chrysler
Building, but I also thought it
sounded like the title of a
typical blues song. It also
refers to the predominance
of blues in the final painting.
SKETCHY BEGINNINGS
LEFT Chrysler
Blues, oil on
canvas, 41x41cm
ABOVE Marks
original thumbnail
The original rough sketch

shows the basic composition
and placement of the
foreground content with
notes to remind myself as
to how I want the picture to
look. When sketching out
ideas, I usually try to settle
on a strong and relatively
simple design like this one
in which the foreground traffic light post is set against the
strong perspective of the street. The composition is also
based around the rule of thirds the horizon line and the
traffic lights post were placed approximately one-third of
the way into the frame from the bottom and right edges. >
1. PLOT THE COMPOSITION

I drew out the basic composition with a small bristle brush
using Dioxazine Purple thinned with Liquin so it would dry
overnight. I recomposed the placement of the buildings
from the original reference photo so that it would fit within
the square format. The figure playing the guitar was mostly
invented. I kept the initial drawing and subsequent
underpainting quite minimal, otherwise it is easy to start
painting up to the lines like a paint-by-numbers, resulting
in a somewhat lifeless picture.
2. CONTRAST COLOURS
I wanted the final painting to be predominantly blue so
I applied an orange underpainting. For paintings that need
to have a glow to them, try using a complementary colour
for the underpainting when little flecks of that colour
show through the final layers of the painting, it can make
the picture surface more interesting.
3. WORK SOFTLY
I began painting the buildings with blue-grey mixes, not
worrying too much at this stage about working up to the
lines. I wanted many lost edges, particularly in the corners
of the painting, to give the appearance of a slight vignette
effect. In the interest of colour harmony, it is good to
include a touch of the same colour in adjacent areas of the
painting, as well as letting some of the underpainting show
through. This all helps to link the different areas of the
painting together.
56 Artists
& Illustrators
Edges
A softness
of edge is key
to the dreamy
atmosphere.
Drag your
brush across
the surface
to create this
effect. Thicker
paint can then
be reserved for
the highlights.
4. ADD ATMOSPHERE
I defined the buildings in the background further. Many
were painted from my imagination, rather than slavishly
working from the reference photo. I wanted a kind of
Gotham City look to the painting with the rainy weather
providing a darker horizon to enhance the atmosphere.
I also scrubbed colour over the buildings and the street.
5. BALANCE THE HIGHLIGHTS

The left side of the street was finalised with a last layer
of a quite rich blue-grey. Permanent Orange and Cadmium
Golden Yellow were scrubbed quite thinly over the
illuminated shop windows and road reflections to retain
P R O J EC T
luminosity, the colour being a nice near-complementary

to the blues and purples around them.
I chose to paint over the windows at the top of the
building on the far right I thought they would be too
distracting in the overall composition. The traffic lights
were painted with a dark blue-grey mix for the post and
an Alizarin Crimson-Titanium White one for the red light.
6. REFLECT ON YOUR PROGRESS

I painted the reflections on the road and pavement at the
end, as they were dependent on the lighting and colours
that I was inventing in the rest of the picture. I wanted to
emphasise the wet and misty atmosphere, so I decided to
knock back most of the picture a little bit to lessen the
contrasts. To do this, I scumbled some thin, semi-opaque
mixes of blue-grey over pretty much all of the picture
except the illuminated windows and the sky.
Mark's Chosen Palette
The paintings title is Chrysler Blues so I wanted it to be based around the blue
end of the spectrum. I combined Permanent Orange, Dioxazine Purple, Ultramarine
Blue and Titanium White for the blue-greys of the various buildings. The lighter sky
was painted with Kings Blue Light, Titanium White and Cadmium Lemon, while the
windows were illuminated with Permanent Orange and Cadmium Golden Yellow.
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PAINT IN TURKEY
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PAINTING HOLIDAYS IN OUR HISTORIC HOUSE
OVERLOOKING THE TURQUOISE COAST
TEXT: John Duncalfe and Dr Hilary Diaper, foreword by Alexandre Nadal

Works on Paper shows many of Nadals preparatory oeuvre,
many executed en plein air with updated chronology and exhibition
information from the Nadal archive and the authors.
This new publication follows the most successful 2010 book, Nadal An
English Perspective
ISBN 978-0-9567177-1-9
304p Hardback
300+ colour and mono illustrations
Hardback: 35
Softback: 25 (5 p&p) UK only
58
Published by Tillington Press

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talking techniques
yo u r q u e s t i o n s
seascapes
Painting Skies and Seascapes author Peter Rush reveals
everything you need to know to tackle this nautical subject
Which mediums are best suited to

painting seascapes?
Most mediums work well, depending
on the skill set of the person using
them. Pastels, which are dry and
dusty, would hardly seem suitable for
relaying liquid translucency, but artists
such as Ros Harvey can use them to
produce dynamic results.
My preference is oil on board,
because the paint will slip and slide,
as well as moving from opaque to
transparent within the same stroke.
What kit would you recommend?

For oil painters, palette knives and
small cooking spatulas are lovely for
sweeping paint across the board or
canvas. Wide, soft watercolour
brushes are marvellous for delicately
sweeping paint without leaving a line
at the end of the stroke. The addition
of linseed oil can help this further.
Should I sketch first before painting?
Yes, looking and sketching is valuable,
but I wouldnt recommend making a >
above Peter
Rush, Sandbanks,
Dorset After the
Rain, oil on board,
76x53cm
Can you suggest a

palette of colours for
painting seascapes?
For myself I prefer a small
palette of Chrome Yellow,
Alizarin Crimson,
Ultramarine, Permanent
Green, Viridian, Raw
Umber Light, Titanium
White and Ivory Black.
It is possible to paint
almost every aspect of
a seascape from these
eight colours.
>
painting projects
Unless your object is meant to be

a key feature of the painting, avoid
making things easily identifiable.
What elements should I focus on
getting down first?
An overall background tone wash is a
useful place to start. Even though this
will be mostly painted over, it will set
the mood for the whole picture.
This also helps tie a painting
together. There is a tendency for
artists to carefully paint each set of
waves separately, but the final image
can appear disjointed. Having that
initial sweep of colour may help here.
Also, remember the colour of the
sea can range from near black or dark
green through to light turquoise,
orange or even pink. Be brave paint
the colours as they appear to you.
What do I do if the light or weather changes during a sitting?

Try getting down as much information as possible and then
finish it back at the studio. Alternatively, work on a smaller scale
and start a fresh painting in this new light right away.
larger painting from sketches.
In my experience, all the insight and
spontaneity in the sketches fail to
transfer to the final painting.
If you want to paint a seascape at
home, I find it better to do plenty of
direct observation first and then trust
your visual memory.
How do I add variety to large
expanses of sea and sky?
There are several things you can do
for example, adding objects in the
60 Artists
& Illustrators
foreground can help to give an idea of

scale. Likewise, shafts of sunlight
illuminating patches of the sea near
the horizon or distant shore lights at
dusk can add to the feeling of depth.
The thing to remember about these
objects is that the attention of the
viewer is likely to go straight to them.
My approach is to put in objects that
cant immediately be recognised. In
the distance, draw the eye into the
picture with a suggestive mark that
might be a buoy or a ships mast.
above Peter Rush,

Incoming Wave, oil
on board 46x37cm
What can I do to vary my marks?

Try mixing the sizes or types of brush
you use and vary the directions of the
strokes. You could imitate flat seas,
clear skies or soft clouds by using
wide watercolour brushes to blend
and fuse the oil paint more pleasingly.
Change to palette knives and cooking
spatulas for cliffs, rocks and waves.
I sometimes use a spray diffuser to
create a light mist of turpentine in
talking techniques
places over the wet paint. This softens
the edges of the marks and fuses one
colour with another. (Be sure to have
the painting flat when you do this.)
What are the benefits of painting en
plein air versus working from photos?
The movement of seas and skies is so
ephemeral that they are best painted
alla prima and direct from life to
capture their spirit. If we labour over
the painting of waves, isnt there a
danger of them becoming stiff?
Photographs are a marvellous aid
to memory but I dont recommend
painting directly from them for the
reason that they are not always
truthful. It is quite easy to recognise
a painting done from a photograph.
Waves are very detailed. What
should I do to simplify them?
Try and work out the physics of them.
Why are they behaving as they do?
Which wave is affecting which? What
happens when a wave hits the beach
or a rock and turns back on itself? It is
a most difficult thing to paint the white
foam on top of the wave in such a way
that it explains the movement of the
wave on which it is riding and not
contradict it but it is also the most
satisfying element when you get it right.
What techniques can I use to create
more dramatic seascapes?
Theres nothing quite as exciting as a
storm whipping up the waves: huge
seas crashing against harbour walls
and lighthouses, sea birds being wildly
blown about. However, you can add
drama in more subtle ways.
A viewer will always look for the
story in a painting. However, that story
can be something as simple as the
interplay of light between different
objects. If you see a huge cloud that is
white because the sun is hitting it full
on, it is interesting to then see where
this whiteness is being reflected. This
kind of observation gives a painting an
authority that is not particularly
obvious at first but will be appreciated
by the viewers without them knowing.
My seascapes are all blue. What can
I do to add variety to my work?
Try painting in different conditions: go
out in winter, perhaps, or at dusk. Bad
weather can vary things too find
shelter and working in fog or rain.
Should I follow any

rules when it comes to
composing a seascape?
For me, there shouldnt
be any rules regarding the
composition of a painting.
After all, I believe that a
good composition is more
the result of instinct
than logic.
A composition that is
clumsy and awkward in
theory might also be the
most dynamic option and
the one that tells the
story most effectively.
clockwise from
top Sandbanks,
Dorset, oil on
board, 96x70cm;
Inlet, Cumbria, oil
on card, 50x27cm;
Rocks, North
Devon, oil on
board, 61x54cm.
All paintings by
Peter Rush
An extreme cure might be to ban

blue from your palette for a while. Or
at least just lay down a blue wash at
the start and try to complete the rest
of the painting without it you could
leave it showing through at the parts
where the image wouldnt make
sense without it.
It is difficult not to use blue because
it is the shortest wavelength of the
colour spectrum it is the colour that
is dispersed first as it penetrates our
atmospheric shield, which is what
gives us blue skies. It does take
courage to paint just what you see, as
you see it, regardless. It then shows
respect for Nature and the vastness
of worlds that we cant possibly know.
Peter is the author of Painting Skies and
Seascapes, published by Crowood Press,
RRP 14.99. www.peterrushart.co.uk
S P E C I A L : PA R T O N E
FIGURE
DRAWING
HANDS
Spend 10 seconds really

looking at the hands
youre about to draw,
then quickly and loosely
establish the overall
shape and gesture of
the hand.
In the first of our new series, best-selling

author and art tutor Jake Spicer explains
a simple-to-follow method for this
trickiest of subjects
Hands are our way of reaching out and interacting with the
world; through their gestures they can be as expressive as
the face and to leave your models hands out of a drawing
is to neglect an important part of that persons identity.
When Im teaching a life drawing class and students tell me
they cant draw hands, what they often mean is that they
havent allowed themselves the time to really look at them.
If youre drawing a full figure you might have only a few
moments to capture the shape and gesture of the hand
and so spending some time making focused studies will
allow you to concentrate on the shapes they can create.
Simplifying the hands into manageable structures
will help you break down what you see, creating a
framework on which you can hang your observations.
As with all drawing instruction, this is just one way to
solve the problem; there are no right and wrong ways to
draw, just better and worse ways of achieving certain
kinds of drawing.
Whichever technique you use, drawing should always
start with observation: look at your subject and draw what
you really see, not what you expect to see. Follow my
approach below by copying the drawings below and
adapting the method to suit your own drawing style. Theres
an exercise at the end for you to put it into practice too.
Jakes new book, Draw People in 15 Minutes, is published
by Ilex Press, RRP 9.99. www.jakespicerart.co.uk
62 Artists
& Illustrators
Establish
Construct
Build on the previous layer, erasing some of it if you

need to. Look for the position of the wrist, mass of the
back of the hand or palm, knuckle line, mass of the
fingers and the thumb shape.
F I G U R E D R AW I N G
EXERCISE
A quick challenge to help you improve
WHAT YOULL NEED
* A hand (your own or a friends)
* Your preferred drawing medium
* Paper or a sketchbook
DURATION
15 minutes
Remove
Work like a sculptor, taking your simple, generalised

shape and chipping away with your pencil to find greater
detail. Divide the mass of the fingers with lines or
negative spaces to create an impression of the fingers
in between the abstract shapes.
Elaborate
Unify the study by elaborating on the

outline with a confident line, partially
erasing the previous layers if
necessary and selectively
adding tone where you see it
and where it is needed.
Make three different studies of hands. Time each

study to take just five minutes. Draw your own hand
as you see it, draw it in a mirror for variety, or ask a
friend to keep their hand still while you chat.
Think of the hand as if it were a little figure striking
poses. Find and accentuate characterful shapes in
the fingers, checking the relationships between
knuckles and fingertips. Assess and adjust your
drawing until youre happy with the structure. Keep
your marks energetic and consider how you can
maintain a sense of movement and gesture.
Practice and develop a process to work through.
Try this exercise as often as you can to improve.
masterclass
64 Artists
& Illustrators
mastercl ass
fashion
Contemporary fashion illustrator Maxwell shows you how
to create a glamorous portrait with a stylish, retro twist
n my mind, there is a very important

difference between a fashion image and a
conventional portrait. While the aim of a
portrait is to capture something of the
person, a fashion illustration is all about
conveying the glamour of the subject.
Beauty and glamour is something that
people aspire to and want to share; whether
it is a vintage look or a modern bag or pair of
shoes, fashion represents a way of life that
we may not all have.
Ive always had a passion for fashion.
My appetite was whet by years of reading
Vogue, Vanity Fair and Harpers Bazaar, while
following the careers of great designers such
as Tom Ford, Vivienne Westwood and
Alexander McQueen or the major fashion
houses like Dolce & Gabbana, Chanel and
Versace. Not only that but also seeing stars
such as Marilyn Monroe, Audrey Hepburn and
1 cOLLEct rEfErENcEs
Hiring a top model isnt an option, so
gathering plenty of reference material is
essential. Inspiration can come from
anywhere and your painting needs to be
draped in finery. Looking back can bring us
forward too, so vintage pictures from old
magazines can be referenced to create our
very own sense of glamour.
Grace Kelly made me want to dedicate

my art to capturing that amazing beauty.
Ive attempted to couple this with a love of
artists that celebrated the fashions of the
day, such as James Tissot, John Singer
Sargent and Toulouse Lautrec, as well as
20th century talents, such as Ren Gruau,
Bob Peak and Kenneth Paul Block.
The key to a great fashion painting or
illustration is what you leave out. As I always
say: Less fuss, more impact.
In the demonstration that follows, I have
purposely illustrated all manner of beads,
sequins and jewels to show you how it is
done, but in truth l would normally keep
these elements to a minimum. The same
goes for fabric patterns and feathers, which
can all be painted using similar techniques to
the ones Ive used here.
www.maxwellndj.co.uk
2 skEtch aND PLaN

Remember, this isnt a conventional portrait
were trying to communicate the fashion
element so it pays to be as minimal as
possible in your thinking.
One way is to sketch out your painting
first. I wanted to use the gold bow as the
centrepiece of the painting so I cropped the
portrait off-centre to emphasise this.
YOU WILL NEED

WATERCOLOUR
Mars Black, Yellow Ochre Light,

Quinacridone Gold, Turners Yellow,
Cadmium Yellow, Winsor Blue, Winsor
Green, Winsor Violet, Winsor Red Deep,
French Ultramarine, Rose Madder,
Permanent Rose, Purple Madder, Indigo
and Paynes Grey
GOUACHE
Permanent White
BRUSHES
Round, sizes 1, 3, 7, 10 and 12;

Taper point colour shaper, size 2
PAPER
NOT Cold Pressed 300gsm, 30x40cm

COLOURED PENCILS
MASKING FLUID
3 PIck OUt hIghLIghts

Sequins, lame, bugle beads, jewels and
lipgloss all have one thing in common:
sparkle! To reserve these highlights, I applied
colourless masking fluid with a colour shaper
(a sort of rubber brush). Doing this will
protect the paper and leave the required
white shape for later.
>
4 PLACE THE SHADOWS

When the masking fluid dried, I added a
dilute Mars Black wash to my painting to
convey some very delicate shadow areas.
This stage helped me think about tones and
forms. As I mentioned before, this painting is
all about the clothes and the make-up so I
dont want to place too much emphasis on
the skin tones or overall likeness.
6 BUILD OTHER AREAS

I added in the eye colours with Ultramarine
and Winsor Blue, along with the earrings and
the lipstick with Winsor Red Deep and Rose
Madder Genuine. When painting make-up, try
to imagine you are actually applying it to the
models face. Think about the overall effect
of the colour and be delicate dont just slap
it on! I also started to paint the bow with
Turners Yellow, Cadmium Yellow, Yellow
Ochre Light and Quinacridone Gold.
66 Artists
& Illustrators
5 COLOUR THE BEADS

I wanted the beads and sequins to sparkle
in different colours, so I painted in just a
few using Antwerp Blue, Indigo, Winsor
Violet and Winsor Green. Once these were
dry I masked over them to protect them as
before so that they will shine through the
later purple washes and add interest
to the surface.
7 PAINT WHAT YOU SEE

Having painted in the light tones of the bow,
I let them dry, before masking over the
sequins and painting over the area again.
A good tip here is to look at the shapes of the
reflections not at the bow itself in other
words, paint what you see and not what you
think is there. This approach will seem
awkward but it will help when you stand
back at the end.
8 DEFINE THE FEATURES

With the previous layer dry, I stepped back to
look at the piece as a whole. I decided to add
a bit more definition to the face. Remember,
however, you are not looking for a traditional
take on the features so be delicate with the
colours and shading. Refer back to your
earlier colour sketch to check youre on track.
M A S T ER C L A S S
9 ADD BOLD COLOUR

I applied a main wash of Winsor Violet across
the dress area using my largest, size 12
brush. While the area was still wet, I lightly
added some stronger colours (Antwerp Blue,
Indigo and Purple Madder) to bring some
variety to the wash. Be careful not to blend
these colours too much or they will lose their
dynamic effect.
10 REMOVE HER MASK

Make sure all your washes are completely dry
before removing all of the masking fluid. This
is such an exciting stage you begin to have
an idea of how much (or how little) there is
left to do. I added in light washes to the hair
and dress, as well as adjusting the tonal
levels of certain areas, including the eyes,
lips and bow.
11 HEIGHTEN THE IMPACT

For a true vintage fashion look, the impact
most definitely needs to come from the
make-up so I focused on this in particular.
Adding in highlights with white gouache will
better define the eyes, the lips and the hair.
You can also start to put in any sparkles
needed on the sequins. Remember, the
devil is in the detail.
Top ti p
REFLECTIONS NEVER
MAKE SENSE SO GO
WITH YOUR EYE
ITS A TWINKLY
LEAP OF FAITH!
12 FINISHING TOUCHES
Coloured pencils are a great way of adding a
little final definition to a watercolour painting.
In this painting, my trusty Caran dAche
pencils were perfect for picking out the
pupils, eyelashes, sparkles and lips.
Twinkles of light can always glitz up an
image. I painted in a series of six-pronged
stars with white gouache for this and added
an extra glow with a circle of white pencil
a circle template ruler is great for this.
painting projects
JUST ADD
Jane Betteridge reveals a simple technique for lifting out watercolour
When added to a drying wash just as the shine is

disappearing, salt will leave white marks that can be really
useful for suggesting many things. When the salt hits the
wet paint, it pushes the pigment out, creating a little white
speck or star shape. Larger, coarser grains of salt, such as
rock salt, leave bigger markings.
The success of this technique depends on the amount
of pigment used and how much water has been added; too
68 Artists
& Illustrators
much or too little and it will not work as well. While paint
remains wet, you can use a brush to draw away some of
the paint, a process called lifting out. The sparkling effects
left by salt added to a watercolour wash are useful for
water, skies, landscapes and flower paintings. Experiment
and you will find this useful technique can help almost any
type of painting. Generally, adding salt is done early in a
painting, as a way of adding interest to the background.
j u s t a d d s a lt
1. Use a 2B pencil to
lightly sketch a flower and
then prepare your colours.
Use a size 16 round wash
brush to wet the paper
and stem, but leave the
petals of the flower dry.
Pick up some of the first
colour and touch it on the
paper, letting the colour
flow. It will bleed into the
wet area, but will not enter
the dry part.
2. Draw the colour around
a little before lifting the
brush away, but do not
use full brushstrokes the
appeal of this technique is
the loose, random quality.
3. While the surface is

wet, drop in a second
colour in a few places
nearby, letting it bleed out
into the water and also the
wet first colour.
4. Pick up the paper and
gently tilt it to encourage
the colours to blend.
5. Repeat across the rest
of the paper, using
different colours and
longer brushstrokes at the
bottom to echo the stems.
6. Using a size 8 round
brush, draw a little of the
wet paint into the flower
itself to create some
shape and shadow.
7. Allow the painting to dry

a little. Once the wet
sheen has faded, but
before the painting has
dried completely, lightly
sprinkle a few salt crystals
over areas of the painting.
8. Allow the painting to
dry. As the paint dries, the
salt will absorb a little of it,
creating an interesting
effect. Once dry, you can
use your fingers make
sure they are clean and
dry to brush away any
salt crystals.
9. To finish the painting,
lift out the stem using a
wet 10mm angled flat
brush, drawing the brush

up towards the flower.
This is an extract from
Watercolours Unleashed,
published in Spring 2015 by
Search Press, RRP 14.99.
www.searchpress.com
the diary
EvEr fEEl
likE yourE
trEading
watEr with
your art?
70 Artists
& Illustrators
c a r eer a dv i c e
and thrive
as an artist
Got that sinking feeling? Terri Eaton takes tips from Zeitgeist Arts Projects
As an artist, have you ever felt like youre treading water?
Or desperately trying to stay afloat against
a rising tide of pressures and commitments?
The good news is that youre not alone. With a few subtle
changes, you can transform your practice to ensure you not
only survive in the artistic world, but also thrive in it too.
Ask yourself why

First and foremost, look at what youre producing and how
happy you are with it. A frequent foible for many people is
that they work within their comfort zone, which neither
challenges nor satisfies. Sure, you can knock out a painting
in a matter of hours but wheres the fun in that?
Rosalind Davis is an artist and co-founder of Zeitgeist
Arts Projects (ZAP). To keep your work feeling fresh, she
recommends that you pinpoint the rules youve been
conforming to and then break them. Thinking about how
you work day-to-day is also as important as considering the
bigger picture. Therell be times when inspiration fails you
but that doesnt necessarily mean you should question
everything you know and do. If this happens, I look at
books or reference material or I take myself to see an
exhibition, says Rosalind. Returning to the source is very
important. It can [remind you of] the reason and inspiration
behind your motivations in the first place.
IlluSTRATION: BETT NORRIS
Ask for feedback

You dont have to work alone either. ZAPs other co-founder
Annabel Tilley is a firm believer that two heads are often
better than one. Arranging an informal meeting with a tutor
or peer group, for example, is a handy way to receive
feedback about your work and give a new perspective on it.
For two years, I felt like I was going up a blind alley, but I
sat down with a former tutor and he revolutionised the way
I was thinking, reveals Annabel. It was a fantastic
opportunity to spend an hour showing my work to another
person, talking through it and receiving professional,
constructive criticism in return.
Another easy and enjoyable way to connect with fellow
artists is to attend exhibitions and events, such as private
views. Recruit a buddy or a group of friends and make
a pact to attend such occasions together in the future.
Not only will you have strength in numbers to chat to other
people, youre likely to find inspiration in the works and
artists around you.
A more hands-on method of challenging your practice is

a collaborative project. With Catalyst, for example, Annabel
and Rosalind asked five artists to spend a month in turn
developing a single piece. When youre given someone
elses artwork to work on, theres a different set of rules,
says Annabel. There was a lot of pressure, but people
would up the ante month by month.
Keep in touch
Social media has transformed the way the world
communicates and the art sector is no different. Rosalind
is a huge advocate of Facebook, Twitter and such like, but
suggests a cautious approach if you are new to it all:
Sometimes its good to stick to one social media platform
that you feel comfortable with. Start off by watching.
Join a conversation, dont feel pressured to start it.
E-newsletters are another useful way to tell the world
about you and your artwork. This can be as simple as
sending out an email with an image of your latest paintings
or as complex as using a specialist newsletter builder, like
Dotmailer or MailChimp. Build up a database of interest
contacts by leaving a notebook out at exhibitions and open
studios for people to give you their email addresses.
Respect yourself
So what about actually showcasing your work? Theres a
whole world of opportunities out there ready for the taking
but it pays to be realistic. Getting a solo exhibition is hard
early on and its an awful lot of pressure, says Annabel.
Whereas with an open or group exhibition there is more
of a dialogue between you and the other artists.
Theres more support.
While both Annabel and Rosalind agree that guidance
from your peers is imperative, the most important person
you should look to for reassurance is you. A continued
belief in your own objectives will improve your chances of
success. I always say Im going to work rather than going
to my studio because its giving your practice the respect it
deserves. It places a different emphasis on it and places a
value on your work and yourself, says Rosalind.
Annabel agrees. Its easy to lose your focus and feel
guilty for having a few hours to yourself but youve got to
nurture it. If you make the time to sustain your practice,
it feeds positively into everything else you do.
www.zeitgeistartsprojects.com
DECISIONS
For The Fall, I wanted
the architecture to
be repetitive and
monotonous, so that
it reflected the
womans mood.
My neighbours girlfriend posed for this photo...

72 Artists
& Illustrators
...I then found a suitably repetitive backdrop...
IN DEPTH
COMPOSING
Michele del Campo shows how to

combine photos with artistic license
to create striking narrative paintings
The creative use of photographic references can take
artists to new frontiers and can empower them to tackle
themes and compositions that have the complexity of
reality blended with imagination and memory. I believe,
however, that the practice of drawing and painting from life
is essential, even to artists that work from photos, so that
we can acquire the knowledge necessary to fill in the gaps
when working from flat reference pictures, to interpret the
source and give life to a painting.
In this article, I will explain what is, for me, one of the
most fascinating stages of painting: the conception and
development of an idea and the subsequent gathering of
the visual information needed for a realistic finish.
THE CONCEPT
...and combined the two images in Photoshop
My paintings might appear as if originated from lucky

candid snapshots, but they are often a construct of several
staged photos and sometimes even elements painted from
life. What drives me is the need to say something with my
paintings be that suggesting a story, a feeling or a mood.
Ideas can come to me at any time and they can be inspired
by all manner of things: a person, a location, a movie, a
conversation, a book or even another artwork.
Sketching from the imagination is a great way to develop
your ideas; as you draw, you have the chance to reflect on
what you want to do and what you want to say. In my
experience, even the silliest idea in your sketchbook has
the potential to be developed into a solid artwork. You
never know when you might best resolve the idea, it may
take months or even years, but by sketching it you are able
to fix it for possible future reference.
For The Fall, the first of a series of paintings about fallen
people, the initial idea was conceived after reading a novel
of the same name by Albert Camus. In my painting, an
elegant woman stares blankly at the ground after falling
from a bicycle. Echoing themes in the book, I portrayed her
in that moment of pause that we often take after an
accident or a traumatic event, when we look back to find
the origin of the mistake. In doing so, we might find a wider
spectrum of answers through a deeper introspection.
>
themes
I developed the idea
for The Other Side
during a period of
economic crisis.
I wanted the wall
to be a symbol of
social divide.
location
For The Other
Side, I used
photographs
Id taken in New
York, London
and Valencia.
I N D EP T H
FIGURES
I rarely use models and
prefer to photograph
friends or people I meet
in the street.
PHOTO SHOOT
I find the process of sourcing reference material a very
creative one. When you go around looking for the right
places, people and all the elements that you need to
collage together for a certain painting, you enrich your
imagination with new findings. In doing so, your initial,
imagined idea can take new, unexpected turns.
I often plan my photo shoots to coincide with visits to
Mediterranean cities. I grew up in Italy and also lived in
Spain, so I often return there. The Mediterranean
environment is deeply rooted in me and I often
conceive my paintings with those settings in mind.
These places also suit my interest in strong, direct
sunlight I find it suggests more interesting contrasts and
compositions, as well as giving me the opportunity to
enhance certain shapes and colours.
I very rarely use professional models, most of the time I
invite people that I meet in the street or in public places,
but also friends. If I cannot find the right person I just ask
my friends or relatives if they know of anybody with the
right characteristics. In the case of The Fall, I was looking
for a blonde, distinguished woman in her mid-30s. At the
time, I was renting a flat in Valencia and I thought my
neighbours girlfriend would be perfect. She happily agreed
to pose for the painting.
COMPOSITE PICTURE
ORIGINAL
SKETCH
I drew this from my
imagination. I was
inspired by films
about class divide
such as La Haine
and The Zone.
Once I have studied the various possibilities for the image

through sketches, researched the subject thoroughly and
taken photos of the places, objects and models, I use
Photoshop to put together a rough collage for my own
reference. I cut out the various elements and paste them
together in various layers of the same file. They will often
need flipping or scaling up or down.
Combining several reference images together takes time
to get right. It helps if the direction of the light source is
consistent in all of your photos, although this can be
corrected in the final painting. Pay close attention to the
relative sizes of your images too the scale and
perspective needs to be accurate here in order that the
final painting looks plausible.
Above all, remember to be playful and experiment. This
composite stage can open new possibilities that you did
not contemplate in your sketches and result in an image
that surprises you.
With the composite image complete, I am still only
halfway through the process. I will use the Photoshop
image as the basis for further modifications on the canvas
this time with my beloved paintbrushes and starting with
a very loose free-hand drawing.
Digital technology is a very useful tool but it cant work
magic. It is only effective when it is pared with a solid idea
and the knowledge of a traditional artist, able to control
and modify perspective, composition, harmony of colour,
consistency of light and values. Next month, I will show you
how to develop your composite image into a fully-fledged
figurative painting.
www.micheledelcampo.com
>
COMPOSING
A PICTURE
COMPOSITION
I created the digital
image below by cutting
and pasting my photos
together in Photoshop.
PAINTING
The finished canvas, pictured below, is
called The Reading. Using my Photoshop
image as reference (right), I began it while
demonstrating at Art in Action this summer.
LOCATION
The painting is set along a
beach wall in Barcelona.
I met the two women on
the beach and asked if I
could photograph them.
ADDING FIGURES
I met this man separately to the other two women as
he was walking along the seafront. He allowed me to
photograph him and I was able to place him into the
scene using Photoshop back in my London studio.
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June 15 to July 25 2015
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Richard Holland Landscape Artist

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sculp SCULPTURE SCHOOL

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Our purpose built Lodge & Studio are

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LONDON
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UKs largest and one of
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London E1 5JL
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Car parking, open 7 days.
LONDON
RUSSELL & CHAPPLE

The Canvas Specialists
68 Drury Lane,
London WC2B 5SP UK
Moving to 30/31 Store Street,
London WC1 in December 2014
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Fax: +44 (0)207 497 0554
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Custom canvases, linens, cottons and
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L. CORNELISSEN & SON

19th century shop near
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Pigments,Gilding & Etching
supplies, tubed colour, brushes,
paper, pastels.
105 Gt. Russell Street, London
WC1B 3RY
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STUART R. STEVENSON
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WEST MIDLANDS
HARRIS MOORE
Fine Art Supplies
Unit 12 Minerva Works,
158 Fazeley St,
Birmingham
B5 5RT
Tel: 0121 633 3687
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www.harrismoore.co.uk
Specialists in Artists Canvases and
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Pa
watercolour tutorial
M y favo u r i t e t h i n g s
i do like
pallant
house
gallery
ricks
Watercolourist and principal of
Heatherley School of Fine Art
My early inspiration
When I was a student, I was more of a sculptor
and Barbara Hepworth was a fundamental
artist for me. She did such beautiful drawings.
Her use of line was so pure and so disciplined.
My dreaM painting to own

The Love Letter by Johannes Vermeer (1). It is
that feeling of tranquillity and introspection
that is really so compelling. I could sit in a room
for the rest of my life looking at a Vermeer.
My place to find new art

I do like Pallant House Gallery (2) in
Chichester. I went there last summer when
they showed the work of Eduardo Paolozzi.
My coffee-table read
Norbert Lyntons monograph of Ben Nicholson
(3) is wonderfully well-written and its so big
it might even make a good coffee table!
My studio bible
Hazel Harrisons Encyclopedia of Watercolour

Techniques (4) is one I always recommend to
my students. She shows a whole range of
approaches and its backed up with useful
explanations on how to achieve certain effects.
My favourite art shop
My essential art product
Im enjoying using Schmincke Aero Color

Professional acrylic inks (5) at the moment.
They are very fresh, intense colours its like
using watercolour without the annoying habits.
My last favourite exhibition

Henri Matisse: The Cut-Outs at Tate Modern.
I was struck by how the shapes were laid out
on the walls so they became part of the room.
4
82 Artists
& Illustrators
The Heatherley School of Fine Art Staff Show

runs 28 January to 1 February 2015 at Bankside
Gallery, London SE1. www.heatherleys.org
MAIN PHoTo: STEVE PILL. VErMEEr: PurCHASEd WITH THE SuPPorT oF THE VErENIgINg rEMbrANdT
Green & Stone in London. I like the creaky

floorboards and its got lots of interesting little
nooks and crannies. The staff are very helpful.
EW
The
The Revolutionary
New
New
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UseUse
toColour
Use
Colour
The Revolutionary
Revolutionary
NewWay
Way
to
Colour
Introducing
Introducing
new
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Introducing
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These new colours
These&new
mediums
colourshave
& mediums
all the properties
have all the
of properties
the originalof80thecolours,
originalwhich
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they are:
means they are:
These newlcolours
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l Super-blendable
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colours
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colours
palette
for anmeans
infinite
of pearlescent
palette
ofeffects.
pearlescent effects.
l Super-blendable
- mix like
paint
with
original
PanPastel
colours
for
an
infinite
palette
of
pearlescent
effects.
l Highly Pigmented
l Highly
-Pigmented
for rich pure -colours.
for rich pure colours.
l Highly
Pigmented
- for
rich- use
pure
colours.
l Versatile
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on
almost
anyon
surface,
almostgreat
any surface,
for mixedgreat
media.
for mixed media.
l Versatile
l Instant
l preparation
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l Erasable
l Instant
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with
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with
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- no preparation
or drying
time/ remove
required
- no
solvents
or any
water
needed.
l Low -Dust
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Low
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- no mess
to pastel
alternative
sticksany
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powders.
sticksCleaner,
& powders.
less waste.
Cleaner, less waste.
l Erasable
veryl-forgiving
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with
eraser.
l Low Dust - no mess alternative to pastel sticks & powders. Cleaner, less waste.
PanPastel Pearlescent
PanPastelColours
Pearlescent
are rich
Colours
lustrous
are colours
rich lustrous
whichcolours
can bewhich
mixed can
withbeeach
mixed
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original
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original
Colours.
PanPastel
They
create
Colours.
beautiful
They
create
shimmer
beautiful
without
shimmer
appearing
without
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appearing
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PanPastel Pearlescent Colours are rich lustrous colours which can be mixed with each other and also with the
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952.5 Pearlescent Orange
910.5 Light Gold

910.5 Light Gold
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911.5 Rich Gold 921.5 Pewter 921.5 Pewter
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921.5 Pewter
931.5 Copper 931.5 Copper
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DANIEL SMITH PrimaTek Watercolours

Our exclusive range of 32 PrimaTek colours are unique paints made with pure, authentic mineral pigments that
are mined directly from the earth and each one has a story.
Our Minnesota Pipestsone has Radiant pink

overtones that accentuate an underlying golden
glow. It is semi-opaque and granulates beautifully
in washes and is as permanent as the rock from
which it is made.
Lapis Lazuli this gem-quality pigment is an

(due to the irregular and angular shape of the
pigment particles). A touch of golden pyrite as an
inclusion adds a delightful shimmer. The result is
an elegant, almost three-dimensional effect that is
completely different from the predictable blue of
synthetic ultramarine pigments.
Serpentine Genuine is our newest PrimaTek

and has no comparison in any known paint
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tel: +44 (0)1926 492213 email: info@premiumartbrands.com web: www.premiumartbrands.com
The OCA enables me to

study fine art to a high
standard in a flexible
manner so that I can carry
on working full time. They
are continually finding ways
to improve the distance
learning experience, for
example using on-line
forums and by study visits.
During my studies I have
been able to pursue my
own interests and develop
a deeper theoretical
understanding, unlocking
my ability to produce
personal, meaningful work.
As a result of my work with
the OCA I have now been
accepted on an MFA
fine art course.
Jim Lloyd
BA(Hons) Painting
Live | Learn | Create

Distance learning for a one-off course
or a BA(Hons) Painting
Open College of the Arts

0800 731 2116
oca-uk.com

Artist &amp; Illustrators - January 2015

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January 2015 4.

The Portuguese artist

Nine projects and ideas for a creative 2015

Royal Institute of Oil Painters

can help you!

Ok, I realise that seeing delicious French confectionery is

If you make an arty New Years

Artists & Illustrators 3

Write to us for the chance to win a 50 voucher

His seven golden rules of illustration revealed

Januarys best events and exhibitions

Turn a grey vista into an atmospheric cityscape

13 RING THE CHANGES

Start 2015 creatively with our resolution ideas

Jake Spicers new series on figure sketching

35 THE WORKING ARTIST

Columnist Laura Boswell on being sociable

Step-by-step guide to painting vintage fashion

Win 1,000 worth of art courses and materials

For the perfect painting recipe, just add salt

This months best new Portfolio Plus artworks

How to survive and thrive as an artist

24 TIME FOR A CAREER CHANGE?

29 ROLL UP! ROLL UP!

36 MIND THE GAP

48 DAME PAULA REGO

Our new section of practical tips and deadlines

Why its never too late to paint professionally

Talking techniques with the Portuguese legend

With art school principal Veronica Ricks

Making pastels in the wilds of Northumberland

Your seascape questions answered in detail

Be inspired to try something different in 2015

Inside the art studio on a Scottish train platform

Compose paintings with the aid of your camera

RE: Mr Turner, Issue 344

Send a letter or email to

JOLLY GOOD READ

Artists & Illustrators 5

Finest artists water-colours

THE FORGOTTEN COLOURIST

Artists & Illustrators 7

join us to toast our

THE ESTATE Of STAnLEY ROYLE

Landscape painters should make a beeline to

Search: csm short courses

The London Atelier of Representational Art [LARA]

DROP IN LIFE DRAWING

Week long portrait painting workshops in creating an oil portrait from

Learn how to paint a full figure in

LARA offers one or two week

Drop in quick life drawing sessions

the art school formerly

Brighten your coffee table with Monets

Congratulations to Juliette Losq who won the visitors

The Midas touch?

Artists & Illustrators 11

With December drawing to a close, its time to start planning

1 see more art

Sargent: Portraits of Artists and Friends

Joshua Reynolds: Experiments in Paint

LAKELAND ARTS TRUST. ESTATE OF TERRY FROST

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DES MOINES ART CENTER, DES MOINES, IOWA

Artist & Illustrators - January 2015

Artist & Illustrators - January 2015