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T H E P R AC T I C A L MAG A Z I N E F O R A R T I S TS BY A R T I S TS – S I N C E 1 9 3 1

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WELCOME
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol 132 No. 9
ISSUE 1045
Publishing Editor:
Sally Bulgin PhD Hon VPRBSA
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from the editor
Deborah Wanstall Want to comment on something you’ve read, or seen?
Advertising sales: Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
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ew visitors with no prior knowledge of the Royal Academy Summer

N
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their unique qualities of texture, movement, colour, atmosphere, or just something
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that TAPC is in agreement with the views non-representation was apparently a hot topic of debate amongst the artists on the
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artist August 2017 3


TA08_p3_5_Contents_TA04p3_4_Contents 28/06/2017 12:32 Page 6

34

12 38

CONTENTS 24 Selfies 32 Consistent, creamy colour


FEATURES Phil Tyler urges you to explore the Liz Seward loves working with
art of the self-portrait in the last of Caran d’Ache Museum Aquarelle
12 A head for heights his series Pencils
IN CONVERSATION Janet Kenyon
tells Susie Hodge how light and 28 How to paint realistic 34 Negative painting
shade help her to achieve her multi- seascapes in acrylics FC Paul Riley begins a three-part
layered watercolour cityscapes Jo Quigley applies a systematic watercolour course by focusing on
approach to seascapes, with advice the importance of negative shapes
16 Brushes and canvas FC on how to make sure your
MASTERCLASS Ian Cryer reveals composition works 38 Street life
how a break with an old habit can David Questa is attracted to busy
open the way for new techniques urban scenes. He reveals how he
and approaches injects movement and energy into

19 Charles Williams’
musings: Galleries and
32 his mixed-media cityscapes

42 Summer trees and foliage


colleges in watercolour
Judi Whitton shows you new ways
70 Adebanji Alade’s to approach summer foliage in your
motivational tips watercolour paintings
Dream big
46 Depth and flatness
Martin Kinnear concludes his series
PRACTICALS on oil painting techniques with a
look at perspective
20 Flower painting in mixed
media FC 49 Woods and water
Aine Divine gives an infectious Barry Herniman reveals the
account of how she completed a contents of his plein-air sketching kit
mixed-media painting – you’ll want and how he gathers reference
to try it for yourself material for a watercolour painting

4 artist August 2017 www.painters-online.co.uk


TA08_p3_5_Contents_TA04p3_4_Contents 28/06/2017 12:32 Page 7

NEXT MONTH
IN
FEATURES
u IN CONVERSATION
Richard Burger, past

42 exhibitor in the National


Portrait Gallery BP
Portrait Award, shares
his approach to
portraiture with Susie
Hodge

PRACTICALS
t Try Paul
Gadenne’s top
tips for painting
successful
watercolour
landscapes

52 u Chris Forsey
demonstrates how
to capture the
52 Shape and suggestion bright light of a
Haidee-Jo Summers shares an approach that can help to sunny coastal
add interest and focus whilst maintaining a painterly style scene in acrylics
and mixed media
56 Warm versus cool FC
Continuing his series on contrasts in watercolour,
Paul Talbot-Greaves shows you how to place warm and
l How to keep your summer greens clean, with
cool colours for best effect in your painting
exercises to try from Catherine Strong
61 A–Z of colour l Rob Wareing shows how to paint an African
V is for value, by Julie Collins portrait in oils
l Paul Riley explains different ways to capture the
6 Your views 9 The Art World transparency of glass in watercolour
PLUS 63 Books & DVDs 65 Opportunities l Maximise the use of contrast to differentiate your
66 Exhibitions foregrounds from your backgrounds in your
watercolour landscapes, says Paul Talbot-Greaves,
EDITORIAL CONSULTANTS who sets your next painting challenge
l Use collage techniques to create colourful still lifes,
with Liz Seward

PLUS
l The A to Z of watercolour by Julie Collins: W is for
Ken Howard OBE, RA Jason Bowyer NEAC, Bernard Dunstan RA David Curtis ROI, whites
studied at Hornsey RP, PS studied at Byam Shaw RSMA
School of Art and the studied at Camberwell School of Art and the has won many awards l Max Hale puts Jackson’s hog hair brushes through
Royal College of Art. He School of Art and the Slade School. He taught at for his en plein air and their paces
is a member of the Royal Academy Schools. the Camberwell and Byam figurative paintings in
NEAC, ROI, RWS, RWA He is the founder of the Shaw Schools of Art both oils and
and RBA. He exhibits
extensively and has
NEAC Drawing School
and exhibits his work
among others. He exhibits
widely including in the
watercolours. He has had
several books published
And much more! Don’t miss out:
won numerous awards. widely. annual exhibitions of the
NEAC, of which he is a
on his work as well as
DVD films, and exhibits
our September issue is on sale from August 11
member, and RA. his work extensively.
artist August 2017 5
August letters _Layout 1 30/06/2017 08:46 Page 1

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


VIEWS Letters, emails and comments The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD

X STAR LETTER to treat them like grown-ups whilst


offering tasks suitable for junior-school
This month’s star letter writer will receive a
Landscape Selection of 48 Van Gogh soft pastels level. We have tackled watercolour,
worth £49.99, courtesy of Royal Talens. For more acrylic, fabric paint, puppet making, card
information about these, and other Royal Talens making and making paper flowers so far
products, see www.royaltalens.com this year – what next? I hope to put on an
exhibition of the works we have made for
When is art ‘inappropriate’? the residents and their relatives.
Jan Cantle, by email
Like most people, I was emotionally wrecked by the recent fire in London. Words
failed me and I turned to painting to express my horror, anger and despair. I made Coping with colour blindness
a small watercolour painting, completely without a plan, which I posted onto the
Although I gained an ‘O’ level in art and
PaintersOnline gallery. Some viewers took exception and said it was an dreamed of being a commercial artist I
inappropriately timed posting – too raw, and would upset some viewers. My was advised by a careers officer that,
feelings and intentions have been questioned and I find this puzzling. I had no because I am colour blind, I should
intention of upsetting anyone, and have no desire for 'likes' or approval. As choose an alternative career. I eventually
artists – professional or, like me, leisure painters – are we not programmed to qualified as an engineer but my career
create, be influenced and inspired by our surroundings and people around us, as took a strange turn and I eventually
well as current events? Or do we create to express only our comfortable, positive worked as a non-qualified architect for
emotions and 'suitable' events? Are we to ignore and repress the difficult, the ugly, 40 years.
the unspeakable? Every artist will have their own answer to that and every answer During my working life I continued to
paint for my own amusement. My colour
should be respected. I posted my painting because I believed it might express
blindness has been a problem but I have
what a lot of us were feeling.
managed to learn ’colour mixes’ with the
I do not want to compare my amateur watercolour to any of the masters, but if aid of my wife and daughter. I have
all artists had repressed their emotions and avoided upsetting people, how many painted in oils, acrylics and watercolours
works of art would have been hidden from public view? I believe that art can have over the years, with subjects including
a larger role to play than simply to please the eye, tranquillise the soul and portraits, landscapes, seascapes, animal
decorate a room. Art can convey what words cannot, it can make us feel and think. portraits and wildlife. Now I’m retired,
Art can make us question our world and our place within it. It seems strange to painting brings joy and relaxation.
me that we can watch horrific scenes unfolding on the television news but are I find the diversity of techniques and
upset by an abstract watercolour painting. styles covered in The Artist magazine
Jackie Poulouktsi, by email fascinating but I have not seen any
articles on colour-blind artists, although I
Art is a great form of therapy. The Association for Cultural Advancement through assume there must be some out there. It
Visual Art (ACAVA) is an educational charity that has its headquarters 80 yards would be interesting to know how they
from Grenfell Tower. Helping the community to heal in the aftermath of the fire is cope with this disability.
one of its aims, and ACAVA has plans to discuss with locals ‘how they would like us Richard Wadley, by email
to use arts and creativity in the healing of our community’ and to develop a long- You can reply to Richard c/o The Artist
term programme of artist-led projects. For more details see www.acava.org – Ed. magazine – Ed.
No pressure
Skill sharing of ‘aren't you clever’ or ‘aren't you brave’, I do like the monthly musings of Charles
I lead a weekly 'arts and crafts' session at she said ‘no wonder you are so able to Williams. I paint for my own, not others',
a dementia care home. We may not understand, you are as damaged as us.’ personal pleasure at the age of 82. It is
actually create anything but we have That meant more to me than any praise refreshing to read about painting without
great fun and finish with a cuppa. from the management. I was being being troubled with 'the mood of the
Recently, one of the residents asked me accepted on their terms. moment', the spirit of the landscape and
why I never pick up the items I drop. After If you are looking for somewhere to other aspects of the numinous of art. I
telling her I could not bend down share your skills I can recommend admire plain discourse, the plainer the
because of my arthritis, I turned around offering your services at a local care better and the cheerful attitude of Mr
and walked into the table. ‘Are you blind home. The only thing to remember with Williams has enabled me to live with my
or just daft?’ she asked. Then I had to dementia is that the residents may have a many failures and paint on undeterred.
confess to having one prosthetic eye and chronological age that is decades away Long may he continue.
one with only 50 per cent vision. Instead from their 'functional' age, and you need David Lee, by email

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6 artist August 2017 www.painters-online.co.uk


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and enter code TP1708 or
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PLUS!
How to create whites in watercolour
Draw & paint selfies to develop your
key skills
Try a new approach to painting
summer trees in watercolour

Portrait particulars
Maximise the power of shape &
suggestion

her grandson, DREAM BIG & become


she tackled an oil portrait of
Juliet Wood describes how WATERCOLOUR ACRYLICS FLOWERS

ONLY
the best painter you can be!
confronted her during the process
revealing the challenges that Use warm & cool How to paint a realistic Fun & easy ways to !
contrasting colours seascape using a depict flowers with
add a very surface, ending with a little
refined STAGE THREE for impact systematic approach collage, acrylics & oils
to Acrylic Primer. I sometimes linseed oil as needed. I developed the
o make portraits you’ve got head in simple contrasts

T
g, diluted
thin coloured underpaintin I like oil paint. Its richness
and varied for light planes; : light red, ochre   
have a strong sense of curiosity. roughly cerulean added and white
subject with turpentine then wiped drying pace allow you to
work into a less white, and shifts to these on shadowe
I need to get to know my between warm and d planes but with
hog-hair
which with a cloth. I use various painting, wipe off, scrape
down, build 6 brush and a No. cool, moving between
and then plan a pose from brushes to 2. Rex leaned his a No.
. We choose brushes, from 1½in varnish up. The different properties
of artist- foreshortened the
jaw. I thought the
head back a bit,
which slightly
to develop a composition if I can find STAGE FOUR
size 1 long springy filberts, quality paint – opaque, translucent,
but problems arose eyes would be straightfo
clothes together and I photograph there’s always that I couldn’t quite rward
them. If a brush won’t do be used to identify, let alone Correcting the jaw
quick or slow drying – can
to the put in the shirt tones explain. I proportions brought
different positions in relation a rag, fingers or a painting knife. I dilute equalises and ochre, with
with a large brush
(10) using white, a No. 1 sable for the likeness into
focus. I used
advantage. Student quality

£2.92
is to convey ultramarine and ultramarine the subtly relating
light source. My main aim the paint with distilled turpentine
for and background picture burnt sienna darks. to define the jaw eye shapes. Reflected
these differences with dryers
.I I banished one in cerulean blue. light helped
character and create a composition it with and added the second (photos help with I developed the
this starting broad coverage, then develop fillers. The great thing about
pigments cerulean, burnt sienna, portrait: a mix of
white, this transient position) hands and cards
need an idea, even though less or no medium to build
up the All darks are burnt
plus touches of ultramari
ne, ochre and white.
figure, getting as
much warm, cool
and filled out the
rest of the
the way. sienna with cerulean
point often changes along my limited palette. and tonal variety
or ultramarine Burnt sienna mixed as possible from
to individuality , marvellously with
response grandson was shirt but is the last
Although
directly I thought this portrait of my is how they work colour I would use blues for the
gesture and expression arise
DEMONSTRATION Rex but he suddenly with each other. on Rex’s face!
is a painting going to be a simple head don’t always use I main forms strong
from the sitter, a portrait playing cards, so I the same palette while slight changes
abstract revealed a fascination with choose pigment but of tone and of warm
like any other, made of an decided he should confront
the viewer with a
theme or atmosph
s to evoke a colour
face. For complic
and cool refine the
colour. It’s
balance of shape, form and the pack of cards, ambivalent
but communicative.
lightens. One touch
ere. White dulls
as it the simpler the
ated forms like hands,
you place
not just a matter of where A card trick? Or is he just shuffling
the pack? of
equals several additiontitanium white or two warms and
colour the better:
one
part of the
figure on the canvas. Every We both wanted to include
the head of his cold zinc white; s of translucent,
create the structure
a cool is enough
to
the
rectangle is important to dad beyond him, painted
at a similar age Michael Harding
I prefer Old Holland
, yellow ochre, cerulean
. Here it’s light red,
canvas size
composition so I choose the or Winsor & Newton
The remaining pigment . red with raw umber blue; cadmium
in mind.
and proportion with that Winsor & Newton s are mostly
tones that are more
works well for skin
STAGE ONE cadmium yellow
: lemon yellow hue,
yellow.
pink-based than
Preparation Using a 3B pencil I made a
drawing in Daler- light, yellow ochre,

an issue
sienna, burnt sienna, raw At the end of each
I think cartridge pad, light red, Indian Juliet Wood
Long before I start painting Rowney Lyndhurst smooth red, cadmium scarlet, visual ‘questions’
session I look for
best suit off the page studied at St Albans
about what pigments would 51⫻38cm. Losing the elbow alizarin crimson,
cadmium red,
carefully compari
to answer next time, School of Art and
is so shapes to permanent rose, ng shapes, the Slade School
the subject; a complexion allowed space for background cerulean blue, cobalt proportions and of Art; she taught
identity and it’s more blue, French alignments. If you London and Marlboro in
individual, part of a person’s complete the composition, ultramarine blue, likeness too soon hit a ugh and was
The viridian green, raw painting tutor at
and can determine the colour a central placing. you can be afraid
interesting than umber and ivory lose it by develop to Swindon School
painting. Rex’s projected onto my black. ing the painting Art. Juliet’s portraits of
atmosphere of the whole finished drawing was then greater depth. You to a are held
so I settled for Painting have to risk that Royal Society of Edinburg in the
skin has no strong colour prepared canvas to reach for a deeper loss h, many
likeness, whether universities and other
tonal contrast instead. You often have to
begin a portrait that succeeds or public and
study from fails. private collection
At the first sitting I draw a without knowing
your sitter at all. I’ve never carried s, including the
and how I a portrait straight Scottish National
life to explore proportions, known Rex from
birth but his eyes
I’ve through without Portrait Gallery. She
the rectangle. a hitch. But solving has exhibited widely
might relate the figure to seemed incredib
ly difficult to analyse. problems is what with both
onto you do. As the image portraits and thematic
I then photocopy the drawing I try to avoid the
unconscious creep comes to life I become Juliet will be showing
paintings.
the
acetate and project that onto STAGE TWO towards looking
at details in isolation For the elusive magic more committed.
Room, White Horse
at The Chandler
overhead of a person’s
prepared canvas from an My emphasis was on tonal
rather instead I pay attentio
n to how each one
; identity I’ll to go
to any length. I don’t Marlborough, in
Bookshop,
to shift the
projector. This allows me than bright colour contrasts,
so is part of the whole
head, keeping the always find it but
I must go as far www.julietwood
October. See
the canvas
drawn shapes around on subtle mixtures counted more
than can until I know
I can’t get any closer.
as I
www.julietwood
portraits.uk and
want it
and zoom in and out. I don’t morepaintings.u

NEW!
titanium TA
in the individual colours. I used 36 artist Summer issue 2017 k
crammed in or floating about white, yellow ochre, burnt
sienna,
I draw in
middle. When it looks right light red, cerulean blue and
Why
the projected lines with charcoal. ultramarine. Working fast
with www.painters-online.co
.uk
I
do I bother with such a procedure? diluted paint I blocked in
the basic
so need as
change my mind a lot and form of the head and main areas of
the sitter.
much time as I can get with the composition with hog-hair
drawing in a
Starting with the scaled filberts, Nos. 10 to 4. I corrected
the
position on
considered but changeable proportions from the original
of time.
the canvas saves a great deal drawing, moved the supporting
box

Practicalities
I prepare unprimed linen
Russell & Chapple, on Bird
canvas from
& Davis
of Roberson’s
to the right to stop it sliding
the picture, and then began
trial and error with background
shapes
out of
some
Mobile friendly app
stretchers, with two coats

www.painters-online.co.uk
artist Summer issue 2017
35

for a great reading


FINISHED PAINTING
Rex, oil on canvas,

separate the two


22⫻181⁄4in (56⫻46cm
I reduced the contrasts ).
in the second head
to
sweater in the backgrou
broadened Rex’s
nd portrait. I slightly
head and finalised
shapes with cerulean, the hair
turning towards
and away from
the light. I
experience
in space, avoiding burnt sienna, ochre allowed just enough
competition between and white, using detail in the picture
them. Just enough a soft mongoos take the eye through to
light red with ultramar (Escoda No.12). e brush the composition
ine made the purplish Painting the shirt, more. I’d finally but no
I focused found that inscrutab
on the solid body, and the character le gaze
shoulders and arms, I’ve known for 17
www.painters-online.co Likeness had arrived years.
.uk

artist Summer issue 2017


37
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The Artist digital edition T H E P R AC T I C A L MAG A Z I N E F O R A R T I S T S BY A R T I S T S – S I N C E 1 9 3 1

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your style
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How to create whites in watercolour

Available from pocketmags.com/theartist


Draw & paint selfies to develop your
key skills
Try a new approach to painting
summer trees in watercolour
Maximise the power of shape &
suggestion

DREAM BIG & become


WATERCOLOUR ACRYLICS FLOWERS the best painter you can be!
Use warm & cool How to paint a realistic Fun & easy ways to !
contrasting colours seascape using a depict flowers with
for impact systematic approach collage, acrylics & oils
  
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August TAW tidied_Layout 1 29/06/2017 11:14 Page 9

THE ART WORLD


NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
compiled by Deborah Wanstall

p Henri Matisse Safrano Roses at the Window, 1925, oil on canvas, 311⁄2⫻251⁄2in (80⫻65cm)

Objects of inspiration
Objects treasured by Matisse are on display at the Royal Academy Matisse’s studio life and artistic practice.
of Arts this summer, with 65 of his prints, paintings, sculptures, Matisse in the Studio is at the Royal Academy of Arts, Burlington
drawings and cut-outs. This exhibition shows how these objects House, Piccadilly, London W1 from August 5 to November 12.
provided vital creative stimulus, and also offers an insight into Admission is £15.50. T: 020 7300 8000; www.royalacademy.org.uk

www.painters-online.co.uk artist August 2017 9


August TAW tidied_Layout 1 29/06/2017 11:14 Page 10

Painting
Pop
An exhibition to celebrate British Pop
painting at Abbot Hall Art Gallery focuses
on the years around 1962 as it examines
the output of young artists emerging
from art school in the 1960s. There are
works by Sir Peter Blake, Pauline Boty,
Patrick Caulfield, Richard Hamilton and
David Hockney, with significant loans
from the Tate, the National Portrait
Gallery, the Arts Council and the Royal
College of Art. Curator Helen Watson says
they have also ‘developed a 1960s-style
living room...for visitors to immerse
themselves in the swinging sixties.’
Painting Pop is at Abbot Hall Art
Gallery, Kendal, Cumbria LA9 5AL from
July 14 to October 7. Admission is £7.70.
Telephone 01539 722464;
www.abbothall.org.uk

t Pauline Boty Colour Her Gone, 1962, oil on


canvas, 493⁄4⫻493⁄4in (126⫻126cm), on show at
Abbot Hall Art Gallery

EDITOR’S GALLERY CHOICE l ArtBurst, the Painswick Valley


This month’s editor’s choice from our arts festival, from August 19 to 28,
website gallery is by Bryony Reed, who features 13 exhibitions in eight
comments: venues in and around the Cotswold
‘I have painted all my life and now, at Village of Painswick, and ten artists
the age of 22, I am an apprentice at the will open their studios. For details of
Norfolk Painting School. I am inspired by all events and artists taking part, see
the Impressionist masters such as Monet www.artburstpainswick.co.uk
and Sorolla, using their traditional
ébauche methods combined with l ArtFest 2017, organised by
modern techniques like sgraffito and Droitwich Arts Network, takes
working into the paint with graphite. place between July 15 and August 5
use Gamblin oil paints with resin across the town of Droitwich Spa,
medium on gessoed wooden panels.
I start my paintings with a Flemish bole Worcestershire. For more
(yellow background) and work up with information see
translucent dark washes, which is when www.droitwichartsnetwork.org
l Shared Perspective is an
I begin applying thick opaque paint. I
like to use contemporary pigments such
as hansa yellows and phthalo greens exhibition of paintings by Carol
and blues, which have a high pigment Randell, Joanna Dixon, Patricia
content. I use a lot of titanium white in Gregory and Jane Headlam at
my mixes to make the colours punch Weaver’s Gallery, Church Lane,
above their weight and appear much
Ledbury, from July 31 to August 13.
brighter. To make my paint thick I add
chalk to the mix, which also helps it dry Telephone 01531 633325;
quicker, too!’ p Bryony Reed Sorella Sunshine, oil on www.sharedperspectiveart.co.uk
wooden panel, 30⫻20in (76⫻51cm). On show in
l This year’s NiddArt Trail in north
www.bryonyreed.com
our online gallery at www.painters-online.co.uk

www.painters-online.co.uk
Yorkshire is from August 18 to 28.
To upload images of your own work and receive valuable feedback, go to our website
For information about the artists
and click on the link to the gallery. This is a free service.
taking part, and their locations, see
www.niddart.org.uk

10 artist August issue 2017 www.painters-online.co.uk


August TAW tidied_Layout 1 03/07/2017 09:35 Page 11

p Canaletto A Regatta on the Grand Canal,

Venice brought to life c1733–4, oil on canvas, 301⁄4⫻481⁄4in (77⫻125.5cm),


on show at The Queen’s Gallery, London

Paintings, drawings and prints by Canaletto, famous for his views of Venice, are
on show at The Queen’s Gallery in London. This is an exhibition of Canaletto’s l Summer Trifle is a celebration of art,
greatest works alongside those of his contemporaries including history painter craft, literature, drama and music that
Sebastiano Ricci, landscape painters Marco Ricci and Francesco Zuccarelli, takes place between August 5 and 20 at
pastellist Rosalba Carriera and the genre painter Pietro Longhi. Pickhams, Hayreeds Lane, Wilmington,
East Sussex BN26 6RR.
Canaletto and the Art of Venice is at The Queen’s Gallery, Buckingham Palace, http://pickhams.com/summer-trifle.html
London SW1A 1AA until November 12. Admission is £11, concessions £10.
www.royalcollection.org.uk

Terry Harrison
It is with great sadness that we pass
on the news of Terry Harrison’s
premature death in June, following a
short illness.
Terry was hugely popular – as an artist,
a teacher and a writer – his approachability
and easy style appealed to many. He was an
accomplished demonstrator and was in demand from
art societies and art shows; indeed, both Terry and
his wife Fiona Peart have been regular and popular
exhibitors and demonstrators at Patchings Festival.
And, of course, there are his many books, DVDs, his own
range of brushes and watercolour and acrylic paints.
Terry’s last book, Painting Watercolour Snow Scenes the
Easy Way, will be published in early August – turn to
page 63 to read our tribute and review by Henry Malt.
Terry will be sorely missed by his family, friends, fellow
artists and his loyal following.

u Terry Harrison The Shack by the Stream, watercolour, from


his latest book Painting Watercolour Snow Scenes the Easy Way

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TA08p12_15_In conversation_Layout 1 28/06/2017 11:35 Page 12

I N C O N V E R S AT I O N

A head for heights


Janet Kenyon tells Susie Hodge how she captures both
natural and artificial light and achieves her multi-layered style in her
award-winning watercolour paintings

W
ith her unique and
innovative use of
watercolour, Janet Kenyon is
recognised as one of the
UK's leading watercolourists. She has
won many awards and competitions,
including, on two occasions, the most
prestigious showcase of contemporary
watercolour painting in the UK, Smith &
Williamson Cityscape Prize in the The
Sunday Times Watercolour Competition,
first in 2009 for her painting Northern
Lights, Blackpool and then again in 2016
for Gridlock (Manhattan) (left). As well as
being popular with private collectors in
Britain and abroad, her paintings have
also been exhibited in many leading
galleries, including the Mall Galleries in
London, The Royal Scottish Academy in
Edinburgh and The Lowry Gallery in
Salford.

Early years
Janet grew up in Bolton in Lancashire
and on leaving secondary school she
went on to study at Bolton College of
Art & Design. In her late teens she
moved to Leeds to study at Leeds
Polytechnic, where she attained a BA
Hons in Graphic Design. ‘College gave

t Gridlock (Manhattan), 2016, watercolour


on Bockingford 90lb (190gsm) Not, 291⁄4⫻21in
(74⫻53cm).
This was the winner of the Smith &
Williamson Cityscape Prize in The Sunday
Times 2016 Watercolour Competition. It's a
view from the One World Trade Centre,
looking north. ‘My inspiration for painting
this was after a recent trip to New York. Whilst
viewing the city from the One World Trade
Centre, I was taken by the sheer expanse of
buildings all concentrated into a relatively
small area. The way the light and shade
played on the structures, all fighting for
space, organised, yet chaotic, caught in a
gridlock with the only option left but to climb
ever more vertical.’

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TA08p12_15_In conversation_Layout 1 28/06/2017 11:35 Page 13

p Skylight, Manhattan, watercolour on


‘I particularly enjoy the challenge of Bockingford 250lb (535gsm) Not, 21⫻291⁄4in
capturing both natural and artificial light and (53⫻74cm).
This is a view from the Empire State Building,
how it affects the subject’ looking across the East River, Manhattan,
New York City

me time to explore different more. ‘I don't stick to any particular


techniques in a stimulating combination of colours, it all depends
environment. I'm still learning now.’ Her on the subject and what I want to
career path was quite straightforward: convey. I mix all my colours from just
‘I've always enjoyed painting and was six: warm black, bronze, fuchsia,
especially encouraged by my teachers medium blue, antique gold and
at primary and secondary school. My turquoise. I use the same set of colours
decision to follow an art career was for all my paintings but mix from them
always an easy one.’ all the different shades needed for
each individual painting. For example,
Light, structure and in my painting Gridlock, (Manhattan) I
reflections used these colours, but added more
After working with many different contrast to create the light and shade.
materials, Janet discovered a love for ‘I have tried many types and textures
watercolours, largely because they are of watercolour paper, however I now
unpredictable and difficult to control, prefer to use Bockingford 90lb (180gsm)
with some of the best results being Not because its fine texture allows my
unintentional or unplanned. ‘I watercolours to flow freely. Although
particularly enjoy the challenge of before starting a painting the subject
capturing both natural and artificial does matter to me, it doesn’t matter as
light and how it affects the subject.’ She much as the light and colour that affects
has continued to push the boundaries it. So prior to putting paint on paper, I
and explore possibilities of this difficult have to be inspired, perhaps by the
but rewarding medium ever since. way the sunlight is being caught on the
Generally using a restricted palette of edge of a mountain, or the way a neon
about six colours, Janet mixes many light from a building plays with its Janet Kenyon sketching in New York

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TA08p12_15_In conversation_Layout 1 28/06/2017 11:35 Page 14

I N C O N V E R S AT I O N
t Times Square, Manhattan, watercolour on
Bockingford 250lb (535gsm) Not, 291⁄4⫻21in
(74⫻53cm).
Conveying the vibrant glow of thousands of
lights in this incredible metropolis, this night
scene is a view from the Empire State
Building looking down on Times Square

mainly because at the beginning, I'm


most likely to make a mistake and if it
doesn't work out, I just have to start
afresh. Gradually I build up the layers
using wax resist sticks to mask off each
area I want to preserve, then I move on
to the next layer. The end of a painting
can also be tricky, knowing when to
stand back, which isn't always easy to
do unfortunately. When finished, I
remove the wax with a hair-dryer,
something I accidentally discovered
while practising different techniques at
college.
‘My style has evolved unconsciously
over time by constantly experimenting
with watercolour and is still changing.
I'm never really satisfied and I'm always
looking for more ways of stretching this
difficult medium.’

Exhibiting and competitions


‘I mainly like to represent myself at art
fairs and keep it to a small number
each year, which I attend with my
husband. This allows me the freedom
and time to paint, as well as bringing
my work into the public eye. I tend to
paint only what appeals to me and
hope that somebody else likes it too,
rather than working to commissions.
Janet followed her success in London
in the 2016 The Sunday Times
Watercolour Competition with an
exhibition at the Edinburgh Art Fair at
‘In my cityscapes, I try to be true to the subject the Corn Exchange in Edinburgh in
November 2016. She reflects: ‘Over the
as much as I need to be, as well as leaving a years I've been fortunate enough to win
a number of competitions, and even
certain amount to the imagination’ though I don't enter many, it's always
great to be recognised. After my recent
success, it's given me the inspiration to
structure, or the way the light reflects the subject as much as I need to be, as maybe enter more competitions in 2017
on a wet pavement.’ well as leaving a certain amount to the and beyond.’
imagination. I like to sketch en plein air
Cityscapes when possible, but prefer to complete Runaway success
‘I've always preferred landscapes and my paintings in my studio at home.’ It might surprise many readers that
cityscapes as subjects and have Janet has other outstanding
become especially inclined towards Technique achievements to her name. ‘When I'm
cityscapes. Straight after leaving To attain her multi-layered style, Janet not painting I like to walk and run,
college, I took a temporary position at explains: ‘I begin with a rough layout especially on the Fells. In earlier years
Salford City Council working as a sketch and then like to coat as much of I was fortunate enough to represent
community artist on a project named the white paper as possible before I England and Britain on numerous
“The Changing Face of Salford”. start. I don't have any favourite colours; occasions on the Fells. My greatest
Alongside a team of other artists, I it all depends on what I'm painting. achievement was when representing
recorded the rapid redevelopment of Often I start by painting the sky on a England in 1992, I came fifth in the
inner city Salford at that time. landscape, or if I'm painting a cityscape World Cup Mountain Races in Susa,
‘In my cityscapes, I try to be true to I begin with the most difficult building, Italy.’ TA

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TA08p12_15_In conversation_Layout 1 28/06/2017 11:35 Page 15

p The Golden Mile, Blackpool, watercolour


on Bockingford 90lb (190gsm) Not, 21⫻291⁄4in
(53⫻74cm).
‘I was captivated by the way the rain reflected
the colours of Blackpool's illuminations on a
wet autumn evening.’

u Evening View from Salisbury Crags,


Edinburgh, watercolour on Bockingford 90lb
Not, 291⁄4⫻21in (74⫻53cm).
This vista was painted in Edinburgh's
Holyrood Park, from Salisbury Crags, looking
north across towards the Firth of Forth

Janet Kenyon
was born in Bolton in Lancashire and
studied art at Bolton College of Art &
Design for two years. In 1977 she
attended Leeds Polytechnic and
gained a BA Hons in Graphic Design in
1980. She currently lives and works
from her studio at her home in Carlisle.
To see more of Janet’s work visit
www.janetkenyon.co.uk

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TA08p16_18_Masterclass_Layout 1 26/06/2017 13:09 Page 1

MASTERCLASS

Brushes and canvas


Ian Cryer, president of the Royal Institute of Oil Painters, shares
his thoughts on canvas and brushes, how one affects the other and how
his techniques have developed over the years

T
here are many elements that many notable artists work on ready- on location as I love the spontaneity of
affect the development of our made boards and canvases and I working direct from nature and under
painting technique and style, questioned why I was going to all that time pressure; however, I don’t like to
apart from our personality and expense and time just because that’s tie myself to self-imposed rules and
conscious intentions. One of the things what I always do. retain an option of working up ideas in
that keeps painting interesting and I have always bought my canvas off the studio. When I was starting out I
challenging is the gap between what we the roll, unprimed, from Bristol Fine had a heroic concept of working on
set out to achieve and the actual work Art; I glue this canvas to plywood, location but I have mellowed over time.
that results. An intense and ever- folding it over at the back, with rabbit- I was addicted to my Belgian linen and
growing knowledge of the craft of skin glue and, once dry, a coat of the enjoyed the benefit of knowing exactly
painting is a cornerstone in developing same glue is used to size the canvas. how far a loaded brush might travel
an ability to express freely the world This is good for boards up to 18⫻16in over the tooth of the canvas – a heavy
around us, including an intimate (45.4⫻40.5cm), after which I find there is tooth will be hungrier in terms of
familiarity with the materials we use. a tendency to warp. Above this size I drawing the paint off the brush.
swap to traditional stretchers, which can
Canvases be very expensive. Cheaper stretchers
I have used the same Belgium linen can be prone to warping when
canvas for nearly 40 years and I have assembled and I often tap them
only recently ventured away from it. together in the shop to see if they are q St Ives Beach, oil on Winsor & Newton
Increasingly I find that I don’t have as aligned. Once my sizing is dry I apply ready-made canvas, 14⫻18in (35.5⫻45.5cm).
much time available for making up two coats of oil-based primer, or acrylic This was painted on location. I enjoyed the
canvases, although for me that is part of if time is limited, and a scrubbed-in freedom and area I could cover compared to
the actual preparation for making coat of diluted colour to give me a my hungry linen. I have sought a finer linen
pictures, along with the mental process. toned ground. to replicate this quality in my self-prepared
There was also the realisation that A great deal of my work is produced canvases

16 artist August 2017 www.painters-online.co.uk


TA08p16_18_Masterclass_Layout 1 26/06/2017 13:09 Page 16

‘Saving time and money on making all my own canvases has


resulted in finding alternative surfaces to work on’

Nowadays I look for unfamiliarity as a handling. I have found that most ready- p Torquay Beach, oil on Belgian linen,
means of stretching myself and made linen canvases have a finer tooth 12⫻12in (30.5⫻30.5cm).
avoiding falling into a rigidly prescribed and this has made me look at my I was surprised how hungry the canvas
method of working. Saving time and choice of brushes. surface was in comparison to a finer weave.
money on making all my own canvases Shorter marks with bristle brushes were the
has resulted in finding alternative Brushes order of the day
surfaces to work on. These surfaces Traditionally my choice of brush had
have their own distinct advantages and been small sables for drawing and
disadvantages, which in turn has led to mostly short flat bristles for painting.
exploring new qualities in paint This worked well with the Belgian linen

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TA08p16_18_Masterclass_Layout 1 26/06/2017 13:09 Page 17

MASTERCLASS
complete a painting of this size on a
heavier canvas in the time frame
available.
I have not given up on my own
prepared canvases, however, and the
interesting thing is that I find my
handling immediately reverts once
painting on the Belgian linen – the
coarser tooth dictating how far my
loaded brush can travel: the bristles
being much better suited to a coarse
canvas. Another fact to consider is that
nylon brushes wear very quickly on a
heavy tooth.
The next stage has been to find a finer
self-prepared surface to work on, so off
I went to the local haberdashery to buy
some muslin. The first shop only
stocked a fairly heavy example, which
has been good to work on but is quite
similar to the linen, although cheaper.
A finer or at least lighter weave was
required.
but I found the bristles were inclined to overall painterly and deliberately so, I was able to acquire a finer muslin
slip across the finer tooth of ready- and the coarser bristle brushes assist in and a lighter Belgian linen. These have
made canvases and, as a result, less this regard by breaking the edges of both proved a success and I intend to
paint was placed than I might have marks. The softer nylon brushes tend to keep a good stock in hand. I must
intended, especially as bristles become lead to tighter work, which may or may stress that, for larger canvases
more stiff and worn through use. I love not be desired. stretched on stretchers, I continue to
using new brushes and my brushes The finer, pre-prepared boards and use my stronger Belgian linen. Muslin
gradually become relegated to canvases, however, did lead to an does not have enough strength on its
scrubbing-in as they decline. Contrary option of loading the brush with heavily own and depends on its backing.
to what many of my old students used diluted (using turpentine) colour then Choice also extends to primer. Using
to think, brushes do not last for ever scrubbing in large areas a little in the an oil-based primer will give a surface
and gradually wear down, especially manner of a watercolour; this proved that is slightly less dry and hence your
when vigorously used on a coarse- quite liberating, especially for brush will travel a little further; an
toothed canvas. landscape painting, and had the effect acrylic primer will pull a little, rather in
To overcome this problem, I started to of allowing me to work even more the same way as an unprimed surface.
experiment with some of the man- quickly and on a bigger scale whilst I have enjoyed working on ready-
made brushes, which are much softer establishing broad areas of colour. On made linen canvases mostly, by Winsor
than bristle ones and give up paint this slippery surface I would then follow & Newton, but sizes are limited. In
more freely, which allows paint to be with my nylon brushes, placing specific conclusion, I have adopted a policy of
placed in quite a precise manner. This notes and leaving them. St Ives Beach horses for courses and I select
factor alone had an influence on the (page 16) is an example of this quality according to subject and mood – a finer
nature of my handling. My work is in practice. I would have struggled to tooth for a sweeping landscape to be
rapidly executed and heavier one for
interiors.
When setting out to learn the craft of
painting it is good to have some initial
rules to adhere to but experimentation
helps to keep the process fresh. I
recommend you buy the best you can
afford. I find the cheap bristle brushes
tend to splay rapidly and will give little
satisfaction, and painting is not a
pleasure if you ‘can't get no satisfaction’! TA

Ian Cryer
is president of the Royal Institute of
Oil Painters and has exhibited widely.
His work is held in many private and
public collections, including EWS
Railway Company, Royal Mail,
Wadworth and Bass breweries, the
House of Lords and the Crossrail
project. www.iancryer.co.uk

18 artist August 2017 www.painters-online.co.uk


TA08p19_Charles musings_Layout 1 27/06/2017 08:25 Page 19

Charles Williams’ musings: GALLERIES and COLLEGES

I
often go to the Turner Contemporary curated series of what's cool in the art
in Margate. It’s airy and big, the world 'out there'. I am sure we're all very
showing spaces are well considered grateful. I know l am.
with good light and there's an They do have a very nice education
excellent shop. They employ quite a lot of room at Turner Contemporary, too. It's
people to guide viewers around the high ceilinged and filled with light, clean
shows too, local people who are keen to and open. When they started they had a
fill you in on the details. This makes a policy about sustainability in education;
pleasant change from the grumpy they wanted education that was aimed at
postgraduates employed by Tate Modern adults and to be mainly talking, focusing
who seem to combine contempt with on debate, ideas. There was a bit of a fuss
ignorance so perfectly. and the policy was loosened a little. I gave
Turner Contemporary is one of the many watercolour classes.
contemporary art galleries deployed to Education is high on their list of
rejuvenate local economies. I expect the priorities though and they are keen to get
Jerwood in Hastings was developed with local people engaged in art. As well as
similar hopes, and there are loads of them training some of them to tell you what
around the country. A few years ago, I their curators think of the work they
decided to have a look at Nottingham show, they also arrange all sorts of
Contemporary. As I approached someone workshops, which they must tidy away
was carrying small brown objects out of pretty efficiently, because it always looks
boxes and into what seemed to be a full- clean in the Learning Space.
sized military aeroplane. I asked what was Funny really. Margate used to have its
going on and was told that he was a own art college. So did Broadstairs and p Woman Reading, watercolour and
Chinese artist who was filling a Ramsgate, the other towns in Thanet. gouache, 8⫻11in (20⫻28cm).
decommissioned spy plane with stuffed They were small, lively, ramshackle and When I was a student there was little interest
bats. I asked where the rest of the work energetic, and they didn't have to offer in theory or even in reading generally. Art
was. There wasn’t a permanent collection, much in the way of snazzy architecture to college attracted the misfits. There were more
just a young Chinese chap with his bats, get people in. Rather than just going in, dyslexics than I had ever met before. Now, an
and his show was scheduled to open the things came out of art colleges: bands, aptitude for theory is essential if you want to
next day, when he'd finished getting the designers, artists, architects, people who grasp the basics of contemporary art. I
bats in. could carve, make books, pots, jewellery, wonder what happens to the people for
I don't know if the bats came to furniture or silverware, cast in bronze or whom art college was a refuge from the
Margate, but I think a couple of the Turner plaster; draw. They learned in the sort of world of words, where their own aptitudes
Contemporary things have been to atmosphere that Ruskin, for example, were treasured instead of marginalised?
Nottingham. That is the pattern; galleries would have approved of – local,
schedule exhibitions that go from venue individual, personal. Students formed
to venue. You can't have the same show relationships with their fellows and with
in say, the Jerwood, that you've had a few their tutors, which helped to sustain them
months ago at the Turner because it's too as they went from their local art college read them. You went to the old art
close geographically, but Nottingham is out to employment, self-employment or colleges to do art, but I think you go to
far enough away. I don't expect Coventry to study or work elsewhere. They carried Turner Contemporary to have art done to
got the bats, although you never know. with them the ideas that they nurtured in you.
You don't get work that is locally this environment. Last summer I visited the new Central St.
produced, except in the shop, in student A typical example might be a man who Martins building in London. It is one of
exhibitions, or, as in Turner Contemporary, taught me at Maidstone College of Art. the most prestigious art institutions in the
in a corridor space. Actually, there was a Extremely dyslexic, he had gone to a country, and the new building is another
show by a Kentish artist at Turner recently 'junior art college' in Leeds, in which you extraordinary architectural feat. It has to
– Rose Wylie won the last John Moore's could enrol at 14. He blossomed, from look good while dealing with thousands
Prize and has been elevated to star status. being treated in normal school as the of people engaged in making all kinds of
They never have permanent, local stupid boy who couldn't read properly to things, in a situation where staff are
collections because they are too being top of the class, because he was in timetabled to maximum efficiency,
expensive to store and to insure. My a place where what he could do – draw, engaging with students from all over the
suspicion is that it's because people are paint, design – was valued. He told me world. Like the Turner Contemporary, it's
worried about acquisition policies. that he learned everything he knew there. built to impress. It is the opposite, in fact,
Curatorial development is so rapid and He went on to the RCA, and has been of the local art colleges of my youth. What
fierce that a collection that looks cutting teaching and painting ever since. I think my old tutor would have made of it I don’t
edge one year may look absurdly dated of him when I go around the Turner, know. TA
the next, and that acquiring 'difficult' art reading the instruction panels explaining
can lead to terrible trouble with the board what the art means. I suppose he could
of trustees. So they leave that out, and have asked the people employed to Charles Williams NEAC RWS Cert.RAS is a
grace us south-easterners with a carefully explain the art instead of having to try to painter, writer and lecturer.

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TA08p20_23_Aine_Layout 1 26/06/2017 13:11 Page 20

Flower painting
in mixed media
Aine Divine demonstrates a mixed-media painting
of flowers – it was so much fun to do that she
urges you to have a go

I
want to tell you about a process I
love, and recommend you try. This
was so much fun to do and it really
felt like playing. I was giving a
demonstration of flower painting in
mixed media to an art group and had
gone prepared with flowers in a
favourite vase. Lilies and irises were my
choice as I find the sculptural shapes
Photograph: Jim Mackintosh
really satisfying to explain.
I had a variety of materials, which was
probably ambitious for a 11⁄2 hour found it a deliciously freeing exercise.
demonstration! However I had a plan – Judging by the comments afterwards
to begin with painted paper collage people felt inspired to have a go
and continue with acrylic paint, going themselves, which is always the
on to further explain the still life in oil. sweetest thing I could hear.
I had also thrown in oil pastels for good I’ve also chosen to show you two
measure. While the resulting painting mixed-media paintings of daffodils that
isn’t my finest by a long shot, I are finished in oil that, in my view, are
absolutely revelled in the process and more successful. TA

DEMONSTRATION Lilies and Irises


t STAGE ONE
I wanted to make an impact quickly and
explain the main shapes and tones of
the groups of leaves. I tore up paper I
had painted earlier in leafy colours –
sap green and Hooker’s green with
ultramarine blue – on yellow and blue
paper just for fun. The focus was on
observing the shapes faithfully and
then getting them down in one fell
swoop, or as near as

u STAGE TWO
It looks like I was following in the steps
of Matisse’s snail here (or maybe the
nursery school version). Again it was
fun to find and patch together the
various colours and shapes I was seeing.
I used PVA glue where I wanted to be
sure the edges were firmly in place, but
it was also satisfying in places to let
loose edges represent the leaves in
relief

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PRACTICAL
t STAGE FOUR
I used a combination of
acrylic and collage to further
clarify things. All the paper
was torn, not cut – it felt a
very tactile and childlike act,
lovely. The paint, applied
with a 1in flat brush, served
to deepen the contrast and
rein-in the wild collage
pieces. The dark green lily
leaves were made more
cohesive as a shape with a
layer of ultramarine blue and
Hooker’s green; they were
becoming clearer against the
background space.
I used titanium white to
knock back some of the
background sienna and
yellow ochre to represent
the lily flower heads. I made
sense of the jug with more
collage, which anchored it to
the table

p STAGE THREE
I’m willing to take risks here (really I had no idea where it was going to go
next and all seemed a bit of a mess. But really I love to be surprised and
revel in the unexpected showing up on the page. Here I mixed up a colour
for the tablecloth, a mixture of crimson and purple, and used a roller to
apply it in a general way. There’s a certain floundering and finding your
way that I think has to happen as part of the creative process, I love it

u
STAGE FIVE
It was a struggle
to pull out the
flowers and leaf
shapes from the
riot of collage that
was already there.
In hindsight I
might not have
applied so much
collage and
instead used paint
to clarify things at
the beginning. But
that would have
been less fun and
this way I was
taking more risks
– always good for
the soul! Unifying
the leaves at this p STAGE SIX
stage was As I sought more ways to identify the flowers as irises, their yellow
important; finding a cohesive dark to describe them connected the still centres seemed an important colour. I continued to add bits of
life. Throughout all these stages my eyes were half-closed so that I saw blue paper, some tissue paper, to get the shape of the petals – the
only the general areas of colour and tone. I was deliberately not setting audience members were helping to tear the shapes for me to save
myself up to paint each flower. Instead I looked for darks and lights that time and just get involved. It’s great fun demonstrating but I often
eventually allowed the flower shape to emerge. The white radiator behind feel sorry that everyone watching can’t just have a go, too – I’d
helped to explain the edge of the leaves on the right have itchy fingers in the audience!

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p FINISHED PAINTING white). I used oil and chalk pastels to dance with a torn image from a magazine. I began
Lilies and Irises, mixed media, 251⁄2⫻173⁄4in around the shapes of the petals and leaves to find the pattern on the jug with alizarin
(65⫻45cm). here and there, to capture more fully their crimson and, using a smaller square brush,
I gave time to finding details. The edges of light and lively character. The yellow outlines the sap green leaves and bright patches of
some individual lily leaves were painted with on the leaves are echoed in the yellow of the background jug colour. I was ready to begin
light green (sap green, cerulean blue and iris. One petal of the iris has been described using oil paint but the time was up!

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PRACTICAL
t Daffodils 1, mixed media, 153⁄4⫻113⁄4in (40⫻30cm).
Here are some daffodils in a favourite mug. I began with
paper painted in ultramarine blue that I tore roughly to
represent the mug. It was really lovely to then pick out the
pattern by painting the white and dark blues in acrylic. I
stuck on some yellow painted paper here and there for the
daffodils and then mixed up a yellow colour for the dark
petals (made with Hooker’s green, burnt umber and yellow
ochre, mixed sometimes with a little white). When I moved
onto oil paint it was to describe the lightest and brightest
bits. The darks in acrylic were established first, making the
oil layer all the more satisfying. With your eyes half closed
it’s possible to see the contrast between the dark petals on
the left in front of the light wall. The yellow of the flowers
on the bright side is almost luminous: cadmium lemon
yellow mixed with titanium white gives this lovely fresh
daffodil glow – providing it’s mixed cleanly as yellow is
easily adulterated!

Aine Divine
studied fine art in Cork. She has exhibited widely
including with the Royal Society of Miniature
Painters, Sculptors and Gravers; the Royal
Watercolour Society and the Royal Institute of
Painters in Water Colours, and has won the Irish
National Portrait Award. Aine has undertaken many
commissions; her DVD Watercolour Portraits with Aine
Divine is available from Town House Films, price
£27.95; telephone 01603 259441;
www.townhousefilms.co.uk.
www.ainedivinepaintings.co.uk

‘Daffodils that
are finished in oil in
my view, are more
successful’
u Daffodils 2, mixed media, 113⁄4⫻113⁄4in
(30⫻30cm).
I was still excited to paint daffodils, it was
spring and they were everywhere, also I loved
how they sang out against the blue patterned
mug. To set these up I put the daffodils first in
a small glass jar, so they remained nicely
upright and created a diagonal shape
through the painting. Here there is more
dramatic contrast. The light is natural from
the window to the left of the flowers. I knew I
had to work quickly as the sun was rapidly
disappearing – there’s nothing like a sense of
urgency to force you to make swift decisions
and focus the eyes. With half-closed eyes I
sought out the very darkest bits (Hooker’s
green, ultramarine blue and burnt umber)
and the pattern they made through the
flowers. I used collage mostly just on the
flowers here; when I wanted a petal to really
stand out in the light it helped to paint torn
paper and actually stick it on. The crinkled
collage paper seems to me to do a good job
of explaining daffodil petals. I love to paint
the flowers by finding the pattern of the
background colour between them

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D R AW : 6 O F 6

Philip Tyler’s
Selfies
In this series, Phil Tyler has explored a variety of
practice involves painting, drawing,
different approaches to drawing and painting the
printmaking, photography, collage, figure. The selfie is an opportunity to re-explore
digital image and writing. He exhibits
widely, including with the Royal Institute these approaches more fully, and he has some
of Oil Painters, ING Discerning Eye, and
the Lynn Painter-Stainers Prize. His work
interesting ideas for you to try
is in public and private collections in the
UK and overseas. Philip is represented by
Northcote Contemporary Art London,
The Harbour Gallery Portscatho and
Zimmer Stewart Gallery Arundel. His first
book Drawing and Painting the Nude: A
course of 50 lessons was published by The
Crowood Press in 2015.

T
here is a long tradition of intense
and thought-provoking self-
portraits, from Rembrandt, Dürer
and Courbet to Stanley Spencer,
Bacon and Freud. These images tell us a
great deal about the personality of the
artist who made them. Today, a new
generation of self-portraits – selfies – fill
Instagram and Facebook and they too tell
us a great deal, but they represent how
the person would like to be seen rather p The mobile phone is portable, easy to use when dealing with tonal approaches. In
than the psychology or personality of that and, increasingly, has higher-spec cameras the same way your mirror reflection will
individual. that can handle a number of lighting also yield exciting possibilities, especially
Your mobile phone can offer you conditions when you start to use two mirrors to
tremendous flexibility and it is a valuable create reflections of the back of your
instrument in image-making today. It is body as well as your face.
portable – you take it everywhere you go What can stand as a successful
and it is incredibly easy to take photograph will not always successfully
photographs and manipulate those inform drawing and painting. The
images using a variety of apps. One of the photograph can lack information in
great advantages is that you can see the shadow or highlighted areas, and in some
photograph that you are taking and you instances leave you little more than areas
can move the camera, whether using a of unmodified black and white. It is useful
selfie stick or your hand, to unusual therefore to under-and over-expose your
angles, creating exciting and extreme photographs, taking three photographs
foreshortening and be absolutely sure instead of one. This will provide you with
that you will be in the frame. more information to work from later, back
in the studio.
The photograph
The selfie is a tool to develop your Apps
understanding of drawing; the great Increasingly, mobile phones offer higher
advantage is that you are always available and higher resolution as well as a choice
and now, with your mobile phone, you of filters and effects. Apps can also apply
can be a model anywhere, in any location. interesting image manipulations
It is valuable to build a storehouse of changing: hue, tonal range, depth of field,
images by playing around with your and tilt shift lens aberration (vintage). You
portrait in a variety of different lighting can modify your images on your phone
conditions. I cannot stress the importance p PicsArt was used to simplify the image and you can also upload photographs to
of light in these images. Without a into a series of regular polygons. A filter such online image manipulation websites. Here
variation of light across the form of your as this makes it much easier to make a tonal are a few apps to try:
head, it is going to be incredibly difficult drawing or a painting study using dabs and l Be Funky l FotoFlexer l Gimp l Picasa
to make successful outcomes, especially dashes or a palette knife l PicMonkey l PicsArt

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PRACTICAL
‘It is useful to under-and over-
expose your photographs, taking
three photographs instead of one’

p A digital photograph has an enormous range of colour, way


beyond what they eye can see. By placing an image in photo
p Levels manipulation software (eg Photoshop) the levels can be altered to
Here the same image has had the levels altered in Photoshop. The help you see the tones more clearly. Adjusting the levels is a much
small triangles at the base of the histogram dictate the point where more controlled way of altering the tonal scale of an image in
the white, black and mid-grey values start comparison to altering contrast

Warming up drawing can be a really good way of that mirror. In this instance the use of the
Begin by producing some blind and warming up, of getting your eye in by viewfinder causes huge confusion, simply
partial-peak drawings from your self- slowing down and losing yourself (below). because the viewfinder is also reflected in
image; pay particular attention to the With partial-peak drawing, think about the mirror. It is also interesting to note
spaces between the features rather than the quality of your line, in particular that your reflection is half the size of your
the features themselves. When looking at consider the weight of your line and think face. Drawing directly from your phone is
the eye, concentrate on the white shapes about how you can use line to create the going to be really difficult as the size of
of the eye rather than the iris, the spaces space behind your head as well, by the image is so small. You could of course
between eyelids, eyelashes and eyebrows, varying the width and tonal contrast of make small drawings, but it will be much
the space between eyebrows and your line (below right). better to print off these images, in which
forehead, etc. With measured drawing you might wish case you can rule your grid over the
It can be really exciting to produce blind to rule lines on a mirror with a Sharpie photo, or work from your computer
drawings from your face, creating pen and pay particular attention to the screen.
distorted Baconesque grotesques. Blind position of your head in relationship to As a general guide, you can think about

MATERIALS
l Sketchbook
l Mobile phone
l Pencil
l Charcoal
l Rubber
l Compressed
charcoal
l Indian ink
l Dip pen
l Brush
l Sharpie pen
l Biro
l Mirror

p A series of blind drawings p Partial-peek drawings with differing perspectives

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D R AW : 6 O F 6

Measured drawing interesting shadows. This will enable you


A very low angle exaggerates the scale of the
to produce notans and continuous
mouth, nose and face. A grid was laid over
charcoal and hatching drawings. Be really
the photograph to help position the features
precise with the notan: produce a
and note their converging angles
considered drawing where a great deal of
attention is given to the space between
the shadows. Charcoal drawing and
hatching, on the other hand, can start
the head contained in a box (below), even broadly, lightly blocking in the tones and
when photographed from unusual angles; working down to the darks, finding your
the parallels will conform to vanishing drawing as you go.
points and distances will experience When you alter the opacity of a medium
foreshortening. As some mobile phones it is possible to alter its tone. Charcoal
use wide-angle lenses, this exaggerated drawing relies on this principle, where the
perspective will increase the distortions, charcoal rests on the surface of the paper
so look out for them in your drawing: they and it is the amount of white paper
can create exciting and unusual showing through that creates the
juxtapositions. different tones. Both ink and paint can be
diluted to create a range of greys. These
The drama of light and dark are very different in character to the greys
Late at night or in a darkened studio, the made by mixing black and white
use of an Anglepoise lamp positioned at together, because they reveal the paper
various angles to your head will create surface and have a tremendous luminosity.

Hatching
Hatching is another method of creating
tone. Parallel strokes are made by the
pen, a range of tones being made by the
Measurements of the head proximity and thickness of the strokes.
The head can be divided as follows: the
Hatching is also used in hard ground
bridge of the nose will be approximately
etching to produce tone. Deeper tones
half-way up the box, the base of the nose a
can be created by cross-hatching, working
quarter and the mouth an eighth. There
further hatching over the top of the initial
will of course be slight variation between
hatching, usually from a range of
individuals. The top-most parts of the
directions. This is sometimes done with a
eyebrows are parallel with the eyes, which
technical drawing pen where the width of
is also parallel with the base of the nose
the nib can vary in size from 0.02 to
and the mouth. The base of the ear is at the
0.5mm, but hatching can also be done
same height as the nose and the eyes are
with a dip pen and ink, where the line can
approximately an eye’s width apart
vary in width due to the pressure exerted
on it. A humble biro or fine line pen can
also be used. This is not a technique to be
executed on a large scale because of the
length of time it takes to produce the
image.
The pencil is perhaps the most widely
used tool for producing shading. Tone is
produced by using both hatching and
cross-hatching, as well as relying on the
different tones produced by the various
grades of pencil. By combining graphite
and clay in varying degrees, different
greys can be produced, so it is a good
idea to have a range of pencil grades
when making your tonal studies –
otherwise your results can be somewhat
grey.
Push your drawing media and
investigate the selfie producing at least
25 heads; your tonal studies could inform
verdaccio collages, and your collages
could inform palette-knife studies using a
Perspective distortion Foreshortening variety of limited palettes and
As the angle of the head tilts from the A more extreme angle with greater colourways. In turn these can then help
vertical, so the angles will conform to foreshortening on the forehead you with your painting studies where you
vanishing points and converge might explore a variety of approaches
and media. TA

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PRACTICAL
DEMONSTRATION
Charcoal selfie study

p STAGE ONE
An initial block in with a broad stick of charcoal,
using the side to establish the main lights and
darks

p Acrylic
Approached in a similar way, the acrylic wash drawing started with the lightest
possible tone and gradually built toward the darks

p STAGE TWO
Starting to model the forms and find the
drawing and the features

p STAGE THREE p Biro hatch p Pencil study


Developing and resolving the drawing Working with an open mesh of hatching, this Here I used hatching, cross-hatching and
biro drawing was gradually darkened and shading with a range of pencil grades to
refined realise the full potential of tone

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TA08p28_31_Jo QuigleyDONE_Layout 1 26/06/2017 13:15 Page 28

p Ocean View, acrylic on canvas, 351⁄2⫻351⁄2in (90⫻90cm)

How to paint realistic


seacapes in acrylics
Jo Quigley reveals her systematic approach to painting
realistic seascapes in acrylic

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PRACTICAL

W
hilst other subjects may go in
and out of favour, seascapes PLACING THE HORIZON
have remained a firm
favourite among artists and In each of these examples I have shore, or both, in order to create an
art collectors alike. From dark and shown a high horizon, although where aerial perspective. This would elevate
stormy to turquoise and tranquil, the you place it is a personal choice. the viewer and focus attention on the
ever-changing nature of the sea offers Positioning the horizon in the top abstract pattern made by the waves.
endless opportunities for the artist. third of the picture will allow you Whilst it is possible to have a seascape
Although it may be relatively easy to plenty of space in which to with a low horizon, this may suggest
capture an impression of the sea, hence concentrate on the sea. Alternatively that the subject is in fact the sky rather
its popularity as a subject for the you could consider a picture with no than the sea. A horizon placed half
beginner, realistic seascapes can be horizon, omitting both the sky or the way is best avoided.
quite a challenge. However, with a
systematic approach and some patience,
the results can be well worth the effort.
To make this a little easier it is worth
taking into account the following points.

Finding your source material


Whether you prefer to work
impressionistically or realistically,
observation is key and relying on
sources that are not your own can only
get you so far. As with all subjects, it is
far better to work from personal p DIAGRAM 1 p DIAGRAM 2 p DIAGRAM 3
experience. It is only by spending time The banded composition The zigzag composition The curved
looking that you begin to understand The wave bands create The lines created by the composition
how waves move, create patterns and rhythmic horizontal lines. Try oncoming waves form a The space is divided
are affected by objects in their path. to avoid creating areas that zigzag pattern, leading the vertically with a curved
Some artists believe that painting from are equal in size as these can eye gently from the line, created by the wave
memory and imagination is the best way compete with each other and foreground to the horizon as it hits the shore
to capture the ephemeral nature of the create an unbalancing effect
sea. However, for the realist painter the
memory can be unreliable when it
comes to painting specific details and
having some reference is essential, be
that in the form of sketches, notes, or
photographs.

The composition
It is easy to think that if you are just
painting water you don’t need to worry
about composition, but this couldn’t be
further from the truth. How you choose
to organise elements within the picture
not only affects the position of the
viewer in relation to the work, but also
how they ‘read’ it and therefore how
they respond to it. What size, shape, or
orientation you decide upon should
ultimately enhance the overall
composition and strengthen the effect
you are trying to achieve. My own
seascapes are often painted on a very
large scale, which adds to the feeling
that you could actually get your feet wet!

Colours
Just like the sky, the sea isn’t always
blue. It can be myriad colours
depending on the weather and light
conditions, from rich darks and stormy
greys, to vivid blues and greens and
even pinks and oranges at sunset. A
limited palette can help to create colour
harmony and avoid a disjointed
t

appearance. TA p Sparkling Sea, acrylic on canvas, 351⁄2⫻351⁄2in (90⫻90cm)

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SEASCAPES IN ACRYLICS

POINTERS FOR
REALISTIC SEASCAPES
When trying to paint realistic seascapes
it is helpful to split them into three
distinct areas, and to think carefully
about adding other elements such as
figures or boats

p The middle distance p The foreground


In my experience this is often the trickiest This is the area around and including the
area to paint convincingly. The repetitive point at which the sea meets the shore and
nature of marks makes it all too easy to it requires the most attention if you want
switch off and revert to painting from to achieve a more realistic effect. Whether
imagination, painting what you think you see the waves are gently lapping or crashing
as opposed to what is actually there. Whilst it onto the shore, it is important to observe
is not necessary to paint every single mark, how a wave breaks and then recedes only
careful observation of both the size and to be overtaken by yet another wave. This
pattern of marks in this area will enable the is where the wave is most transparent and
p The background viewer to use their own imagination to fill in the colour of the sand or rocks beneath are
This is the area nearest to, and including, any gaps revealed. Similarly, as waves crest and
the horizon, specifically where the sea break, shadows and reflections are created.
meets the sky. The eye is naturally drawn Don’t overdo the white surf, though –
to the horizon, so it is essential to control Putting objects in your white can be very opaque and soon
the size of any marks or objects near it – if seascapes (below right) overpower the image
you are not careful it is easy to create the Whether you prefer seascapes with or
feeling of the sea going uphill, or a wall of without objects in them is personal choice. If
water. Likewise if your horizon isn’t straight you do include other elements you should do
then the sea can appear to be slipping to so carefully. The addition of a figure or boat
one side, creating a very unsettling effect can provide a point of focus and a sense of
for the viewer. Depending on atmospheric scale and life to a work, but placed in the
conditions the horizon may appear quite wrong position or at the wrong size they can
clear on some days and barely visible on become a distraction. Mixed messages can
others; either way, to ensure a sense of make an image confusing to look at and
perspective or depth, keep your tones therefore less successful, and less appealing
closer together and your colours less to the viewer. Consider instead using a
saturated the nearer they are to the cresting wave or area of colour or light or
horizon sparkle to create focal points

KEY POINTS FOR


DEMONSTRATION Summer Surf
SUCCESSFUL
SEASCAPES u STAGE ONE
l Spend time observing I prepared the canvas with a
and recording couple of coats of mid-tone grey,
l Keep the horizon which allowed me to judge tones
straight more accurately and reduced the
l Control the size and amount of more expensive
shape of your marks pigments needed later on. Using a
l Use a limited palette limited palette including cobalt
blue, brilliant blue, phthalo green,
l Pay attention to the
burnt sienna, raw sienna and
details
titanium white, I worked quickly,
l Don’t overdo the
blending colours from cooler
white
nearer the horizon to warmer in
the foreground. Much of this was
painted over in subsequent layers,
but it did help to create a unifying
effect

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PRACTICAL

p STAGE TWO p STAGE THREE


When planning the composition it is all too easy to concentrate on the Starting with the far distance, I added subtle variations in tone
details and lose sight of the bigger picture. Using a thin white, I roughly and colour to create the form of approaching waves. The smallest
marked the main structural bands, as well as the position of key points of of marks were needed to suggest distant waves beyond the
interest such as the crest of the waves. By identifying and plotting one or breakers. As I have included a small portion of sky, I ensured that
two specific marks or shapes in other areas, I set the scale for subsequent this recedes also, by getting lighter nearer the horizon
marks, thus avoiding getting carried away

t STAGE FOUR
I concentrated on the middle distance, taking care to observe the
pattern made by the surf. The size and shape of the marks and
patterns in this area indicate a gentle swell, and a combination of
hard and soft edges adds to the feeling of movement

q FINISHED PAINTING
Summer Surf, acrylic on canvas, 361⁄4⫻48in (92⫻122cm).
Finally I tackled the foreground. Particular attention was given to
how the water meets the shore: notice how the pattern and
colours of the wave changes as it rolls onto the sand. A small
shadow and some reflections help to separate the leading edge of
the wave from the beach. I revisited all areas to ensure a balance
of marks and that areas were integrated; a few extra highlights
added the finishing touches

Jo Quigley
studied at Winchester School of Art
and Kingston University, and taught
painting before turning professional. Jo
demonstrates to art societies across the
south east of England – for more details
see www.quigleyarts.co.uk

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PRODUC T SPOTLIGHT

Consistent,
Liz Seward
taught and demonstrated for 36 years
and is a member of the Society of
Women Artists and the Society of Floral
creamy colour
Painters. She has exhibited widely, her Liz Seward says that working with Caran d’Ache
work has been reproduced as greetings
cards, and she has won many awards.
Museum Aquarelle Pencils was one of the ‘the best
Liz teaches residential courses at painting experiences I’ve had for a long time –
Dedham Hall and demonstrates to art
societies. www.sewardart.co.uk I love these pencils!’

I
have used watercolour pencils as an
accessory to painting in watercolour
for many years, adding definition and a
drawing element to my work, but now
Museum Aquarelle from Caran d’Ache
brings working with them to a whole new
level. Extremely lightfast and very
portable they make painting both outside
and in the studio a joy. With 76 shining,
bright colours and a creamy consistency,
familiar watercolour techniques such as
wet-in-wet can be used, alongside some
newly discovered ones – whoever
thought that dragging a pencil over wet
paper could be this exciting!
Museum Aquarelle Pencils have
reignited my interest in producing
finished work outside, particularly flowers.
All I need is a board with watercolour
paper attached, a selection of Museum
Aquarelle Pencils, a large wash brush,
some water brushes, a plastic rubber, a
knife to sharpen the pencils and a
lightweight, collapsible chair – my lap
doubles as an easel. TA

u STAGE ONE
After drawing the flowers on a piece of
watercolour paper with a 3B pencil I made a
palette of colours to work from, just like a
watercolour paint box, by pressing heavily to
get the maximum amount of colour off the
pencil. I used Rough paper, which held more
of the dry pencil than HP paper. Using my
wash brush, I wet the paper then picked up
some colour from the palette: scarlet,
anthraquinoid pink, orange, spring green,
bright green and dark ultramarine. Working
wet-in-wet I laid an underpainting without
describing any detail. These colours were the
lightest tones in the painting

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PRACTICAL
p STAGE TWO and dry in different areas, interesting lost-
Adding moss green, dark sap green, crimson and-found marks appear. The pencils allowed
aubergine and purplish red I started to use me to be fairly accurate with marks, which
the pencils directly on to the page, homing in were then softened with the brush, and I was
on the detail on the flowers and, just as still able to pick up colour from my ‘paper
importantly, to preserve a lot of the original palette’ for even softer effects. I played a
colour, on the negative spaces around them. little, finding some new shapes in the original
This is where the pencils come into their own washes by colouring the negative shapes
as the colour falls off them with a soft silky around them with cool blue and green
consistency. Using a Caran d’Ache water pencils. Some of the shapes worked and
brush with a medium tip I wet colours as I laid some didn’t, but the pencils are extremely
them, smoothly blending one into another, forgiving as colour can be picked up very
leaving no trace of a dry mark on the paper. easily. Naughtily, I took some colour off the
Suddenly, colours that appeared quite dull pencil with a wet brush for some darker tones
when dry took on a jewel-like appearance in the flowers – this doesn’t damage the
when wetted and became much brighter. pencil but putting the pencil into a pot of
Also, drawing a shape on paper that is wet water does, so I never do that

u FINISHED PAINTING
Oriental Poppies, Caran D’Ache Museum
Aquarelle Watercolour Pencils on Fabriano
Artistico HP Paper, 20⫻121⁄2in (51⫻32cm).
Using carmine lake and Payne’s grey, I
painted the very dark marks in the middle of
the poppies. These can look very hard so in
places I softened them into the dark red,
keeping some of the edges hard for impact.
On the two upper flowers I left these marks
dry for variety of texture, something I do in
all my mixed-media paintings where I am
using wet and dry media. With these pencils,
however, I have the best of both in one piece
of equipment. Anthraquinoid pink was used
for some of the wrinkles in the petals and left
dry. Additional darks and little points of
punctuation were put around the flowers,
then with the white I tidied up some of the
⁄2
1
lighter areas on the flowers. In addition, I
took a plastic rubber and gently removed
some of the pencil in areas that needed
softening. I indicated other leaves that have a
more rounded shape than the poppy leaves
and added a leaf at the bottom left-hand
corner to balance the composition. Some
‘ghostly’ flowers were added at the back and
then I stopped before the whole thing
became overworked. This was one of the best
painting experiences I’ve had for a long time
and I can’t wait to start the next one. I love
these pencils! For more information about Caran d’Ache Museum Aquarelle Pencil see page 2

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TA08p34_37_Paul _Layout 1 26/06/2017 13:19 Page 34

W AT E R C O L O U R T U T O R I A L : 1 O F 3

Negative painting
Paul Riley begins a three-part watercolour course with a look
at some of the ways to achieve negative shapes, and their importance

T
he reason negative painting is term negative painting. Simple, but blot and dry, and then off I go again.
peculiar to watercolour painting how do you know what shape it is if it I lightly indicate the size of the object
is that traditionally white paint is white on a white surface? You need with four dots, which can be easily
isn't used for white or light to indicate it, and this can be adjusted if you change your mind.
objects. That method is reserved for achieved in various ways. Then, depending on the complexity of
opaque media such as oils, acrylics the shape, I use a broken line to draw
and pastels. The whole point of Drawing in. Difficulties can arise if you have to
watercolour painting is its Controversially I do not advocate the depict overlapping shapes, for example
transparency and translucency – use of a pencil on watercolour paper, a bunch of white daisies. In this
watercolour paint works by allowing especially if painting flowers or from instance I would use a delicate pale
light to pass through the particles of life. Graphite is a messy blackish grey that will suit their shadows. When
pigment, the colour reflecting from substance that gets everywhere and is drawing, try not to rest your arm or
the white of the paper – thus any the quickest way to achieve a grubby hand on the paper as this can result in
opacity will affect that quality and image. It’s far better to use a fine smudging. I sometimes use an
make the painting appear dull. sable, for example a No. 2 round with absorbent kitchen tissue under the
In other words, the paper is in fact a very pale version of the colour of hand but more commonly I work by
your white paint. To make a lighter the object. The brush has a very fine distancing my hand with the tip of my
colour, you dilute the paint with water, tip and is finer by far than the little finger. I even have a slightly
which is why the water needs to be sharpened point of a pencil. longer fingernail, which I sharpen, for
clean. If you want a completely white For general purposes I use a very this purpose. For fun and generally to
object you leave the white paper dilute phthalo blue. In the event of speed up the process of drawing with
unpainted; the surrounding colour mistakes this can easily be lifted out – the brush, practise using both hands –
tone reveals the white object – you I have a small clean and damp natural ambidexterity is a skill worth
paint the negative shape, hence the sponge to hand and I use dry tissue to cultivating, believe me!

p Basic negative painting


The bottom left is a polo mint! Paint a blob and
surround it in the same tone. Draw more complex p Blossom
shapes with very pale colour before painting This is a very simple example of white on white using negative painting

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PRACTICAL

p Ferryman’s cottage p Snowscape


The dark tones in this image enable the light cottage to stand out. The darks A snowscape is an ideal subject for negative painting. Note
were painted first that the pale tree branches have been negatively painted

Masking techniques
A slightly simpler process involves the
use of masking techniques. There are
two basic types of masking systems:
masking tape and masking fluid.
Masking tape is used for solid shapes
– use a low tack version. ProDec
Advance precision edge masking tape
(www.prodec.uk.com) is very good. It
comes in various widths but I mostly
use the 1in (24mm) unless I am
masking out particularly large shapes.
To use, cut the required shapes on a
cutting mat then transfer to your image
or stick the tape to your paper then cut
out your shapes using a very sharp
scalpel. Yes, I know it seems possible
you might cut through your paper but
believe me you will develop the skill to

p Masking tape
methods
On the left, individual
triangular petals have been
used to form flowers. On the
right, larger areas of tape
were placed over a drawn
image, then cut to size

u
Sailing on the Dart
I used an extensive amount
of masking tape in this
painting

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W AT E R C O L O U R

p Different uses of masking fluid p Coffee Break


From top left: end of brush, rubber shaper, folded paper, splatter With a pale figure, a contrasting background
Bottom left: tissue, rolled paper, brush, brush compass will reveal the form

ensure the correct pressure to cut the


tape only. You may need to draw the MASKING FLUID TIPS Options on masking
image on the tape with a marker pen l If the fluid dries on brushes they are With both masking methods and the
before cutting, but try not to smudge it ruined. I first dip the brush in a simple drawing system, you have the
before it dries. If you have no washing-up liquid, squeeze it dry, following options for dealing with the
confidence in your drawing ability try then apply the fluid. Use it for one negative shapes once the background
this little idea: cut a series of triangular minute maximum, then rinse the painting has dried:
petal shapes from the masking tape brush. Re-apply and repeat the l Leave them white and tint them for
and arrange them to form a whole cycle. This way you can use even tonal variation
your finest sable.
flower. Paint a background over the l Tint them with any pale colour and
tape and you have a white flower! l Do guard against getting it on your introduce tonal form accordingly. The
(page 35). clothes, it is irremovable. one slightly cautionary point I would
Masking fluid is a rubbery substance l Don't accelerate the drying of the add is that with all the methods you
used for edges and anything intricate. fluid by heating it in front of a fire will end up with crisp, hard edges. If
It has a smell you could get addicted or using a hot hairdryer as that will you want to introduce some soft edges
bake it on. Let it dry naturally or use
to. You can pour, splash or splatter with to create form and depth, the good
an accelerated cold air source. Even
it, draw with it or brush it. It is a the hot sun can bake it on, making news is that it is perfectly achievable
wonderfully versatile substance that, it irremovable. using the wonderful indispensable
when dry, will repel water-based paint. small natural sponge. Dampened with
l Don't leave it on too long –
When the paint is dry, remove the dry overnight should be fine. It is clean water and with the paint utterly
fluid with your finger, or an eraser, to possible to dilute it for fine work (I dry, edges can be teased, softened and
reveal the shape as white paper. It is use a little clean tap water). merged with the background, resulting
such fun that it is well worth l Try to shake the bottle periodically in instant depth with lost-and-found
experimenting with as many application as it can form lumps. It also has a edges.
methods as you can think of, for shelf life so if it gets lumpy, chuck it
example folded paper, kitchen tissue, out. It is not worth messing about Figure painting
sponges, sticks. Use your imagination. with. With both portraiture and life painting
I have even made a potato cut and Masking fluid is supplied either you are likely to encounter some kind
applied the fluid as a decoration in a tinted or colourless. I prefer the latter of negative painting. Pale flesh tones
still life. It is by far the easiest way to simply because the colour is off- especially benefit from strong,
leave behind intricate negative shapes putting and, if by any misfortune I contrasting tones as background. Try
such as lacework, fine tracery of pale can't get it off, I'm stuck with it. The not to let the edges get too harsh,
branches or complex architectural colourless can, at a pinch, be left on either work in the wet or blend with a
detail. sponge. TA

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PRACTICAL

p St Mark’s, Venice
A combination of masking fluid and tape
were used for the negative painting in this
image

t Fisherman
Portraits benefit from a strong background –
the doorway was very useful for this

Paul Riley runs short residential


courses from his home and studios in
south Devon. The next, ‘From Stream
to Sea’, will take place from July 2 to 7.
For details telephone 01803 722 352,
or email lara@coombefarmstudios.com
www.coombefarmstudios.com

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TA08p38_41_David_Layout 1 28/06/2017 10:12 Page 38

p Little Italy, New York, mixed media, 193⁄4⫻193⁄4in (50⫻50cm)

Street life
David Questa reveals how he expresses movement and energy
in his plein-air drawings of busy city streets

I
have always enjoyed on the spot capture the energy and immediacy of using a small pocket sketchbook and a
sketching, particularly the urban an on-site sketch in the subsequent fine line pen or pencil.
landscape – street corners, drawings and paintings that derived
junctions – busy places that enable from them. So I decided to develop my Perspective
me to observe and record the ebb and on-site sketches into more finished Perspective is a subject that my
flow of what is going on in the city. The works so that there is more of a direct students always find challenging, as do
drawings are an accumulation of connection between the drawing and many artists. I hope you find my
fleeting moments as well as a record of the location. Time spent in front of the approach helpful.
the more permanent aspects of the subject offers so much more than To show linear perspective, I start by
place. working solely from photographs, and drawing a horizontal line at what I
Drawing quickly imparts a sense of the drawing process becomes more determine to be my eye-level, to locate
movement but I became quite subconscious and intuitive. I may still my own horizon. I can then draw a
frustrated at not being able to re- produce small preliminary sketches vertical line from my position that will

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TA08p38_41_David_Layout 1 28/06/2017 10:12 Page 39

intersect this line, thus forming a cross


on the paper. Using this cross as a
reference point I am then able to work
out whether other lines should be
above or below this horizon line.
Anything above eye level will slope
downwards and anything below eye
level will angle up towards the horizon.
It is also helpful to think about the
relative height of other people in
relation to me to determine whether
their heads should be on, above or
below the horizon line. I also deal with
aerial perspective by considering how
darker tones may be used to emphasise
the foreground and how paler, bluer
tones appear to recess into the distance,
giving a sense of depth to the image.

Paper
For the last few years I have mainly
been working on Fabriano Artistico
640gsm watercolour paper. I have
experimented with various textures of
this paper, but prefer Hot Pressed (HP)
as its smooth surface takes detailed
line work very well and is heavy enough
not to require stretching, as it will take
lots of washes without buckling. This is
particularly helpful when working on
site, as I do not need to carry around a
heavy drawing board. It’s important to
keep equipment down to a minimum
when setting up in the street. For larger
works I have used Atlantis Giant
watercolour paper, a heavy 400gsm
sheet that has a slight texture. I have
also used Aquarelle Arches 300gsm HP,
which offers a smoother finish that is
good for line work and is available in
rolls, but it does require stretching if p Albion Pace, mixed media, 291⁄2⫻22in (75⫻56cm)
used with wet media.

Process heavier black lines by switching to for this as it holds a lot of ink and stops
I start by very lightly establishing the Wolff’s carbon pencils, from B through me being too fussy with detail. I make
main shapes of the composition in to 6B. They produce very rich black the inks less diluted as I go along, so
pencil. This may be a relatively low tones whilst being hard enough to that the tones build up – diluted inks
viewpoint as I usually work on the withstand pressure without crumbling go on very dark and then gradually
ground and it may sometimes or smudging too much. They also lighten as they dry. I build up a series
encompass slightly different viewpoints sharpen well for fine details. of transparent washes to enable traces
within the same drawing as I move At this point I also start to take of the line drawing underneath to show
around the subject, deciding what to reference photos and record short through.
include. When I am happy with the videos of the scene to record the
composition and proportions of the movement of traffic, which can be Colour
drawing I begin to draw the static almost impossible to draw accurately. Daler-Rowney FW Artist’s Acrylic ink,
elements, sketching the main buildings. The great thing about working on site is gouache paints and coloured pencils
I then begin a process of selecting what that you may see something that are used to introduce subtle washes of
to include in the drawing and what to catches your eye and include it in the colour and to pick out strong local
leave out. This is a combination of drawing straightaway. Street furniture colour. I still have the Karismacolor
responding to events as they occur, as such as road signs and traffic lights are coloured pencils I bought for my art
well as an intuitive sense of trying to considered within the overall balance foundation course nearly 20 years ago.
balance the composition. Whilst of the composition, as are more They have a rich vibrant colour and
drawing I am constantly comparing the transient elements such as bikes, cars blend very well. Unfortunately, they are
sizes of various elements within the and people. Back in the studio I start to no longer available so when they
scene. apply diluted ink to establish a tonal eventually wear down I hope I can find
To add emphasis to the drawing and structure to the composition. I love to a suitable replacement.
to establish more detail I introduce use a large Chinese watercolour brush I will look through my reference

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TA08p38_41_David_Layout 1 28/06/2017 10:12 Page 40

MIXED MEDIA

DEMONSTRATION Eastgate and Vicar Lane, Leeds


My own reference photos are useful to refer to for details such as windows I started by making a series of small
and architectural features. They also enable me to develop the drawing on-the-spot sketches to help decide
further at home. Short video clips record the movement of traffic which which viewpoint to work from. I then
can be almost impossible to draw accurately returned numerous times to the same
spot at various times of day

MATERIALS
l Wolff’s carbon pencils – they give rich smooth black lines p STAGE ONE
and sharpen really well. They work particularly well on a I lightly sketched the main building with an HB pencil, establishing the
smooth surface overall composition and the two-point perspective. At this stage it was
l Karismacolor pencils important for me to consider where my own eye level was so that the
l Fabriano Artistico 640gsm watercolour paper horizon line was accurate
l Atlantis Giant Watercolour Paper 400gsm for larger works

l Daler-Rowney FW Artists’ Acrylic Ink

l Winsor & Newton Artists’ Acrylic paint

l Chinese watercolour brushes (bought in Malaysia)

l Daler-Rowney System 3 acrylic brushes – a range of short


flats and filberts

p STAGE TWO
Using a Wolff’s carbon pencil, grade B, I drew the static elements of the
scene and began to indicate the angles of repeated moving shapes
such as buses

t STAGE THREE
Using a combination of onsite drawing and video reference I sketched
the moving elements of the scene. The drawing was becoming multi-
layered

photos and video clips for details to him on his orange tractor as he gave me
include and return to the location to a beep as he went past later on the
check that the drawing still matches my same day.
real-life observations of the scene and, Like many artists, I would say that it is
where possible, I continue to work difficult to decide when a drawing is
directly on site. complete. I will often work on a series
The ever-changing nature of the urban and they are finished when I feel I have David Questa
environment means that there have resolved as many issues as I can and graduated from Anglia Ruskin
often been changes to the view during found some kind of balance that works University with a BA Hons Illustration
the process of producing the drawing. for me. I am not striving for a polished and is Head of Art at a Leeds secondary
Whilst working on the drawing of Leeds or refined style, I always want to retain school. He is currently represented by
a large new department store was the immediacy of the five-minute Headrow Gallery, Leeds. David has also
being built to the left of the scene. A sketch and capture the essence of a exhibited in London and Melbourne,
council workman stopped to chat to me place through an accumulation of Australia. https://questa.jimdo.com
about his own artwork so I’ve included fleeting observations. TA

40 artist August 2017 www.painters-online.co.uk


TA08p38_41_David_Layout 1 28/06/2017 10:12 Page 41

PRACTICAL

t STAGE FOUR
I applied a series of tonal washes with diluted
black ink, as well as introducing subtle colour
with inks and gouache paints

q STAGE FIVE
I emphasised features within the scene using a
combination of media and began to include
smaller, anecdotal details

q FINISHED PAINTING
Eastgate and Vicar Lane, Leeds, mixed-media,
291⁄2⫻401⁄4in (75⫻102cm).
I further developed the sky using a large
Chinese watercolour brush with heavily
diluted ink. Considering the overall balance
of the image, I subtly adjusted some of the
tones and colours. I also introduced more
vertical lines to break up the very horizontal
composition. The foreground was darkened
slightly to add a greater sense of depth. I
didn’t want to give too much emphasis to
foreground figures so left these as sketched
outlines

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TA08p42_45_Judi_Layout 1 27/06/2017 08:28 Page 42

Summer trees and


foliage in watercolour
Judi Whitton urges you to try a new approach to the
way you paint summer trees and foliage to allow your paintings to
become more exciting and original

Thoughts on design

L
ove them or hate them, it is STUDY ONE
worth getting a grip on how to A traditional Unlike buildings, trees or shrubbery
paint trees but there is no way to sketch can be used to rearrange your
perfect recipe. There are a tree: draw composition by jiggling about with the
endless ways to do it and it is well carefully and shapes and tones, as in Imposing House
worth challenging yourself and show any large near Skibereen, West Cork (right). I thought
exploring different approaches. clumps of foliage by the design would be improved if I
One of the first things I learnt from my making shapes to represent moved the Monkey Puzzle tree on the
tutors was ‘how to paint a tree in areas in sun and in shade far left of the photo closer to the
summer’ (right). This general method building. I painted this interesting tree
held me in good stead for many years with cerulean blue, perylene green,
but nowadays I look at trees differently. burnt umber and Naples yellow. The
By observing the forms within the tree STUDY TWO shape of the sky area is an important
you can show the greenery in an A traditional way of design consideration and moving the
original way. For example, you can simplifying the foliage tree helped to contain the left-hand
convey a message about chestnut using lemon yellow, side of the picture.
foliage that is different from that of a ultramarine blue, Painters often choose to avoid
silver birch. It is important to keep the raw sienna, landscapes full of trees as they can
representation simple and it is not only Winsor blue, bring many challenges. Large banks of
about the overall shape of the tree, as and burnt greenery can be difficult to sort out. A
shown by my studies (below). The umber, and subject such as Bridge at Creugh Bay,
viewer may or may not recognise the mixing a grey for the Mizen Peninsula, West Cork (below right)
species but it is important that the trunk with burnt umber makes my heart sink! The lush
liveliness and freshness of the finished and cobalt blue vegetation of similar colour and tone
look, and that the methods used, are needed a plan and it was necessary to
unique to you and in keeping with the make a decision about which areas
overall harmony of the finished picture. could be considered as background

STUDY THREE STUDY FOUR STUDY FIVE STUDY SIX


Foliage areas are a simple wash Shapes within the greenery The shapes were painted Here I avoided green. The
of lemon yellow and cobalt were drawn in pencil to with cobalt blue, Winsor pigments used were cerulean
blue. Pen work was added later represent the forms observed emerald, lemon yellow and blue, cobalt violet and jaune
to create representational burnt umber. Further pencil brilliant No. 1 (Holbein)
shapes and to show some tonal was added at the end to give
variation. Some touches of neat emphasis and an overall
cadmium yellow were added liveliness

42 artist August 2017 www.painters-online.co.uk


TA08p42_45_Judi_Layout 1 27/06/2017 08:28 Page 43

p Imposing House near


Skibereen, West Cork, If you find yourself using the
watercolour on Fabriano same recipe whenever you paint
Artistico HP 140lb a tree it is time for a change.
(300gsm), 12⫻17in l Look carefully at the forms and
(35.5⫻43cm) shapes within the foliage, not
merely the sunlit and shaded
parts, and find a new and exciting
way to represent this whilst still
and kept very simple. The skyline was heart of the picture (Naples yellow keeping it simple.
interesting so I did not adjust the reddish and Winsor blue) to indicate a
l Have a plan when you are
relative size of the trees. I separated diagonal band of foliage in a weaker
overwhelmed with greenery or
out the mass of foliage by choosing tone. The slope counteracted the
vegetation. Depicting one or two
individual trees with a distinctive form strong horizontal lines of the little
leaves or grasses can enhance
and grouping clusters of similar trees bridge. To add a little liveliness some
your picture but do not overdo it.
together in order to provide a pleasing pen work was added with an Edding
distribution of shapes. Washes were 1800, size 0.3. My sketch (below) was l The colour green can be very
applied using perylene green, lemon not merely a tonal drawing but a way to testing. Use a limited palette or
yellow, cerulean blue and some body explore ideas about how to show the paint the greenery without using
colour. A light shape was created in the varying forms of the greenery as I saw green at all.
l It is vital that the way you tackle
the trees is in harmony with the
picture as a whole.

t Bridge at Creugh Bay,


Mizen Peninsula, West
Cork, watercolour with
ink and body colour on
Schut Noblesse 140lb,
pre-tinted with a grey
wash, 10⫻11in
(25.5⫻30.5cm)

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TA08p42_45_Judi_Layout 1 27/06/2017 08:28 Page 44

p The Old Farmstead, within the vegetation. The secret is to


West Cork, watercolour with be subtle. For example, above the
ink on Fabriano Artistico railings just one or two ivy leaves were
140lb (300gsm), 11⫻14in painted and one or two simply outlined
(28⫻35.5cm) in paint. It is all about indicating the
components and allowing the viewer to
feel that the branches and greenery are
emerging from the paper and thus
creating a sense of mystery and mood.
Another common problem with
them. Such calligraphic marks can be of these forms using paint marks. subjects that involve trees is that a
your personal ‘signature’ and will make Remember it is very exciting to paint mass of dark or bright green can
your picture lively and interesting and foliage without using green at all. In dominate your painting, especially
give you the opportunity for some study six (page 42) I used Winsor violet, when the trees are not the main
creative thinking. cerulean blue and jaune brilliant No.1 feature. There are a surprising number
(Holbein). of trees in Venice and I am wary of how
Thoughts on colour to include them. It can be more
Another difficulty with summer trees is Thoughts on representation successful if I paint them with restraint
that the colour green can be very A perennial problem is the temptation so they do not overwhelm the exquisite
testing for the artist. The trees in The to fiddle and use repetitive architecture, as in The Salute, Venice
Old Farmstead, West Cork (above) brushstrokes. I was drawn to the (above right). In the photograph the
provided a wonderful design poignancy of the historic gravestone dark-toned trees are eye-catching and
silhouetted against the sky. I selected a being engulfed in the tangle of could draw attention from the beautiful
limited palette of perylene green, vegetation (far right) but, as before, a sunlit Salute. I rendered them in a
Winsor blue, cadmium orange and plan was required. Trying not to fall lighter tone and selected pigments that
Naples yellow. After a careful drawing a into the trap of painting every leaf and harmonised with those used on the
medium-toned wash of Winsor blue was twig, background washes were applied buildings: Winsor blue and Naples
painted on the sky to allow the white over the herbage and then a few yellow.
farm buildings to show up. The trees representational leaves and grasses If you dread painting trees, or you
were painted on top in varying tones of were indicated on top. You could tackle find yourself painting trees in the same
perylene green with touches of a subject like this simply with washes way as you did before, and the painting
cadmium orange. The trees all had very in various tones and colours. However, I before that, it is time for a change and
different characteristics and it was feel it adds a different dimension if you I urge you to experiment and try a new
enjoyable trying to extract the essence show some of the exciting natural forms approach. TA

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TA08p42_45_Judi_Layout 1 27/06/2017 08:28 Page 45

PRACTICAL

p The Salute, Venice, watercolour with


body colour on self-tinted Bockingford HP
140lb (300gsm), 8⫻17in (20.5⫻43cm)

q Ancient Tomb, St Mary’s Old Church,


Schull, West Cork, watercolour on Canson
Bristol 250gsm, 12⫻11in (30.5⫻28cm)

Judi Whitton
is a well-established watercolour artist
and an enthusiastic plein-air painter.
She has had many successful solo
exhibitions and is a popular tutor. Her
latest book Painting Venice was
published in 2015, price £24 plus p&p.
For more details and to order this and
copies of her other books, go to
www.watercolour.co.uk or email
judi@watercolour.co.uk

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O I L PA I N T I N G T E C H N I Q U E S : 5 O F 5

Depth and flatness:


putting perspective into perspective
Martin Kinnear brings his series to a close with some useful
advice about atmospheric and linear perspective and a look at the
alternatives, such as flat pattern

P
aintings, by virtue of being 2D, trick for most western european artists into that, it’s worth looking at how
are naturally flat, so when you since the Renaissance. After all, artists can create an illusion of depth,
think about it, the whole idea of creating something that looks real has using linear and atmospheric
making them appear otherwise for centuries been considered to be the perspective.
is rather absurd. In fact creating a mark of an accomplished artist.
credible illusion of depth in two Matisse and Picasso, amongst others,
Atmospheric and linear
dimensions by using perspective is not held passionate views about the perspective
merely a trick, but might even be ‘the’ validity of that view but, before we get In artistic terms perspective can be
usefully defined as creating the illusion
of depth on a two-dimensional plane.
There are two main ways of creating
One, two and three point linear perspective this illusion: linear and atmospheric
perspective.
Linear perspective is just what it
appears to be, the technique of
replicating how objects appear to
become smaller as they become more
distant from our viewpoint. The
classical way to imagine this is to set an
imaginary horizon line at eye level,
ensuring that all diagonal lines
nominally converge upon it.
In practical terms artists simply need
to plot an eye-line and a vanishing
point, ensuring that all of the parallel
lines that face the vanishing point
converge with it.
A lot of hot air is written about how
difficult multi-point perspective is, but
it’s simply a matter of placing extra
vanishing points. A cube will have two if
seen at an angle, for instance, three if it
is offset and complex geometric shapes
(as seen in the scientific instruments
painted in Holbein’s The Ambassadors),
many more. Now all of this works very
well in a geometric universe, but nature
has a habit of being a bit more random
than well-ordered cubes, cylinders or
pyramids, so in practice you will need
to combine linear and atmospheric

t Gennes from Les Rosiers Sur Loire, oil,


36⫻48in (91.5⫻122cm).
Spatial ambiguity: this study of Gennes was
intended to place 'air' in the painting

46 artist August 2017 www.painters-online.co.uk


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PRACTICAL

‘You will need to


combine linear and
atmospheric
perspective to create
a more believable
impression of depth’

u Blossom, oil, 36⫻48in (91.5⫻122cm).


Spatial ambiguity: this study of blossom uses
traditional optical techniques to create a
sense of visual ambiguity and movement

q The Parslow, oil on canvas, 30⫻40in


(76⫻101.5cm).
Traditional atmospheric perspective: this
study of Wells beach uses progressively less
range in each plane to create a sense of
depth

increase in ‘range’ will make a plane


appear to advance, any decrease in
range, to recede.
Range can be defined in many ways,
for example:
l Thick to thin
l Opaque to translucent
l Warm to cool
l Saturated to de-saturated
l Detailed to implied
l Dark to light
l Textured to smooth
So the standard method of making the
distance cool, and the foreground
warm, fits this schematic. The illusion is
improved if the foreground is warm and
dark, and the background cool and thin.
By multiplying the range options you’ll
be able to create a greater illusion of
depth.
However, the key to making
atmospheric perspective work is to
bear in mind that it’s all relative. For
perspective to create a more specifically, a foreground, a middle instance, it’s quite possible to create
believable impression of depth. ground and a background. Each of atmospheric perspective with a warm
these planes must be painted in a colour such as red, providing the red on
Atmospheric or aerial manner that makes them appear to be the foreground plane is darker and
perspective closer or further away from the ‘front’ of thicker than the red on the background
Unlike linear perspective, which the picture. plane. Most of the perspectival rules of
imagines the world as a series of The most common way of dividing thumb – a cool background, a warm
parallel lines converging on one or them is to make the far plane rather foreground or making the distance less
more vanishing points, atmospheric more blue in colour than the nearest distinct – are simply tried and tested
perspective defines the world as a one, although it’s important to manipulations of range.
series of overlapping, near to distant appreciate that this common trick is When combined with linear
planes. simply one instance of how planes may perspective, atmospheric perspective
At a minimum, you would normally be made to create atmospheric is the classic means by which to create
divide a scene into three planes, perspective. More globally, any an illusion of depth on a two-

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O I L PA I N T I N G T E C H N I Q U E S : 5 O F 5

19th century many artists were


questioning whether the tail of
technique wasn't wagging the dog of
original creative vision. Better by far,
they suggested, that art should be an
honest, direct and idiosyncratic
expression of creative vision, rather
than some tired old parlour game
aimed at making a flat surface appear
otherwise.
The gains for following the rules and
conventions of perspective were more
than lost, they argued, when one
considered how applying them eroded
creative freedom.
Luckily, the western european
p Flat colour: Cromer Pier, iPad painting
fascination with illusory perspective
was just that, and alternative aesthetics
were both easy to find and eagerly
adopted, from the strikingly graphic
flatness of Japanese prints to the
concepts of hierarchical scale
(important things are bigger) used in
almost all pre-Renaissance art.
The most interesting results of this re-
evaluation lie not in absolute
adherence to, or avoidance of, the
rules, but with artists such as Klimt,
Picasso, Cézanne and Bonnard, who
freely mixed the systems to their own
creative ends. It’s hard now to imagine
the works of Jenny Saville or Christian
Hook without the works of those
pioneering artists.
p Flat colour: Holkham Beach, iPad painting
Putting it into practice
dimensional plane, although both these Flat is good Over the last five issues we’ve looked
methods should be incorporated with a To summarise, a formal illusion of at all kinds of rules and principles,
sound understanding of optical depth depth requires you to: plot single- or applicable not only to painting, but to
from the classical modelling of form. multi-point perspective; delineate that art in general. But one overriding
Regular readers will recall that I dealt further into far, middle and near planes; question remains: should you follow or
with how value changes create forms in manage the range for each of those break the rules of art? The answer, of
article one of this series (May 2017 and, for a bonus point, simultaneously course, is that rules of any kind are
issue), and that if this is allied with control the value, opacity and edges of good servants but bad masters. Rules
optical management and edge control, any forms within your picture. If that are there to serve technical skills and
then an illusion of spatial depth may sounds complex and contrived then skills allow creative potential to be
be created. you’re in good company. By the late realised. TA

Martin Kinnear
is a professional oil painter and
Course Director at the Norfolk Painting
School which offers courses for painters
new to oils as well as practising oil
painters. Find out more at
www.norfolkpaintingschool.com or
call Jane on 01485 528588 or via
jane@norfolkpaintingschool.com
p This study uses pattern and shape to create a strong visual statement

48 artist August 2017 www.painters-online.co.uk


TA08p49_51_Barry herniman_Layout 1 27/06/2017 08:30 Page 49

u Where the Waters Meet,


sketchbook painting,
10⫻22in (25.5⫻56cm).
This is the sketch I did when I
first visited Watersmeet a few
years ago. I set up my easel in
the water and stood on a rock
to paint. It was an overcast
day with rain showers, which
meant I had to rush for
shelter each time one came
over. I had managed to get
the main drawing and the
first washes down before
about the third attempt,
when I called it a day and
finished it off in the hotel

Woods and water


Barry Herniman shares the contents of his plein-air sketching kit –
one that sees him well placed for a day’s sketching as he gathers material
for a watercolour painting

G
etting away from the studio while ago I now find that I work mostly spine. This size of book suits me and
into the great outdoors with all in pen and watercolour wash. I love the packs neatly into my Swissgear
the vagaries of the weather way the pen glides over the smooth rucksack, which I take on all my travels.
and changing light conditions surface of this paper and it also holds However last year, in collaboration with
really does sharpen up your watercolour well without losing its Matt at Alpha, I organised a ‘Travelling
observational skills, not to mention the sheen. Also, because I'm also a bit Sketchbook‘ walking and sketching
fact that you often have to work fast. heavy-handed with my painting holiday in and around Exmoor. Because
Latterly in my painting career I have equipment it tends to take a bit of a we had to carry everything with us I
filled a small library of sketchbooks, battering so a hardbound sketchbook is opted for a smaller A5 landscape
which now act as my travelogues. I a necessity. version, which worked really well.
often refer back to them to get that My sketchbook measures 11⫻10in
‘raw’ feeling of the time and place deep and opens out so I can paint a Keep your kit to the minimum
before working on a studio piece. panorama of 22⫻10in – because the When people go outside to paint they
pages are stitched I am able to paint invariably take too much kit. I have
My sketchbook across the join without a large gap. I pared my kit down to the essentials for
Having sourced a sketchbook with have found that spiral-bound books a day’s sketching. I keep my brushes in
Saunders Waterford HP paper a good break up too easily, ripping across the an adjustable plastic brush tube,
bound by an elastic band; I insert an
old brush that's longer than my longest
painting brush to stop the brushes from
moving up and down and bending the
delicate hairs. I have seen so many
people's brushes ruined this way in
transit.
Before each foray I fill up the paint
wells in my Cloverleaf paintbox with
freshly squeezed paint. I used to go to
great lengths to keep my colours moist
whilst travelling but I now use
Schmincke Horadam Artists’
Watercolours – their pure pigments are
bound with gum arabic and are fully
reusable when dry – with a few squirts
of water they become moist and
t

workable again. TA

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TA08p49_51_Barry herniman_Layout 1 27/06/2017 08:30 Page 50

W AT E R C O L O U R
DEMONSTRATION Light on the Water, Watersmeet
Tonal sketch
This tonal sketch was
made from a slightly
higher viewpoint. There
is a lot going on with
this scene and I find a
quick tonal sketch
helps to focus the mind
and acts as a template
for the darks, lights and
mid-tones. I used a 2b
pencil here but also
love using charcoal and graphite sticks, which can produce some lovely
grades of light to dark that are so useful when doing tonal sketches

MATERIALS
l Hahnemühle Quattro paper block, 140lb (300gsm)
l Schmincke Horadam Artists’ Watercolours: pure yellow, Indian
yellow, rose madder, madder brown, cobalt blue, helio
turquoise, cobalt turquoise, orange, manganese violet
l Da Vinci Cosmotop brushes: round Nos. 12, 8, 4; riggers 6 and 2 p STAGE ONE
I drew in the main outlines of the scene with Pitt pens, taking
l Faber-Castell. Artists’ Pitt pens, Fine and Superfine care not to get too fiddly, and used masking fluid to reserve the
l Cloverleaf paintbox sparkling whites on the water. I mixed up some colour and flicked
l Schmincke masking fluid: I use white but coloured masking is and spattered yellows and blues into the main foliage areas,
available from Schmincke – some artists find this easier to use keeping slightly darker colours to the right and lighter ones to
as you can see where the mask is the left. With madder brown, orange and cobalt blue I painted in
the main rocks, adding a little manganese violet to the
foreground areas

t STAGE TWO
Working into the water areas I dropped in fluid washes of cobalt
turquoise, orange and cobalt blue, painting around the rocks. It is
now evident where I had placed the masking fluid. In the past I
have added a little rose madder to enable me to see where I have
painted it. Mixing up my colours to a slightly creamier consistency
I began to establish the darker areas of the background trees with
helio turquoise and manganese violet before dropping some
darker, fluid washes into the shadowy areas of the water near the
banks

u STAGE THREE
I began to punch some darks into the rocks using cobalt blue, orange
and manganese violet, adding a touch of helio turquoise to the
foreground areas. The same mix was used for the two trees on the left.
After removing all the masking fluid I worked into the foliage areas on
the right with some rich mixes of the yellows and blues interspersed
with some orange and manganese violet. I spattered some textures into
the foreground weeds and dropped some textures into the large
foreground rock and the left-hand rocks. I was careful not to make the
dark areas too dense, which would have rendered them rather dull and
lifeless, and lifted out some highlights here and there

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TA08p49_51_Barry herniman_Layout 1 27/06/2017 08:30 Page 51

p FINISHED PAINTING Barry Herniman


Light on the Water, Watersmeet, watercolour, organises and tutors painting holidays
141⁄2⫻141⁄2in (37⫻37cm). at home and abroad. He is also
I worked into the left-hand tree area using a little available for workshops and
more orange, cobalt turquoise and manganese demonstrations to art societies. His
violet in the mixes. With a very dilute mix of rose Cloverleaf paintbox is available online
madder and cobalt blue I established the shadow at: cloverleafpaintbox.com. Barry buys
areas on the water. Using my riggers I painted the his sketchbooks from Frances Iles
branches within the foliage areas. I then put the Artworks, 104 High Street. Rochester,
finishing touches into the water with pure white Kent ME1 1JT, telephone 01634
gouache for the highlights and white mixed with 843881. Copies of Barry Herniman's
cobalt blue for the foam trails, plus a few Travelling Sketchbook are available from
highlights into the foliage with some white mixed his website, price £25 inc p&p.
with a little green. I also added a few people to www.barryherniman.com
the far boulder on the right-hand bank for scale

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TA08p52_55_Haidee_Layout 1 26/06/2017 13:26 Page 52

Shape and suggestion


How do you balance the strong shapes with the softer areas of a scene?
Haidee-Jo Summers’ ideas will help you to focus on what you want to
achieve in your landscape painting

I
love to return to the same themes painting equally, because we don’t see the strong shapes and which can be
in painting again and again. This the real world in that way. treated in a broader more suggestive
gives me cause to think about what I try to strike the right balance way, but I also want to express my
it is about the subject that appeals between strong shapes and design and ideas about the subject to the viewer,
to me, and also how I am developing more fluid, painterly areas. To an extent so I walk a line between these different
my approach over time, so although the subject can show which areas are approaches
working with the same subjects, my
painting style is ever evolving.
These thoughts have led me to a SHAPE SUGGESTION
concept that I refer to as ‘shape and
Drawing Poetry and emotion
suggestion’. I am most excited by busy
subjects with many interesting shapes – Descriptive Ambiguity
at the coast I look for sheds and fishing
clutter rather than at an expanse of sea Found edges Soft and lost edges
and sky. I am inspired by a painterly, Strong contrast Fluid form
impressionist style of painting in which
a great deal is understood by the Focal points Painterly rather than drawn
viewer because the artist has made Reportage Close values
good use of suggestion and
simplification without dotting all the i’s Shouting/clarity Whispering/subtlety
and crossing the t’s. I am conscious of Tension Harmony
not treating everything within the

q Rooftops, Staithes, oil, 5⫻9in made by the glare of the light on the water, about individual shapes of buildings, I
(12.5⫻23cm). both in the harbour and beyond. By squinting observed the outline made up by their
This is a situation where the suggestive I could see that the buildings were massed rooftops. I blocked in a general dark colour to
approach works so well. The first and together as a silhouetted shape against the cover the whole of the village, which I judged
strongest shape I noticed was the shape light value of the water. Rather than think to be an approximation of the warm dark
colour I could see when I screwed up my eyes
– purplish to brownish because of the mix of
slate and terracotta rooftops. Then I only had
to suggest some individual rooftops with
smaller shapes and more specific colours,
keeping everything within the darker band of
values. I also felt that I needed to make a
distinction between the white and the red
buildings – in the detailed section you can
see how much darker the value of the white
buildings in the shade is compared to that
describing the low morning sun on the water.
The sun was rising rapidly as I painted,
revealing more information and colour in the
scene before me so I tried to keep a clear
vision of what I saw when I first started the
painting. I added a few highlights to pick out
individual rooftops and details of chimneys. If
I had attempted this painting in a linear way
by first drawing outlines of all the buildings,
it would have taken far too long and there’s
no way I could have achieved this effect of
the light, which is what I was after

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PRACTICAL

What to look for p Hen Garden and Spooky Shed, oil, 12⫻16in (30.5⫻40.5cm).
In this subject there were so many interesting shapes to get my teeth into with the rustic shed,
Look for the important shapes when
trees and garden furniture
considering your subject, before you
start painting. The strong shapes are
q Detail from Hen Garden and Spooky Shed
very often where the greatest contrast
It was great to paint this area of the shed. I was able to let the dark colours of the front of the
in value occurs. For example, in an
shed, the glass of the window, the corrugated iron roof, the green wooden door and the foliage
interior scene the strongest shapes, the
in front of the roof all merge into each other with soft and broken edges. Then I picked out a
first ones I notice, are usually windows
few details of leaves here and there on top of this mysterious, shadowy passage
or a doorway – the bright exterior scene
contrasting with the dark interior of the
room. In an interior the natural area for
a more suggestive approach might be a
shadowy space in the room,
underneath a table perhaps. If you
squint when you look at the scene,
which shapes are still clear to see?
Notice also those areas in which edges
become blurred and shapes are lost.
Although the scene before you is a
good place to get started it is only part
of the story. What do you, the artist,
bring with you to the painting? When I
look at the same reference as you, I will
see it completely differently. Certain
shapes or patterns or areas of contrast
will dominate my attention. You will
observe different elements of the very
same subject matter. This individuality
is what painting is all about. Notice
what your first impressions of a scene
are, what do you think you can make of
t

it?

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p Old Lawn House, May, oil, 8⫻10in close in value to the greenery behind. I picked
(20.5⫻30.5cm). out a few small highlights around her edges as
Painted from life in my garden, my cat is an the light was dappled – hopefully just enough
important, yet subtle and suggestive, part of that you can make out her shape without
this work. I didn’t want her to stand out too giving her too much prominence. The strong
much against the background, as that wasn’t shapes that I wanted to emphasise are the
the way I was seeing her. She was given sunlit parts of the tablecloth and foreground
similar treatment to that of the foliage behind chair. The purer colours of the flowers in the
her; the colours of her fur are warmer but vase also make those a focal point

Make decisions to suit your intention find it best to desaturate or grey-down


for the painting. I find it helps to plan my colours and keep to similar tonal
first where my major shapes are going values. This makes it easier to get
to be and what my focal points are. impact in the focal points, the places
Then I can see which parts of the where I want the viewer to linger. Here I
painting I can afford to treat in a looser, will use my strongest value contrasts, Haidee-Jo Summers
more suggestive way. I particularly want more saturated colour and my hardest studied illustration at DeMontfort
the viewer to be able to look closely at edges. I find the strong shapes and University, Leicester. She has
a small section of the work and see a edges and contrasts come easily to me, exhibited widely and won many
complete abstract painting – in which it’s the subtleties that I have had to awards, including The Artist Purchase
they enjoy the interplay of colour really work on. Prize at The Artist Open Art
notes, brushmarks, shapes and the I think each of us is a bit of a control Competition in partnership with
texture of the paint. freak when it comes to painting and Patchings in 2014, and is a regular
find it hard to trust in the process, and contributor to The Artist. Haidee-Jo
Contrasts and values let go of our strong attachment to the tutors workshops and demonstrates
Having decided which parts will consist outcome. Having a sound drawing for art societies. Her DVD Vibrant Oils
of strong shapes and which will be ability gives you the confidence to is available from APV Films, price
more suggestive, I first get to work on know that, if you lose too much of the £28.55. Telephone 01608 641798;
the suggestive areas. Here I place close descriptive aspects of the particular www.apvfilms.com
but slightly differing colours side by painting, you can get them back at any www.haideejo.com and
side to create energy, with a variety of stage, and this is something that can be www.haideejo.blogspot.co.uk
brushmarks and applied pressure. I improved through practice. TA

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TA08p52_55_Haidee_Layout 1 26/06/2017 13:27 Page 55

p Yellow Awning, Paimpol Market, oil, 8⫻10in (20.5⫻30.5cm).


When you see the whole painting the shapes connect, your mind sees the clues or shapes and makes connections to understand the context.
The whole image ‘reads’ in relation to the subject and the feel of the subject

p Detail from Yellow Awning, u Detail from Yellow Awning, Paimpol Market,
Paimpol Market. hard edges.
This is what I call a ‘suggestive’ In this area it is easy to see strong shapes. There
area – it’s impossible to identify. In are bolder colour contrasts and stronger value
this area the brushmarks are loose contrasts – the strongest is where the yellow
and fluid, the colours and values and orange bunting is shown against a very
are close. There are no strong dark area behind. I chose to make this shape
shapes with hard edges within this darker than it actually was in order to bring
area, so our eyes don’t settle attention to the colourful bunting

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C O N T R A S T S I N W AT E R C O L O U R : 4 O F 6

Warm versus cool


This month Paul Talbot-Greaves demonstrates how you can add
impact to your painting by using warm and cool contrasting colours
and sets this month’s challenge for you to submit for appraisal

A
painting of mainly warm colours through pale and strong variants. The
can have its temperature paler colours include, but are not
exaggerated through the use of limited to, sap green, viridian, cobalt
cooler hues placed elsewhere. turquoise and these continue into their
Likewise a cool painting such as a stronger neighbours of cerulean blue,
winter scene can be made to feel cobalt blue and French ultramarine.
cooler through the inclusion of a little
warmth. Cool and warm illusions
Whilst some colour temperatures seem
Warm colours obvious when looking at a colour wheel,
Warm colours are the yellows, oranges there are many instances when a cool
and reds of the colour wheel. The colour may appear warm, or a warm
colours progress from pale hues of colour may appear cool. This is the
yellow, through red-orange to stronger illusion of temperature inversion. I have
colours of red and red-violet. These illustrated this effect in the panel right.
would include, but are not limited to,
lemon yellow, cadmium yellow, yellow Cool and warm mixes
ochre, cadmium orange, burnt sienna, The temperature shift of a colour is
cadmium red, Indian red, alizarin directly relative to its location on the
crimson, manganese violet and Winsor colour wheel, as colours can be both
violet. cool and warm. For example, yellow-
ochre is warm when placed against
Cool colours Winsor yellow but cool when placed
Cooler colours are the greens, blues against cadmium orange; this shows
and violets on the colour wheel. As with that changing the temperature of colour p Temperature inversion
warm colours the cools also progress mixes is a little more complex, but it is In the top square, the red-violet in the
possible. centre (warm colour) against the cool
First identify the colour to be blue background appears warmer than
adjusted, for example yellow-green, it does when placed against the warm
and then decide if you want the yellow-orange background in the square
temperature bias to be cool or warm. below. The same effect occurs whenever
Warm is the shortest direction towards the colour combinations are altered.
the reds, so the addition of Winsor These instances shift the parameters of
yellow or yellow ochre will do the trick. colour and can be used to place
Cool is the shortest direction towards emphasis on temperatures in a painting
the blues, so here the addition of
viridian or cobalt turquoise will cool it.
Whichever colour you begin with, it up of blue and green hues. These will
will always have a cooler colour on one really glow and come to life if you
Paul Talbot-Greaves side and warmer one on the other, so contrast them with a smaller amount of
has been painting for over 20 years
use a colour wheel to help you work out opposing temperature. If the scene
and teaches watercolour and acrylic
the order of colours and how to alter consists of mainly cobalt blue hues for
painting in his home county of west
your mixes accordingly. example, you can take this as your key
Yorkshire. He also runs workshops and
colour and select cadmium yellow or
demonstrates to art societies Using opposing temperatures yellow ochre from the opposite side of
throughout the north. Paul can
Whilst there are no set rules governing the colour wheel to contrast. A warm
be contacted by email:
the use of cool and warm colours, you scene of ochres and reds can easily be
information@talbot-greaves.co.uk or
can really add some impact by contrasted with opposing blues. Look
through his website:
selecting appropriate opposites or for your key colour first, then work out
www.talbot-greaves.co.uk
rough opposites. For example, let’s say your opposite temperature from the
you have a cold winter painting made colour wheel.

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PRACTICAL

DEMONSTRATION Early Winter Light


‘Whilst there are no
set rules governing
the use of cool and
warm colours, you
can really add some
impact by selecting
appropriate opposites
or rough opposites’

Calculating opposite
temperatures
Paintings don’t always have a simple
key colour basis of straight greens or p STAGE ONE
blues. You may have warm greens or I began by flowing washes of colour onto dry paper, applied with a large size 6 squirrel mop
cool reds, so how do you oppose those brush, starting at the top with cerulean blue and progressing into burnt sienna mixed with a
colours? If you have a modified little cobalt blue. On the left I added viridian and yellow ochre, then went back to burnt sienna
temperature bias such as a warm green, for the buildings. The shapes were allowed to fuse and blend with each other; essentially I was
the opposite can be found by looking concentrating on applying the lightest values. From there I went straight into larger washes
at the words – for example warm green lower down of cerulean blue, cobalt blue, burnt sienna and viridian. I left the painting to dry
becomes cool red (red is opposite before moving onto the next stage
green on the colour wheel). Cool
yellow-orange becomes warm blue-
violet (blue-violet is opposite yellow-
orange). This takes a little thinking
about and my advice would be to work
with a colour wheel close at hand so
that you can quickly reference colour
categories like yellow-orange opposite
blue-violet, and so on.

Shadows and temperature


Shadows by their very nature are areas
devoid of light and this means the
colours are altered in some way to
create shades. In last month’s feature
(Summer 2017 issue), I showed how
shades can easily made with the
addition of a neutral colour such as
Winsor & Newton neutral tint. To make
a shade that corresponds to the colour
the shadow falls on, simply take that
colour, make it slightly stronger by
using only a little water and add some
neutral tint to reduce the saturation.
Once you have your basic shadow
colour in this way, you can add colour
temperature. Brush this neat into a wet
shadow colour on the paper. In most p STAGE TWO
cases, shadows are cooler because they Using a smaller size 2 mop brush, I worked in the background using viridian, burnt sienna and
are out of the sun, so the addition of cobalt blue in various mixtures to capture the changing colours and values, especially around
t

blue generally works very well. TA the buildings

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C O N T R A S T S I N W AT E R C O L O U R : 4 O F 6

u STAGE THREE
I continued with the build of the painting,
working on the right-hand field with viridian
and yellow ochre, cutting this around the
edges of the top stones on the wall. With a
size 4 mop brush I then worked on the darker
values of the wall with French ultramarine,
burnt sienna and a little Winsor violet. At this
stage I was only concentrating on the bigger
shape of the entire wall, which allowed me
freedom to be expressive, hence the runs of
water, brushmarks and bits of washed-out
paint. I continued the wall wash into the
verge of dried grasses and weeds then
continued these into the cast shadow across
the road. Whilst the washes were damp I
splashed water into them to make runbacks
and textures

t p STAGE FOUR
I worked back into the background with a
little detail and softening. I sprayed some
areas with water and worked up the paint a
little with the brush before adding some
suggestions of field walls and windows in the
building

p u STAGE FIVE
I added a further layer of strong colour to the
foreground wall and whilst this was still wet, I
worked in some dark details using neat
neutral tint with a size 8 sable round brush.
The details were freely drawn into the damp
paint to create softer shapes

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p STAGE THREE wire fence. The painting was finished with a few
Early Winter Light, watercolour on Saunders splashes of cerulean blue in the near wall to
Waterford 140lb (300gsm) rough paper, 25⫻22in suggest texture.
(38⫻56cm). The painting is based heavily on ochre, which
To finish the painting, I added the bright window has been cooled through the addition of viridian
frames and pole by the building with white and warmed with burnt sienna. The blue-violet
gouache using a small round brush. I then used a shadows contrast as an opposing temperature
fine rigger brush with the gouache to hint at the to the yellow-orange of the building and walls
THIS
MONTH’S
CHALLENGE

Create a painting from my photograph


of the bridge, using both warm and
cool colours. The image has a very
definite cool bias with a small amount
of warmer contrast.

Take a good-quality photo of your


painting and email your work to
dawn@tapc.co.uk together with a
brief description (no more than 100
words) about the process you used,
with PTG4 in the subject line, by
September 22.
Have fun, good luck and happy
painting.

www.painters-online.co.uk artist August 2017 59


ART ROMANIA 21st -28th August

Painting holidays in enchanting Maramures a


beautiful and relatively undiscovered north
western area of Transylvania, where the customs
and domestic universe remain unchanged.
Improve your art in a small friendly group with lots
of one-to-one tuition from English & Romanian
artists. Stay in traditional Romanian furnished
accommodation, in a peaceful village with delicious
home cooked meals. Trips to Unesco listed sites
and artist workshops. All abilities & media and
non-painting partners welcome.
Prices from £495pp for 2 people sharing twin
room. Discounts for bookings made
before 1st August.
Wizzair flights from London/Luton &
Doncaster/Sheffield to Cluj airport. Mini bus
transfer from Cluj airport included on Mondays.
“In the historic Land of Maramures, the hills
are alive with ways long forgotten elsewhere in
Europe.” National Geographic
“A fantastic experience”
LPS_WebcompSCM_Layout David, 2016 12:23 Page 1
1 26/06/2017

T: 07947 761964 or 0207 2749845


artholidaysromania@gmail.com
www.artholidaysromania.com

PAINTERSONLINE
and St Cuthberts Mill Competition
PaintersOnline, the online
home of Leisure Painter and ENTER NOW
The Artist, has teamed up
with St Cuthberts Mill to offer To win one of 20
you the chance to win one of Bockingford A3 pads
from St Cuthberts Mill
20 Bockingford A3 pads please visit:
worth £14.52 (rrp) each.
www.painters-online.co.uk
We have 20 Bockingford A3
pads for the lucky winners of this the online home of
competition. Bockingford paper is a can be used for watercolour, and
beautiful English watercolour paper gouache, acrylic, pastel, pen and magazines, and click on the links
made on a cylinder mould machine ink, pencil and charcoal, making to competitions. Closing date
at St Cuthberts Mill. This high-quality it a very versatile paper. for entries is September 30, 2017.
paper is made with pure materials St Cuthberts Mill specialises in Winners will be selected at
to archival standards. Both amateur making high-quality archival papers random from all online entries.
and professional artists value this at their mill in Somerset. Situated in
extremely forgiving paper. Its the ancient cathedral city of Wells, When completing your details please
attractive surface is created using the mill has been making paper make sure you opt in to receive our
natural woollen felts, giving the paper since the 1700s, taking advantage great regular email newsletters so that
we can keep you up to date with what’s
a distinctive random texture and is of the pure waters of the River new at PaintersOnline, including the
greatly appreciated for its excellent Axe. For more information visit latest features, images in the galleries,
colour-lifting abilities. Bockingford www.stcuthbertsmill.com new competitions and other great offers.

60 August 2017 www.painters-online.co.uk

p60_taaug17.indd 60 30/06/2017 09:09:31


TA08p61_Colour_Layout 1 26/06/2017 13:30 Page 65

Julie Collins

THE A-Z OF COLOUR studied painting at the University of Reading. In


2016 she received the Watercolour Award, 1st
Prize at the Royal West of England Academy.
Julie has been regularly selected for the ING
Julie Collins explains why value is so Discerning Eye, where she has won the regional award, and she
has received many awards from the Royal Watercolour Society.
important in your painting and explains Her paintings have been selected for many exhibitions and she is
the author of six art books. www.juliecollins.co.uk
how to make a value scale

V
Value scale using Winsor blue (green shade)

is for value

V
alue is the lightness or darkness
of a colour or hue and value is Dark Medium dark Medium Medium light Light
independent of its hue. In order
to create the correct value in Use a palette with five wells in a row. Medium – in the middle well take a brush
watercolour it is important to be It is important to mix plenty of dark, load of your dark and put into the middle
organised. There is much written about medium and light in order for this well and now add a brush load of light.
value and firstly I will create some value exercise to work easily. This will make your medium hue
scales (right and below) as this is the Dark – in the far left well make your dark Medium light – take a brush load of your
best way to show this subject. using a lot of pigment and only a little light and add a brush load of medium.
water This will make your medium light hue
Light – in the far right well mix your light Medium dark – take a brush load of
In 1907 Denman Ross created with a small amount of pigment and a lot medium and add a brush load of dark.
the nine-step value scale, of water This will make your medium dark hue
which is still used today:
White
High light
Light t In this small abstract
Low light painting I used three colours
Mid value – Winsor red, Winsor blue
High dark (green shade) and bismuth
Dark yellow – and varied the light
Low dark to dark as much as possible
Black from white to mixed darks.
Compare this with the other
For simplicity’s sake I think it is useful to painting (below), for which I
begin with a smaller value scale of five used only greys
(above right). I guarantee that, if you
discipline yourself in this exercise, it will
bring huge benefits to the lights and
u Here I made another
darks in your painting.
version of the small abstract
Why value is so important painting above (right). It is
easier to see the differences
Value is used to create a focal point
in the light to dark if you
within a painting, as the human eye is
make a painting using only
drawn to the contrast created by light
greys. Do try this yourself, it
against dark. Value and the gradation of
will help to improve the
value are also used to create the illusion
‘value’ in your work
of depth in a painting. The three-
dimensional illusion of form is created
by using dark and light areas effectively. TA

Tonal mixes for the grey scale painting, above right French ultramarine blue 90%, sepia 10%
50/50 mix of sepia and French ultramarine blue

Medium Pale
Dark White paper

www.painters-online.co.uk artist August 2017 61


The online home of
and magazines
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and follow the link to books
closing date 7th September 2017
FullPage_August2017.indd 1 20/06/2017 15:16:47
TA08p63_BooksNOWFITS_Layout 1 26/06/2017 13:31 Page 71

ART BOOKS & DVDS Reviewed by Henry Malt

David Bellamy’s Arctic Light Painting Urban and Cityscapes Contemporary Landscapes in
David Bellamy Hashim Akib Mixed Media Soraya French
This is a major Hashim Akib’s vibrant style is ideally suited If anything was
publication. The Arctic to the bustle of city life. Townscapes can be going to convince
is one of the hardest a hard sell, but a surge of interest has you to give mixed
places to get to. David produced some interesting books and this is media a try, this
has made several visits a worthwhile addition to the canon. For a book would
and this book is the start, it’s about painting, rather than drawing certainly be in with
story of the place, the or sketching and, as is fitting for work that a chance. This is a
adventure, the people takes time, goes into much more detail. fantastic and
and the wildlife. It is Hashim explains not just techniques, but the always inspiring
an enthralling account considerations of light, colour, perspective book that also
of a region few of us will ever see. To have it and weather, as well as how to deal with the confirms Batsford’s reputation for excellent
illustrated with paintings adds further fact that all these will be changing at production and reproduction – every detail
personality to the tale, showing David’s considerable speed. This is a book to read in and brushmark is visible, and Soraya
interpretation rather than photographic preparation for a French’s style is one where that really
recordings. It is not an instructional book, painting trip, rather matters. The book is a celebration of what
but David does record some of the perils of than a course to work can be done with acrylic, ink, watercolour,
painting in sub-zero conditions and you through, and is all the gouache, pastel and pencil. The colours are
marvel at his persistence and ingenuity. better for it. vibrant and the results uplifting. It isn’t a
Such a book needs the very best production Crowood Press detailed instruction manual, but you can
and Search Press have rightly given it the £16.99, 128 pages learn more from it than many more
treatment it deserves. (P/B) laboured approaches.
Search Press £25, 176 pages (H/B) ISBN Batsford £19.99, 128 pages (H/B)
ISBN 9781782214236 9781785002687 ISBN 9781849943567

A Simple Approach in Oils Painting Watercolour Snow Scenes the Easy Way Terry Harrison
Roger Dellar
Simplicity is complicated. It takes skill Sadly, this is going to be my last review of a new Terry
and years of practice. ‘I’m lazy’, says Harrison book. His death has left a huge hole in the
Roger Dellar, ‘I only use a few brushes’, world of art instruction and many readers are going
but that’s only half the truth. The bulk of to be asking where they will go now. Terry was one of
it is that the art is finding and sticking to the best explainers and his relaxed style of both
the essence of a subject, omitting painting and demonstrating made the results look,
extraneous details, using an economy of while easy, not too easy. You think, ‘With a bit of
brushstrokes and not over-working. The effort, I could do that too’ and the real secret is that
five scenes that Roger paints here are all you can. Terry always gave a polished performance,
in the south east of England and have but there was never any sleight of hand, no secrets he
potential for considerable complexity. kept to himself. Follow the instructions, maybe even
The warship at Portsmouth is use his own range of brushes (they really do what
surrounded by a welter of smaller craft they promise) and the results will follow. He may be
and has a maze of rigging, but Roger gone, but there’s a substantial legacy of books and
works by building up shapes, using a articles that we can refer to for many years to come.
strictly limited palette that picks out the This new book was the one he most wanted to write. Given a free choice of topic, it
dominant colours in the scene and only was the one he chose and I’ve been told he saw the proofs and was delighted by the
including detail where it matters. A result. Snow is one of the hardest things to paint, harder even than water, which is all
canal-side demonstration in Chichester about reflections. Snow looks white, but isn’t. It’s blue, it’s grey and it’s every colour in
concentrates on between. It obscures familiar shapes but creates new ones and has a structure and
reflections and is perspective all of its own. All the techniques are here, along with exercises and
an exercise in the demonstrations that cover tracks, trees, mountains, water, buildings and much else.
control of colour. There are even some well-wrapped figures and one snowman! Snow is an impermanent
This is a thing, but Terry gives it the substance you’d expect.
masterclass in It’s both ironic and typical of him that Terry chose to subtitle this ‘the easy way’. As we
seeing and all know, there is no quick or easy way to paint and it’s a private joke between us and
recording. the author that there might be. This, though, is Terry saying ‘trust me’ and very gently
APV Films £28.55 DVD showing you the way without leading. If it was mountaineering, he’d be holding the
(£25 on-demand), rope, but still letting you do the climb. He may be gone, but all the belays are still there.
105 minutes Search Press £12.99, 128 pages (P/B), ISBN 9781782213253

Some of the books reviewed here can be purchased from our online bookshop:
visit www.painters-online.co.uk/store and click on the link for books

www.painters-online.co.uk artist August 2017 63


LP08 SubsforTA_Layout 1 30/06/2017 15:57 Page 1

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WATERCOLOURS
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ACRYLICS Part 1 Make the
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, June 2017) I painting, and this the
TIVES (Leisur e Painter greens, and discussed are arranged on
biggest shapes I’ve based the sketch

Receive
LEARNING OBJEC of
on the mixing choose needn’t be
As you can see, on the first photograph
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subject. Althoug r, in this project I want depth from foregro
I How to use
hard and soft edges a whole. It has ping elements,
to create focus colour in summea different approach to some overlap
distance, with different height trees and
and tonal strength to demonstrate Colour can be
less
a lead-in via thea good division of sky and
painting the season. you may think,
as there
field edge, and symmetry and show more
of an issue than nt aspects that speak of land. To reduce d tree,
importa e, of the left-han
are other Summer, for instanc sky I omitted most a
Yo u w i l l n e e d

6 issues
a particular season.sun and blue skies licence by adding
and used artistic the distance. The latter
8B)
is associated withbut we can also look church tower in t type of shape among
G Soft pencil (4 to (if we’re lucky), to that idea. provides a differen acts as a focal point,
G Soft putty rubber at an alternative ue, we will focus
on and
all the foliage, was slightly lacking.
G Sketchpad/paper In terms of techniq of soft and hard
edges
which the photo d
G Watercolour paper the combination pes, and how edges (above right) provide
The second photo of hay bales, and
a
in summer landsca attentio n in the idea
I Watercolour and draw the inspirat ion ive, less
rine can create focus adds an alternat
G French ultrama harvested field summer. This photo also
similar in a composition. about composition as of
green element reference for cast shadows
G Burnt umber or First, let’s think photographs and

for just
brush the two gave me a good
I Medium Round we look at
see on these pages.
the sketch you inters-online.co
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AUGUST 2017
28

PAINT SUMMER
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August Opps_Layout 1 29/06/2017 09:30 Page 1

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

Contact: Parker Harris: longest dimension, including frame. 2–6pm daily; part 2 from November
Sending-in days de@parkerharris.co.uk Giclée prints, copies or 22 to December 1, 2–6pm daily.
The Royal Institute of Oil ) 01372 462190 reproductions will not be accepted, Prizegiving for both exhibitions is on
Painters (ROI) nor will works previously hung in the November 27. For full details see
Details: The ROI seeks submissions
The Gallery Upstairs club’s open exhibition. Selected https://thelondongroup.artopps.co.uk
of oil paintings from artists over the
Open 2017 works will be exhibited at Cleveland When: Submissions deadline, August
Details: Artists living within a 15- School, Valley Road, Clevedon BS21 29, 5pm. Handing-in: part 1,
age of 18 for its annual open
mile radius of Poole, Dorset may 6AH from August 19 to 28. November 4, 11am to 1pm; part 2,
exhibition. A maximum of six works,
enter work on the theme ‘Inside Download full details and entry November 18, 1–3pm.
in oil – but acrylic is accepted if
Dorset’. Works should reflect the forms from
framed as an oil – may be entered; Cost: £20 for one work, £35 for two
varied life and landscape of the www.clevedonartclub.co.uk
up to four may be selected. works, £45 for three works.
Maximum size, 941⁄2in (240cm) in the county, either in contemporary When: Handing-in, August 13,
terms or reflecting the history and 10.30am to 2.30pm. Contact: Address all queries to
longest dimension. All works must project managers Parker Harris
) 01372 462190
be for sale, have been completed in identity of the region. Most Cost: £5.50 per work.
the last three years and not disciplines accepted, including
painting, fine art prints, drawing, Contact: Via the website or
previously exhibited in London. Royal West of England
sculpture, digital and textile art. Up mail@clevedonartclub.co.uk
Online submission in first instance at Academy (RWA)
http://mallgalleries.oess.uk. Among to two 2D works and/or two 3D
works may be submitted. Selected Royal Scottish Society of Details: The Academy’s 165th annual
the many awards are the Stanley Painters in Watercolour
Grimm Prize, two awards of £700 for works will be shown at The Gallery open exhibition for which a mix of
Upstairs, Upton Country Park, Poole, (RSW) disciplines are invited: painting,
visitors’ choices; the Alan Gourley
Memorial Award, £1,000; the Phyllis from December 2 to December 24. Details: Entries are invited for the drawing, printmaking, photography,
Roberts Award, £2,000; and The Artist Full details and entry forms at RSW sixth open annual summer film, sculpture and illustration. A
Award of a feature in the magazine. www.thegalleryupstairs.org.uk exhibition at the Lillie Art Gallery, maximum of three works, produced
Selected works will be shown at the When: Handing-in, November 29. Station Road, Milngavie, Glasgow, within the last three years and not
Mall Galleries, The Mall, London SW1 from August 15 to September 27. For previously exhibited at the RWA,
Cost: £5 per work. may be submitted. All works must be
from November 29 to December 10. entry schedules please send SAE to
Contact: Email gus@pedas.org.uk
) 07906759620
For full details see the secretary, address below. for sale. Online submission in the
www.mallgalleries.org.uk www.rsw.org.uk first instance, regional handing-in
When: Handing-in, August 5. points. Selected works will be shown
When: Submissions deadline, August New Light Prize 2017 at the RWA Gallery, Queen’s Road,
25, 12 noon. Handing-in, October 7 Details: Biennial prize exhibition Cost: To be advised. Clifton, Bristol from October 1 to
10am to 5pm. open to all artists over the age of 18 Contact: Lindsay Nell, Secretary, c/o December 3; a number of prizes will
Cost: £15 per work; £10 per work for who were born in, or are currently Robb Ferguson, 3rd Floor, Regent be awarded. For full details, and to
artists under the age of 35. living in, or studied an arts-based Court, 70 West Regent Street, enter, go to www.rwa.org.uk
Glasgow G2 2QZ.
) 0141 248 7411
Contact: The Federation of British subject at degree or postgraduate When: Submissions deadline, August
Artists, 17 Carlton House Terrace, level in the north of England 21, 5pm. Handing-in at the RWA,
London SW1 5BD. (Cumbria, Durham, Lancashire, September 15 and 16, earlier at
) 020 7930 6844 Northumberland and Yorkshire). The London Group Open regional points.
There is no limit to the number of Details: Exhibition in two parts.
works that may be submitted, but a Cost: £20 per work, students £15 per
ING Discerning Eye Artists are invited to submit work in work.
maximum of three per artist will be any medium including painting,
Details: Competition to encourage a Contact: The Royal West of England
selected. Entries must be static sculpture, drawing, print,
wider understanding of the visual Academy, address above.
) 0117 9735129
works that can be wall-hung; all photography, mixed media,
arts and to stimulate debate about
forms of original printmaking are installation, video, sound, digital and
the purpose and place of art in our
acceptable, but photography and performance. Maximum size of wall-
society, selected by two critics, two Society of Botanical Artists
digital works are not. Digital hung work, 200cm high ⫻ 150cm
collectors and two artists. Up to six
submission in first instance. Selected wide, including frame. Up to three Details: Open exhibition with the
original works, in any media
works will be shown at the Bowes works may be submitted, only one theme ‘Changing Seasons’. Up to five
including paintings, photographs,
Museum, Barnard Castle, Co Durham work per selected artist will be works, in all media, including
sculptures and prints, may be
from November 18 to February 18, exhibited. Online submission only. ceramics, glass, jewellery and 3D
entered, maximum size 20in (51cm)
2018, then tours. Prizes include the Prizes include the President’s Prize, a work may be submitted. Digital
in longest dimension. All works must
Valerie Sykes Award, £10,000; three-person exhibition at The Cello selection in first instance. Selected
be for sale. Online registration
Patron’s Choice Award, £2,500; and Factory; Victor Kuell Memorial Prize works will be shown at Central Hall
preferred; regional submission
the New Light Purchase Prize. for innovation, £1,500; £1,000 Westminster, Storey’s Gate, London
points. Awards include ING Purchase
When: Submissions deadline, July sculpture prize awarded by Jeff SW1 from October 13 to 21. Please
Prize, £5,000; The Discerning Eye Lowe; £750 Chelsea Arts Club Trust
31, 5pm; handing-in, October 10. check website for full details:
Founder’s Purchase Prize, £2,500; The Stan Smith Award for research and www.soc-botanical-artists.org
Discerning Eye Chairman’s Purchase Cost: £15 for one work, £30 for two, materials for an artists under 35;
Prize, £1,000. Selected works will be £10 for each subsequent work. When: Submissions deadline, August
£500 Schauerman Prize for Digital 1; handing-in, September 11.
exhibited at the Mall Galleries, The Art; £1,000 JPES Partnership Prize;
Contact: Full details and enter at
Mall, London SW1 from November 16 £300 Worshipful Company of Cost: £18 per work.
www.newlight-art.org.uk
to 26. Full details and entry schedules Painter-Stainers prize for drawing. Contact: SBA, 1 Knapp Cottages,
Email: info@newlight-art.org.uk
available at https://thediscerningeye. Part 1 of the exhibition at the Cello Wyke, Gillingham, Dorset SP8 4NQ.
artopps.co.uk Clevedon Art Club Factory, 33–34 Cornwall Road, info@soc-botanical-artists.org
When: Registration deadline, August Details: The club’s 61st open
London SE1 8TJ is November 8 to 17, ) 01747 825718
23, 5pm; London submissions, exhibition for which up to four
September 2 and 3, earlier from works may be submitted by non-
regional collection points. A much larger selection of opportunities can be viewed on our
members. Paintings, drawings, website, where you will find a list of workshops, tutors, painting
Cost: London submissions, £12 per original prints, enamels, ceramics holidays and more.
work; regional submissions, £20 per and sculptures may be entered,
work. maximum size 36in (91.5cm) in www.painters-online.co.uk

www.painters-online.co.uk artist August 2017 65


USE August Exhibitions_Exhibitions for Vivien 30/06/2017 10:51 Page 62

EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT

National Portrait Portrait Prize 2017; Liberation of Colour; eyes of painter Otto Dix and
LONDON Gallery July 27 to August 19. touring exhibition, photographer August Sander,

☎ 020 7306 0055


St Martin’s Place WC2. until September 16. until October 15.
Bankside Gallery BRISTOL
☎ 020 7928 7521
48 Hopton Street SE1. BP Portrait Award; FROME Walker Art Gallery

☎ 0151 478 4199


until September 24. Bristol Museum & Art William Brown Street.
TheJiangsu Dialogue; Royal Gallery Black Swan Arts
☎ 0117 9223571
Society of Painter-Printmakers Alphonse Mucha: In Quest of
☎ 01373 473980
The Queen’s Gallery Queen’s Road. 2 Bridge Street.
members respond to works by
☎ 020 7766 7301 (tickets)
Buckingham Palace. Beauty; drawings, paintings,
contemporary Chinese artists, Alternative visions: Sketch: artists’sketchbooks, photographs and poster
July 25 to August 6. Canaletto and the Art Undiscovered Art in the open competition designs; touring exhibition,
of Venice; South West; works by artists July 22 to September 3. until October 29.
British Museum facing a barrier to the art
until November 12.
☎ 020 7930 027
Great Russell Street WC1. world for reasons of health,
disability, social circumstance
GUILDFORD MANCHESTER
Hokusai: Beyond the Great
Royal Academy of Arts
or isolation, Imperial War Museum
☎ 020 7300 8000
Wave; Piccadilly W1. Watts Gallery
until September 10.
☎ 01483 810235
until August 13. Down Lane, Compton. North
Summer Exhibition; The Quays, Trafford Wharf
Places of the Mind: British Royal West of England
☎ 0161 836 4000
until August 20. GF Watts: England’s Road
Watercolour Landscapes Academy
Second Nature: the Art of Michelangelo; brings
☎ 0117 9735129
1850–1950; Queen’s Road, Clifton.
Charles Tunnicliffe RA; together the artist’s most Wyndham Lewis: Life, Art,
until August 27.
until October 8. significant paintings from War;
Air: Visualising the Invisible until January 1, 2018.
Dulwich Picture Gallery private and public
in British Art 1768–2017;
collections,
☎ 020 8693 5254
College Road SE21. Tate Modern until September 3.

☎ 020 7887 8888


Bankside SE1. until November 26. MORETON-IN-
Sargent: The Watercolours;
BUXTON MARSH
until October 8. Alberto Giacometti; HASTINGS
until September 10. Museum & Art Gallery John Davies Gallery
Estorick Collection of Fahrelnissa Zeid; abstracts Jerwood Gallery
☎ 01629 533540
Terrace Road. The Old Dairy Plant,

☎ 01424 728377
Modern Italian Art with Islamic, Byzantine, Arab Rock-a-Nore Road.
☎ 01608 652255
Stratford Road.

☎ 020 7704 9522


39a Canonbury Square N1. and Persian influences fused Derbyshire Open Art
with European approaches, Competition 2017; Jean Cooke: Delight in the A Selling Retrospective,
Franco Grignani: Art as until October 15. until September 1. thing Seen; Part 1; the work of the late
Design 1950–1990; until September 10. David Prentice,
until September 10. Tate Britain
CHICHESTER until August 26.

☎ 020 7887 8888


Embankment Galleries
Millbank SW1. KENDAL
Pallant House Gallery NOTTINGHAM
☎ 020 7845 4600
Somerset House, Strand WC2.
☎ 01539 722464
Queer British Art; Abbot Hall Art Gallery
☎ 01243 774557.
9 North Pallant.
until October 1.
World Illustration Awards Nottingham Castle
John Minton: A Centenary; Painting Pop; Museum & Art Gallery
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Flowers REGIONS DITCHLING KINGSBRIDGE Reportrait;

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OXFORD
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Ashmolean Museum
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July 19 to September 2. Road Eric Gill: The Body; with 80 textiles and handmade

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works including a sculpture books, Beaumont Street.
Flowers Natural World Art Group; and drawings not previously July 18 to 30.
Raphael: The Drawings;
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July 15 to September 17. until September 3. LEICESTER
Mono: An Exhibition of
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John Eaves: Echoes of Place; Ravilious & Co: The Pattern of Alan Caine: Retrospective;
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Mall Galleries
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Hesketh Hubbard Society Municipal Buildings, The Moor. Germany 1919–1933; Master of all Trades: The
Annual Exhbition 2017; Friends 2017; Germany between the two John Ruskin Prize 2017;
July 31 to August 5. until July 22 Winifred Nicholson: world wars seen through the until October 8.

66 artist August 2017 www.painters-online.co.uk


USE August Exhibitions_Exhibitions for Vivien 30/06/2017 10:51 Page 63

Penlee
House
Gallery &
Museum
u Stanhope Forbes
Abbey Slip, 1921, oil on
canvas, 30⫻401⁄4in
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SOUTHAMPTON
City Art Gallery

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Capture the Castle;


until September 2.

STOW ON THE
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STRATFORD ON
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Now: Nathan Coley, Mona Blandford Art Dartmourth Art Augst 4 to 12.
Seurat to Riley: The Art of Society Society
Hatoum, Louise Hopkins, www.ottervaleartsociety.com
Perception; Open exhibition at the Corn Summer exhibition at
until October 1. Pete Horobin, Tessa Lynch,
Jock McFadyen, Rivane Exchange, from August 14 Dartmouth Masonic Hall, from Pateley Bridge Art
Neuenschwander, Tony to 19. August 6 to 18. Club
WAKEFIELD Swain; www.blandfordartsociety. http://dartartsociety.wixsite.co Summer exhibition at St
until September 24. weebly.com m/townstal Cuthbert’s School, from August
The Hepworth Berwick Art Group 18 to 21.
Wakefield Derriford Art Club
Scottish National Summer exhibition in the Exhibition at Clearbrook Village Ringwood Art Society
☎ 01924 247360
Gallery Walk. Portrait Gallery Watchtower Gallery, Hall, near Plymouth, from Summer exhibition at
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1 Queen Street. Tweedmouth, from July 25 Greyfriars, 44 Christchurch
Howard Hodgkin: Painting August 11 to 14.
to August 5. Road, from August 10 to 28.
India; True to Life: British Realist Epsom & Ewell Art
until October 8 Bridgnorth & www.ringwoodartsociety.org
Painting in the 1920s Group
and 30s; District Art Society Romney Marsh
Exhibition at St Leonard’s Late summer exhibition at
WORKSOP until October 29. Denbies Wine Estate, Dorking, Art Society
Church from August 21 to Exhibition at the Marsh
September 3. from August 14 to 27.
Harley Gallery Academy, New Romney, from
Tel: 07900 585516 Friendly Society July 29 to August 11.
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A60 Mansfield Road, Welbeck.
WALES Brixham Art Society
Annual exhibition at Scala
of Artists
Annual exhibition at Peveril
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The Harley Open; biennial art
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Stirling Art Club
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12 and 13.
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CONWY Edward VI School, from August
eryupstairs.org.uk 22 to September 2.
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Albert Moore: Of Beauty and www.herefordshire-painting-
Royal Cambrian Chagford Art Group duponavonartsociety.co.uk
Aesthetics; club.com
until October 1.
Academy Summer exhibition at the Totton Art Society
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SCOTLAND Summer Exhibition;
July 29 to September 9.
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Tel: 01507 610604. www.tottonartsociety.org.uk
Summer exhibition at King’s Lymington Arts Tuesday Painters
EDINBURGH Court Masonic Centre, from Group Club of Rye
MACHYNLLETH August 21 to 28. www.chan Art on the Green, Milford-on- Exhibition at St Mary’s Centre,
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The Mound. Heol Penrallt.

Beyond Caravaggio; A selection of works from To submit details of an exhibition for possible listing here, email
Caravaggio and his followers, the Tabernacle Collection; Deborah Wanstall at deborah@tapc.co.uk or telephone 01580 763673
until September 24. until August 31.

www.painters-online.co.uk artist August 2017 67


Project2_Layout 1 10/10/2013 14:30 Page 2 Projec

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64 August 2017
December 2013 www.painters-online.co.uk

August CLA_TA.indd 68 29/06/2017 14:11:36


Project2_Layout 1 10/10/2013 14:30 Page 3

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December 2013 65
69

August CLA_TA.indd 69 30/06/2017 10:27:09


TA08p70_Adebanji_Layout 1 26/06/2017 13:31 Page 66

A D E B A N J I ’ S M O T I V AT I O N A L T I P S : 9 T H O F 1 3

Dream big
Whatever stage you are on your journey of being the
creative person you really want to be, there is always room
for improvement, says Adebanji Alade

W
hether you are a total would it be like to be the artist you making time to attend artist workshops
beginner, a student, a really want to be – give yourself five and taking regular classes with artists
hobbyist, an amateur, minutes every day to concentrate on you admire; making more time for your
emerging artist or even a this thought. practice; or it might be learning more
professional, there is always something l Focus on what you want to achieve. about the business side of being an
more you can do to move up from Sometimes we have too much going on. artist. There is always a starting point.
wherever you are. As human beings we That’s no good. There is a power in Just take the leap and begin! A journey
are always naturally striving for focusing on one thing at a time. It helps of a thousand miles starts with one
something better, I rarely meet anyone us to channel all our energies into one step!
who wants to remain on the same level thing and, if we don’t give up, there’s Dreaming is great! In the football
at whatever they were doing. every chance that we will achieve what world, Leicester City dared to dream
If you don’t feel that way, I can we focus on. and they won the Premiership title in
guarantee that somewhere in the past l Overcome every obstacle. Overcome English football, against all odds. In the
your aspiration and desire to succeed every failure. If you are afraid of failure political world, Martin Luther King
must have taken a great knock! and making mistakes you are not ready Junior dreamt of equality in America
Somewhere along the line you for a great artistic career. As someone and it’s happening today, long after his
experienced a setback in the form of said: ‘You will fail your way to success’. departure. In the world of technology
rejection, disappointment, unforeseen l Make some drastic changes in your Bill Gates dreamt of every house
circumstances, pain and hurt. You no life. Be ready to travel the roads that having a desktop computer in an age
longer want to believe in yourself, you lead to your dream. Be ready to invest when computers were almost too big to
shy away from taking risks that would in becoming a great painter: this could fit into a room, but it’s the reality today.
move you up. You live in your comfort mean going back to school or college; The truth is, in your artistic world, if
zone, never venturing beyond people aren’t making fun of your
what you settled for. dreams, then your dreams aren’t big
Now, that is not a good way to enough! I used to tell my wife that I was
live your life. If you are reading going to act in a Hollywood Block
this and somehow you realise Buster as a sketcher and she always
that you have taken a hit in the laughed at me because I haven’t got
past, whether consciously or acting experience or even been on TV.
unconsciously, this is the time to But in the last year she has started to
press the reset button and give believe me as I have made my way into
yourself the permission to dream television as an artistic presenter on
again – and please dream big! BBC1’s The One Show. All I can say to
Make it as bright and brilliant you is dream big – you can’t lose
and hopeful as you want but anything, so go for it! TA
please get to a place in your life
where you dream big. This is
what makes life exciting and it Adebanji Alade
keeps us inspired and motivated studied fine art in Nigeria and has a
to achieve great things. It all diploma in portraiture from Heatherley’s
starts by dreaming, by believing, School of Fine Art, where he teaches in
by visualising yourself where you the Open Studio. He has exhibited
really want to be. widely and won many awards. Adebanji
is a member of the Royal Institute of Oil
How to dream big
Painters and a council member of the
l Make an artistic bucket list of all the Adebanji Alade with his winning painting, Chelsea Art Society; he tutors
things you’d love to achieve before you Rush Hour III, at the Royal Institute of Oil workshops and gives demonstrations
leave planet earth. Painters (ROI) Annual Exhibition, 2007. This for art societies and also offers private
l Always ask yourself this question: ‘If was a dream come true for Adebanji, and was coaching. For more details see
I knew there would be no failure or what inspired him to dream big about www.adebanjialade.co.uk;
rejection, would I not try this out?’. becoming a member of the ROI – his dream www.adebanjialade.blogspot.com;
l See yourself achieving everything on was realised when he was elected a full www.sketchinspiration.com
your list. Really try to imagine what it member in 2015

70 artist August 2017 www.painters-online.co.uk


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