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LP10 1 Cover_Layout 1 23/08/2017 16:25 Page 1

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1 6 - PA G E G U I D E TO A RT C O U R S E S A N D H O L I DAY S
Inspirational
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Our
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OCTOBER 2017 4.40

STEP-BY-STEP
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ANIMALS
How to add
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beach scenes
PAINT GARDENS
& FLOWERS
NEW SERIES
Improve your
compositions
!

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Hints & tips LP Open
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on holiday 2017 winners


Draw & paint Be confident
from photos with colour

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october welcome_Layout 1 24/08/2017 13:41 Page 3

Incorporating Leisure Painter


and Craftsman
and Creative Crafts
VOLUME 51/11
ISSUE 565
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
OCTOBER 2017

Editor
Ingrid Lyon
W e have great pleasure in publishing
a round-up of the winners of Art
Club of the Year 2017 in this months
Contributing Editor
Jane Stroud
Editorial Consultants
issue (pages 62 to 63). Many congratulations to Cardigan Art Society
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
for winning first prize; Hornsea Art Society and Pinner Sketch Club
Tony Paul STP
for taking the two runners-up prizes; and to North Lincs Art Society
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048) for being voted Peoples Choice by visitors to the show. Many
(annamarieb@warnersgroup.co.uk)
Advertising Copy thanks and congratulations to all the clubs who entered, for proving
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) just how creative and talented amateur painters are in the UK, and
Accounts
creditcontrol@warnersgroup.co.uk
of course to Jacksons Art Supplies for sponsoring the prizes of art
Events Manager materials vouchers, which makes this competition so worthwhile.
Caroline Griffiths
Subscriptions & Marketing Manager The exhibition at Patchings Art Centre over July, which showcased
Wendy Gregory
Subscriptions
the work of ten outstanding UK art clubs, was much admired by
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
visitors. Each of the clubs showed brilliance in bringing together a
Online Editor paintings that presented both a coherence as a group and a mix of
Dawn Farley
Designers styles, media and approaches. Look out for more in-depth profiles,
Alison Renno
Sarah Poole all the winning paintings and news of how and when to enter next
Leisure Painter is published years competition in forthcoming issues of LP. At present we are
every four weeks by:
The Artists Publishing Company discussing how we can develop the competition next year and how
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, we can make even more of this exciting opportunity.
Kent TN30 6BD
(Tel: 01580 763315) Many congratulations also go to the exhibitors and winners of our
Publisher open competition 2017. We bring together all the award-winning
Dr Sally Bulgin, Hon VPRBSA
paintings and the winners and judges comments about the work
Publication of an article or inclusion of
an advertisement does not necessarily on pages 74 to 79 of this issue. The resulting exhibition, which was
imply that TAPC is in agreement with
the views expressed, or represents shown over July and August this year, goes from strength to
endorsement of products, materials
or techniques. TAPC does not accept strength and again showcases the talent and creativity of amateur
responsibility for errors, omissions
or images received in good faith painters. We are proud of the standard of work submitted, which
Annual subscription rates:
UK 39.99 (includes Northern Ireland); as judge, David Curtis, mentions on page 74, snaps at the heels of
USA $80; Canada $92; EC member
countries 67; all other countries The Artist category, aimed at experienced and professional painters!
(sterling rate) 50
I hope you enjoy another month of painting with Leisure Painter.
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of 50
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NOVEMBER 2017 issue on sale 6 October

www.painters-online.co.uk OCTOBER 2017 3


LP10 4-5 Contentsv2_News 1st 29/08/2017 09:41 Page 4

Contents OCTOBER 2017


12
7

25

42 3

22 Wildlife in watercolour
IN EVERY ISSUE Part 1 Build confidence in handling
watercolour and your brushes as you follow
7 Diary 62 Art clubs Hazel Soans tips and exercises
Things to do this month News, highlights, exhibition
listings and best in show gallery 25 Product report
8 Exhibitions Adrienne Parkers reports on her experiments
Some of the best shows 67 Books with Jacksons Handmade Soft Pastels
around the country Some of the best practical
art books are reviewed 28 Line and colour
10 Letters Part 6 How to combine inks with soft pastel
Your tips, suggestions, 72 Online gallery to create colourful landscapes, by Tim Fisher
ideas and questions Jane Stroud chooses a flower
painting from PaintersOnline 32 Colour and light
Judith Milne offers tips and techniques for
painting colourful gardens in watercolour

FEATURES 34 A walk on the moor


Tony Hogans seasonal look at Bodmin Moor
12 On the beach comes to an end with his autumn painting
How to bring your beach scenes to
life with the addition of figures, by 38 In the frame
oil painter Christine Pybus Part 1 Tony Paul begins a four-part series
on composition by looking at classic shapes
16 Painting project
Part 2 Follow Julie King step by step 42 Bottles, jars and spoons
as she uses a variety of techniques and Part 2 Develop your acrylic painting skills
a limited palette to paint a garden as you produce a busy still life step by step,
On the cover scene in watercolour with Rodney Kingston
Tim Fisher Solva, acrylic ink and
pastel on Fisher 400 Classic, 12x15in. 20 Painting project 46 Harvest mouse
(30.5x38cm). Find out how to mix pastel
with acrylic inks on pages 28 to 31 Part 1 How to paint from several photos Part 1 Join Paul Hopkinson over two months
of a village scene, by Colin Steed as you paint a harvest mouse in detail

4 OCTOBER 2017 www.painters-online.co.uk


LP10 4-5 Contentsv2_News 1st 23/08/2017 16:04 Page 5

Coming
next month
Practical advice, tips and inspiration for painting
74
with watercolour, acrylics, oils, inks and drawing
mediasketching sets
48

ON SALE 6 OCTOBER
5
n Modern acrylics:
Try a different style
n Paint successful
watercolour animals,
buildings and
landscapes
n Try your hand at
drawing cartoons
n How to create layers
of depth in your
landscapes
n Oils for beginners:
techniques and
2 32 colours for flowers
and landscapes
n Ink brush painting
made easy
OFFERS, NEWS AND COMPETITIONS
n Product report: Elena Parashko Tulip Time,
t

6 Join Leisure Painters 50th annivesary celebrations make the most of oil, 22x15in. (56x38cm)
for your chance to win a 50 voucher from GreatArt new sketching sets
PLUS win a new book from Search Press
n How to combine
61 Save money when you subscribe to Leisure Painter acrylic inks with LEISURE PAINTER
this month coloured pencils ON-SALE DATES
n Composition ideas,
Issue On sale
66 Take advantage of the latest offers on practical art November 6 October
books in LPs online bookshop at PaintersOnline autumn colour mixing December 3 November
71 More fantastic book offers from Search Press and drawing exercises January 1 December
AND LOTS MORE!
73 Our pick of some of the best practical art videos online

49 Lost and found


Develop your skills as you paint a free-and-easy watercolour
of foxgloves, with Rachel McNaughton

53 Loose and lively


Part 3 Liz Chaderton completes her watercolour animal
series with a step-by-step portrait of a cat

56 Wide-open spaces
Feeling adventurous? Amanda Cooper offers a lesson
in landscape painting on holiday

58 Try something different


Try this miniature challenge by Helen White

74 Leisure Painter Open Competition 2017


View the winners of this years exhibition and competition t
Paula Henchell Autumn Colour, watercolour, 12x16in. (30.5x40.5cm)

www.painters-online.co.uk OCTOBER 2017 5


p69_Layout 1 24/08/2017 10:14 Page 68

PAINTERSONLINE
and Search Press Competition
PaintersOnline, the online home of Leisure Painter and The Artist,
has teamed up with Search Press to offer you the chance to win one of ENTER NOW
ten copies of Vibrant Oils by Haidee-Jo Summers worth 15.99 (rrp) each.
To win one of ten copies
Vibrant Oils is a friendly, accessible of Vibrant Oils by
and inspiring course in oil painting from Haidee-Jo Summers
a regular contributor to The Artist and from Search Press
member of the prestigious Royal Institute please visit:
of Oil Painters (ROI).
Haidee-Jo Summers artwork is filled www.painters-online.co.uk
with light and vibrancy. Her friendly,
instructional style will demystify oil the online home of
painting and show you how to use this and
traditional medium to create contemporary magazines, and click on the links
portraits, landscapes, still life and more, to competitions. Closing date
all suffused with the unique warmth and
richness of oils. This book is ideal for for entries is November 6, 2017.
painters at any level of experience, from Winners will be selected at
complete beginners looking to start out random from all online entries.
with oils, to advanced painters wishing
When completing your details please
to pick up new ideas and techniques. make sure you opt in to receive our
Search Press is the leading art and craft great regular email newsletters so that
publisher in the UK, specialising in fine we can keep you up to date with whats
art, textiles, general crafts and childrens new at PaintersOnline, including the
crafts. For more information, visit latest features, images in the galleries,
new competitions and other great offers.
www.searchpress.com

& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LPs 50th and PaintersOnlines 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers

OCTOBERS COMPETITION PRIZES


This month, paint your favourite pair of We are delighted to announce exclusive
shoes, either on their own or as part of a still sponsorship by GreatArt throughout
life. If you need inspiration, study the ballet this years anniversary competitions
shoes in Adrienne Parkers pastel report
(pages 25 to 27). Please upload your entry Each months winner will receive 50
by 12 noon on Thursday, 30 November worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArts new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor, Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current that month.
accepted. Only original work Painting Competition links 4 You will be invited to send a
will be considered and paintings to Anniversary Competitions high-resolution image of your
based on reference photographs 2017. You must be registered winning entry to Leisure Painter
must have been taken by the and logged in to PaintersOnline for publication in the magazine
artist or used with the permission before you can upload an image. in spring 2018.
of the photographer. Only one 2 Upload your October entry by 5 All work entered will be
painting per artist each month the closing date of 30 November featured on our website at
will be accepted. at 12 noon. www.painters-online.co.uk.
1 Online digital entries must 3 Entries will be judged after 4 6 The judges choice will be final.
be sent via our website at December and the winning No correspondence will be
www.painters-online.co.uk. entrant will be informed later entered into.

6 OCTOBER 2017 www.painters-online.co.uk


LP October 2017 Diary p7_News 1st 24/08/2017 09:47 Page 6

Diary
THINGS TO DO THIS MONTH

Opportunities
n Art & Photography in Leeds
The 17th annual Leeds Art & Photography exhibition and sale
takes place at The Grammar School at Leeds, Alwoodley Gates,
Leeds from 26 to 29 October. Artist registrations are now being
accepted. If you are interested in showing your work you will
need to register by 6 October at http://events.st-gemma.co.uk
or telephone Charlotte on 0113 218 5505.

Sarah Harcus Near Bowringsleigh, acrylic and pastel, 1734x1134in.


t

(45x30cm)

Arts Trail
The annual South Hams Arts Forum Arts Trail, which sees
a group of artists known as the South Hams Arts Forum
opening their studios to the public, will once again be
taking place between 14 and 29 October. More artists
than ever before are participating, showing paintings,
ceramics, sculpture, photography, textiles, jewellery,
printing, furniture making and wood turning. The SHAF
n The Big Draw Arts Trail brochure is available now from many outlets
Founded in 2000, The Big Draw Festival runs between 1 and
across the South Hams, or you can find full details on
31 October when thousands of drawing activities will be taking
their website at www.shaf.org.uk
place in museums and galleries, schools, libraries and village
halls around the country. Anyone can be involved either by
participating in an event or organising an event of your own.
Full details can be found at www.thebigdraw.org Family Arts Festival
n Rye Winter Salon The Bristol Family Arts Festival is a month-long city-wide
Artists are invited to submit work for the Winter Salon at Rye celebration of the arts, and features creative events at venues
Creative Centre. The closing date for submissions is 15 October. across the city aimed specifically at families. Events include
The organisers will consider painting, drawing, original prints, music, theatre, storytelling, crafts and drawing. Most of these
photography, sculptures, maquettes, collages, installation, are free and you can drop in on the day, with just a few
video and performance. For details visit requiring pre-booking. For full details and a festival
www.ryecreativecentre.co.uk or telephone 01797 229797. programme, go to www.bristolfamilyarts.org.uk

In the Frame
Ten Artists over 30,000 for the cause. Each of the
Ten local professional and semi- artists has produced ten pieces of work
professional artists will be showing that will go on show at the exhibition
their work at Baslow Village Hall, near and will be available to buy.
Bakewell in Derbyshire. This annual In addition there will be greetings
event raises money to support the cards, unframed mounted originals
work of the Sheffield Samaritans and and prints, as well as a caf. The
this year will be celebrating its 21st exhibition runs over the weekend of
anniversary. Since 1996 it has raised 28 and 29 October. Admission 1
(children free). Open 10am to 5pm
Helen Martell Bruges Bicycles, acrylic, daily. For more information visit
t

1534x1534in. (40x40cm) www.10artists.co.uk

www.painters-online.co.uk OCTOBER 2017 7


LP October 2017 Exhibitions p8-9_Layout 1 24/08/2017 09:52 Page 2

Exhibitions JANE STROUD RECOMMENDS


Marine Artists
The Royal Society of Marine Artists
annual exhibition opens at the Mall
Galleries in London from 5 to 14
October, featuring the sea in all its
guises from ships and yachts, deep
sea waters and days out at the
seaside, to harbours and estuaries.
During the exhibition members will
be tutoring practical workshops in
the Learning Centre, which are
bookable in advance, as well as
giving free demonstrations in the
gallery. Full details about the society,
exhibitions and events are available
at www.rsma-web.co.uk

Geoff Hunt Cayman Islands Town Regatta

t
1935, oil, 2212x3614in. (57x92cm), winner of The
Classic Boat Prize in the 2016 RSMA exhibition

n Mall Galleries
The Mall SW1. 020 7930 6844. The 20/21
British Art Fair, 13 to 17 September. Recent
paintings by Benjamin Hannavy Cousen,
19 to 30 September. The Sunday Times
Watercolour Competition 2017, 19 to 24
September. Royal Society of Miniature
Painters, Sculptors and Gravers 2017,
20 September to 1 October. Hermione
Hammond Drawing Award Exhibition,
25 September to 8 October, Rosa Sepple:
solo exhibition, 26 September to 1 October.
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
Drawn in Colour: Degas from the Burrell,
Valrie Pirlot Sunny Cliffs, Arrifana, oil on board, 10x12in. (25.5x30.5cm)
t
20 September to April 2018.
n Osborne Studio Gallery
Three Wessex Sketchers 2 Motcomb Street, Belgravia SW1. 020 7235
Three local plein-air painters will be joining together to showcase work produced on 9667. Arctic Light: work by David Bellamy
their recent travels. Valrie Pirlot, Bob Child and Andrew Taylor are all nature, including paintings from his latest book,
landscape and architecture lovers and share a passion for capturing the Arctic Light: An Artists Journey into a Frozen
spontaneous quality of light found in the open air. Work on show will include Wilderness, 19 and 20 September.
watercolours and oil paintings from travels in France, South Africa, Belgium, n Royal Academy of Arts
Portugal and England as well as a selection of original prints, cards, calendars and Piccadilly W1. 020 7300 8000. Matisse in the
catalogues. The artists will be present throughout the exhibition, which takes place Studio, until 12 November.
from 6 to 8 October at the West Barn, Barton Farm, Bradford-on Avon, open 10am n Tate Britain
to 5.30pm daily. For more information visit www.valeriepirlot.com Millbank SW1. 020 7887 8888. Queer British
Art 1861-1967, until 1 October.

LONDON REGIONAL
n The Fosse Gallery
n Bankside Gallery n Llewellyn Alexander Gallery The Manor House, The Square, Stow on the
48 Hopton Street SE1. 020 7928 7521.
124-126 The Cut, Waterloo SE1. 020 7620 Wold, Gloucestershire. 01451 832 268. The
National Original Print Exhibition,
1322. Society of Feline Artists, until Thinking Eye: latest works by George
20 September to 1 October.
15 September. Pamela Kay and Peter Underwood, 1 to 29 October.
n Dulwich Picture Gallery n Harbour
Kuhfeld: two-man exhibition of oils, House
Gallery Road SE21. 020 8693 5254. 3 to 18 October.
The Promenade, Kingsbridge, Devon.
n Long
John Singer Sargent: watercolours, until & Ryle 01548 854708. Controlled Burning: new
8 October.
4 John Islip Street SW1. 020 7834 1434. paintings, printmaking, mixed-media works
n Jonathan Cooper Park Walk Gallery The Journey: new landscapes by Nick and installation by Anita Reynolds, until 17
20 Park Walk SW10. 020 7351 0410. Seeing Archer, focusing on our relationship with September. Anita will give an informal talk in
Red: new paintings by botanical artist, the natural world and its place in our the gallery on Saturday 9 September at 11am.
Rosie Sanders, 21 September to 14 October. imagination, 5 October to 1 November. Press Gang Printmakers: annual exhibition

8 OCTOBER 2017 www.painters-online.co.uk


LP October 2017 Exhibitions p8-9_Layout 1 24/08/2017 09:52 Page 3

of printmaking by artists from the Salcombe The Colours of Nature


print workshop, 19 September to 1 October.
Exploring Life and Landscape: new work by
The second exhibition by the Scottish Society of Botanical Artists is currently on show at
Janey Hunt, Kath Pelforth, Clare Pumfrey the Stirling Smith Art Gallery and Museum, continuing until 22 October. Formed in 2014,
and Frank Wotton, 3 to 8 October. the society already has almost 70 members each bringing a wide variety of styles and
n The John Russell Gallery some of these artists will be available during the exhibition to talk to visitors about their
4-6 Wherry Lane, Ipswich, Suffolk. work and demonstrate their painting methods. There will also be a weekend childrens
01473 212051. Recent work by watercolour event to teach them how to draw and paint autumn
flower painter, Christopher Ryland, leaves. A caf is available in the gallery for
18 September to 14 October. homemade food and refreshments. For
n TheKidderminster Railway more information and details of opening
Museum times, visit www.thessba.org
Comberton Hill, Kidderminster. Railart
2017: annual exhibition by the Guild of Victoria Braithwaite
t

Railway Artists, until 1 October. Tulip Vaya con Dios,


watercolour, 2912x26in.
n Laing Art Gallery (75x66cm)
New Bridge Street, Newcastle upon Tyne.
0191 278 1611. Paul Nash, 9 September to
14 January 2018.
n Manchester Art Gallery
Mosley Street, Manchester. 0161 235 8888.
The Edwardians: exploring the glamour
and rural nostalgia of the 1900s, until 31
December.
n Oakapple Studio & Gallery
Glebe House, 200 Sywell Road, Mears Ashby,
Northampton. Autumn Glory: exhibition of
work by Network Arts, a group of amateur
and professional artists working in
Northamptonshire, 7 to 22 October.
n Scottish
National Gallery of
Modern Art
75 Belford Road, Edinburgh. 0131 624 6200.
True to Life: British Realist Painting in the
1920s and 30s, until 29 October.

All information given here is correct at


the time of going to press, but you are
advised to check details and opening times
with the galleries prior to your visit in case
of unavoidable alterations to their
exhibition schedules

JANUARY 2017
www.painters-online.co.uk
October letters_News 1st 24/08/2017 15:32 Page 11

Letters the other day what is it that inspires


me to paint and I feel most strongly
that I have been given a gift that I
cannot waste. By gift I dont mean that
I think I have something that others do
not, but realised that I would be remiss
SHARE YOUR TIPS, SUGGESTIONS, IDEAS if I didnt use, acknowledge and be
AND QUESTIONS WITH OTHER READERS thankful for it. Having said that, I am
under no illusion that I am special or
have a bigger slice of the pie in the
Watercolour pencil technique it doesnt damage the paper. talent stakes than any other artist, but
I enjoy reading the letters page in 3 Tracing can be done with the one thing I do have now is time to
Leisure Painter and thought that some greaseproof paper, and is cheap and work hard and be the best that I can be,
readers may like to consider a on a roll. because anything worthwhile is only
technique that I tried at a watercolour 4 I also found a useful solution to achieved by working hard. One of my
workshop that I attend. using pastel pencil for drawing animal friends, who is also a very talented artist
I am not good enough yet just to paint whiskers. The white whiskers can be and teacher, said to me: It is the
a subject without drawing an outline more impressive by inserting a darning constant practise of painting that takes
first. When drawing delicate subjects, needle into a Biro and securing it with your work to another level.
such as flowers or birds, in watercolour masking tape. The needle is used to In this world of instant everything,
where I dont want the graphite outline make an indent in the paper then time spent on producing a piece of art
to show through, I used to paint remove the graphite. regardless of where we are on our
carefully up to the inside of the line I hope these tips can help others. painting journey, is time well spent.
(without going over it) then rubbed out Ian Buckley When you pick up a brush and start
the graphite when the paint was dry. to paint, everything around you fades.
This I found challenging so I tried an Butterfly or beaver? You are in your own little world and
alternative method. Like many amateur artists I have though it can be mentally tiring and
Now I draw the outline of the subject limited time to devote to my painting, sometimes it doesnt work out, I have
lightly in watercolour pencil, using a but am keen to make progress. found theres a part of every painting
colour that is as similar as I can find in However, I find myself torn between that has a little gem.
my paintbox to the colour of the flower being a beaver and being a butterfly. Is Use your gifts to give your life a bit of
petal then paint up to the outline and it best to concentrate on one medium magic. It may not be as an artist, but
incorporate it into the petal itself. The and subject area and beaver on at this, thats okay. Find something in your life
watercolour pencil line dissolves into trying to develop more in depth that really makes you want get up in the
the wash on the petal and I dont have experience or shall I continue to be a morning. As for me, opening a box of
the colouring in appearance that butterfly and flit around from medium colour will always do it!
sometimes happens with a graphite to medium and subject to subject? Gerry Jenson
outline. Instead it gives a much softer I really cant make up my mind. I am
appearance to the finished painting. attracted by all the new ideas I read
This seemed like an obvious solution about in magazines, like Leisure Send your letters to
to the problem, but when I tried it at Painter, and am always off on a Leisure Painter, 63-65 High Street,
the watercolour workshop, I was mission to try out new products. Tenterden, Kent TN30 6BD.
surprised that no one else (even the Would it be more helpful to progress, Alternatively, email the editor at
tutor) had considered it. If any readers however, if I spent my painting time leisurepainterletters@tapc.co.uk.
have not tried using watercolour working in depth in one medium? All letters published here win a set
pencils, I hope that they will find this I am sure I am not the only one with of 24 Van Gogh Oil Pastels. Find
useful. this dilemma so how have other artists out more about Royal Talens art
Malcolm Brooks solved it? materials by visiting
Marlene Griffin www.royaltalens.com
Helpful tips for beginners
I hope the following will help readers, From the editor: We found the following
especially beginners: inspiring thoughts on Gerry Jensons
1 The cost of good paper is expensive, blog on our website, PainterOnline. We
but an alternative is using lining paper hope you enjoy them as much as we
(used to cover imperfections on walls). did.
This paper is cheap on a roll and will
not buckle, no matter how much water Inspiration
is applied, as it is already treated. Well, the week is flying past and as the
2 My second tip will help when graphite weekend approaches I look back and
pencil drawings show a hard edge and am amazed at how time spent in the
make colours dirty. A simple solution studio is like a little bit of heaven on
is using Blu-tack to remove the earth and it made me ponder on why
graphite, by dabbing or rubbing, and it gives me so much joy. I was asked

10 OCTOBER 2017 www.painters-online.co.uk


HANDMADE

ARTISTS
SOFT PASTELS

VALUE
BRUSHES
Available through a select group of stockists
www.artistsbrushes.co.uk
for full information on ranges, sets, prices.
Great value! Big savings!

www.painters-online.co.uk OCTOBER 2017 11

p11_lpoct17.indd 11 24/08/2017 12:31:37


LP10 12-15 Pybus_Layout 1 23/08/2017 11:58 Page 12

Oils

t
An Early Summer Morning, Sandsend, oil on board, 512 x8in. (14x20cm). There is a tendency always to look seawards when painting
beach scenes when often theres magic happening behind us, too. This small oil sketch was painted purely to capture an intense yet
transient flash of light across a building. It truly captured a moment.

On the beach
How to bring your beach scenes to life with the
addition of figures, with Christine Pybus
animated figure is all thats required. start to take a minute to look at how
LEARNING OBJECTIVES Paint figures in detail and theyll the masters handled the subject. Lets
n How to create an impressionistic appear frozen, photographic and rigid. try a British impressionist. Look
style of painting Thats just not what the beach is up Children Paddling, Walberswick
about. A summer beach scene is all by Philip Wilson Steer (Fitzwilliam
n Paint figures in oils about children running and digging, Gallery, Cambridge). Here you will
n Learn successful oil painting improvised cricket and football see a stunning combination of colour,
processes matches, swimming and splashing. sparkle and movement, and all
Somewhere amongst it all will appear achieved with the minimal of detail, as
those of us of a more sedate nature, indeed are most of Steers other works.

W hatever the time of day, when


youre painting a summer beach
scene the dreadful F word is
inevitably going to come into play.
Thats the word that can make normally
perhaps with the dog, walking briskly
along the seashore.
Its always a good plan before you
Sketching always helps here, too.
Not only is it good practice, but it also
produces books full of figures with
perhaps a few added colour notes,
which are ready then to use at home
consummate draughtsmen and women Tip Groups of figures are so useful for those either less comfortable or
go weak at the knees. Figures. Therein compositionally. They can, like sheep, unable to work on site. Working from
lies the bad news. The good news is that be used to create triangles, S or Z the sketchbook also has the advantage
Im not talking about painting every shapes both to grab the viewers eye of eliminating the detail at source, as
finger on every hand, indeed I wasnt and lead it off into the distance. opposed having a photograph in front
even planning on painting any hands, but of you, which then has to be
simply a few brushmarks to suggest an simplified.

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t
A School Party Walking to Sandsend, oil on board,
11x14in. (28x36cm). Whilst giving the impression of
dozens of moving figures, there are in fact only two
who are recognisable as such, the rest are simply
coloured marks and dots. That group of animated
figures does necessitate you painting the rest of the
picture in a similar animated way or it will appear
as two separate images on the same board.

Create vibrancy
Immediacy: now theres a word to
conjure with! The more you mix and
blend it, the muddier your paint will
become. Instead, try to put the paint
on exactly like doing a jigsaw, just
using a series of shapes and colours
next to each other. Only when the
surface is completely covered can
you blend and join those shapes
together, as and if necessary. This
method will instil freshness and
light into your work.
So immediacy could be summed up
as: put the paint on and leave it alone.
I write with more than a modicum of
guilt myself when suggesting to leave
it alone, as perhaps its one of the most
difficult aspects of art to learn. LP

Summer Moonrise, Whitby Beach, oil on board,


t

612 x5in. (16x13cm). Theres not only the sunshine


to paint in summer, but those soft, balmy, cool late
evenings often produce glorious colour, too. This
small and, by necessity, rapidly painted sketch also
uses that often overlooked portrait format, always
worth considering when planning your composition.
t

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LP10 12-15 Pybus_Layout 1 23/08/2017 11:59 Page 14

Oils

Demonstration A Summer Sunday Afternoon, Whitby

You will need ABOUT TITANIUM WHITE


n Surface n Daler- Rowney n Titanium white
In every material list I mention that
l Gesso-primed MDF board, Artists oils l The hand-ground
the thicker, hand-ground whites are
l Naples yellow 1
washed with burnt sienna, preferable. Just to expand on that,
Robersons or Mike
l Lemon yellow (hue)
or ground colour of your I was teaching recently at an evening
Hardings titanium
l Yellow ochre
choice, or use an oil board, class and having left my own tube of
whites are preferable,
l Raw sienna
pad or canvas, 11x14in. white outside in the car, one of the
particularly for seascapes
l Burnt sienna
(28x36cm) artists in the class gave me a small
l Light red
n Miscellaneous amount of titanium white from one
n Rosemary & Co brushes l
l Ultramarine blue
A large clean cloth of the mainstream manufacturers.
l 3 x long flat hog oil brushes l Turpentine or low-odour
l Cerulean blue
I genuinely struggled to use it. It was
Nos. 2 to 8
l Cobalt violet (Student
Sansodor to keep brushes far too thin and oily, leaving the
l Rigger No. 2 clean only (not used ground showing through. Hence it
l Watercolour type brush No. 2
quality colour will be
more affordable) for mixing) was a less intense white whilst also
being far too oily to leave any of
those lovely expressive brushmarks.
Its the white paint that gives a
picture its bite, sharpness and
luminosity. Try a small tube of one
of those thicker titanium whites,
Robersons, Mike Harding or Old
Holland to name but three. It
could transform your painting.

Tip Its worth zooming in


on those figures to see just how
simple they are (below); literally
a dozen or less brushstrokes,
including the reflections. Dont
try to rework mistakes at this
stage as they can be modified and
corrected when the background
is painted around them.

t
Step 1
1 With composition 75 per cent of the
painting, it pays to ensure the main
elements are sorted at the first stage.
Initially establish the main group of figures
off centre and on a third line. Create
contrast, dark against light, to emphasise
them more by putting a wave behind them.
Note that even with just a few suggested
reflections the beach looks wet already.
You now have the darkest dark and lightest
light established, hence all other tones
can be judged relative to them.
2 Next add a secondary group of figures,
not as strong or as sharp as the primary
group, followed by a few figures in the
sea and just a suggestion of yachts on the
horizon. The eye will now look from group
one to group two then off, via the figures
in the sea, a further mile or two into the
distance to where those yachts were running towards the head of the main produce a comfortable composition
fortuitously sailing. figure, which will help compositionally. so roughly removed sections with a few
3 With the direction of light from right to Those blue marks will also suggest puddles paintmarks. Still at a trial-and-error stage,
left, the cloud shadows can be established and serve to break up a difficult expanse of the composition is evolving, which is far
roughly. foreground. Note that at this stage I preferable to ploughing on when your
4 Next suggest a few perspective marks decided that filling the board wouldnt instincts suggest otherwise.

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LP10 12-15 Pybus_Layout 1 23/08/2017 11:59 Page 15

Step 2
t

Working in a jigsaw-like fashion by


putting areas of paint next to each other,
establish the main colour blocks of the
sky, sea and sand. The area of wet sand
where the figures are reflecting should
be painted in vertical marks to emphasise
the wetness. The beach titanium white
and yellow ochre should be painted in
marks converging on the vanishing point
around the main figures head; this will
emphasise the depth. Never start to blend
areas together at this stage; its so easy
to lose that hard-won freshness and light.

t Step 3
1 Add the cloud highlights then work
around the picture, essentially filling in
the gaps. Use a Rigger or small sable brush
to paint around and in between the caution now on both the sand and clouds,
figures. At this stage you can still review
the composition. I added a taller figure
but avoid losing those initial sharp, crisp
marks in the sea. Also avoid working into
Christine Pybus
Find out more about Christines
to the secondary group to balance better those fresh areas of paint, maintaining work and classes by visiting
the picture. both the light and luminosity; overworking www.pybusfinearts.co.uk
2 Edges can be blended and softened with makes mud.

t
The finished painting A Summer Sunday Afternoon, Whitby, oil on board, 11x14in. (28x36cm)

www.painters-online.co.uk OCTOBER 2017 15


LP10 16-19 PP2_Layout 1 23/08/2017 12:08 Page 16

Watercolour

Painting project
Part 2 Follow Julie King step by step as she uses a variety
of techniques to paint a garden in watercolour

LEARNING OBJECTIVES
n How to add depth to your You will need
n
landscapes n Surface n Golden QOR Miscellaneous
n Learn wet-into-wet and wet-on l Bockingford 140lb watercolours l Mixing palette
dry techniques NOT watercolour See colours, below l B pencil
l Eraser
n
paper, 12x11in.
n Practise colour mixing (30x28cm)
Brushes
l Paper towel
l Da Vinci Maestro
l Pebeo masking gum
Round sable, Series
l Applicator,

I hope you enjoyed the challenge


of painting this beautiful garden scene
(below), which I introduced in last
months issue. I am now going to show
you how I approached the scene. LP
35, Nos. 8 and 10
sharpened bamboo
or feather

COLOURS USED

Aureolin

Nickel azo
yellow

Phthalo blue

Ultramarine blue

Quinacridone magenta
or permanent rose

Cadmium red light


t
The scene that introduced last months project: a garden in Kent

16 OCTOBER 2017 www.painters-online.co.uk


LP10 16-19 PP2_Layout 1 23/08/2017 12:09 Page 17

t
Step 1
1 Keeping the drawing to a minimum, lightly sketch out
the simple curved shapes of the plants surrounding the
path and an indication of the tree.
t
Step 2
1 Mix pools of aureolin yellow, quinacridone magenta,
2 Apply masking fluid with sharpened bamboo, twig or
ultramarine blue, phathlo blue, and shades of a pink-purple
small old brush on the white flowers. Leave to dry.
and blue-purple.
2 Apply areas of colour wet on dry in the flower areas, using
a No. 8 brush with a good point.
3 While the paint is damp, drop in stronger shades of a thicker
consistency and variegate the washes, such as phthalo blue
dropped into ultramarine blue.
4 Stipple a single brushstroke into the centre of the yellow
flowers using nickel azo yellow. When dry, begin painting
the foliage.

t
Step 4
1 Continue connecting the green foliage, cutting around the
flowers. Add more depth of colour in the shadowed recesses,
leaving lighter shades on top. To give more strength to the
greens, add a touch of quinacridone magenta.
2 When dry, apply sweeping brushstrokes to suggest stems
t
Step 3 and finer details.
Using ultramarine blue and nickel azo yellow, mix a yellow-green 3 Lay a wash of yellow-green in the background.
and a blue-green. Refer to the colour exercises in last months issue. 4 Apply the fine trunks in the distant shrub with the point of
Working wet on dry, allow the two shades to mix on the paper. Leave the brush, using a mix of nickel azo yellow and quinacridone
white paper to suggest stems and leaf shapes.
t

magenta to make orange. Add a touch of blue to make brown.

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Watercolour

Demonstration continued Step 5

t
1 Make a dilute pool of cadmium red light mixed with ultramarine
blue. Wet the path with clean water and apply lightly on top.
2 Increase the strength of colour and the amount of blue
in the mix, and drop into the shadowed side of the path.
3 Using the brown mix prepared in Step 4, paint the shadowed
sides of the rock leaving plenty of white paper on top. Whilst
damp touch with a mix of strong purple.
4 Using the same two colours, paint the fork on the shadowed
side, leaving touches of white paper where the light falls.

t
Step 6
Wet the area of sky and apply dilute ultramarine blue
followed by dilute phthalo blue with a No. 10 brush.

t
Step 7
While the sky is still damp, apply a mix of the blue-green followed
by touches of ultramarine to suggest the distant trees.
t
Step 8
If the base of the sky remains damp, apply a yellow-
green wash on the foliage surrounding the trunk,
varying the shades and strength of colour, wet on wet.

Step 9
t

1 Add the distant trees wet on dry to give an edge to the


foliage. Draw the brush towards the damp base of the oak
tree foliage. If the base dries too quickly leave it to dry
thoroughly and rewet before recommencing.
2 When this is complete apply the brown shade of paint
mixed in Step 4 with a No. 8 brush to the shadowed side
of the main trunk and branches.

Julie King
Find out more about Julie, her art and classes by visiting
julie@juliehking.co.uk. Julies new book Take Three Colours -
Watercolour Flowers has been published recently by Search
Press. Save money when you buy from our online bookshop
at www.painters-online.co.uk See page 60 for details.

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LP10 16-19 PP2_Layout 1 23/08/2017 12:10 Page 19

Step 10
t
Apply stronger washes of green with a little
quinacridone magenta added along the edges
of the trunk and branches. Diffuse with water
to blend into the background wash to create
shadowed areas under the boughs of the tree.

t Step 11
1 Gently erase the masking fluid to reveal
the white flowers.
2 Finally, add deeper tones here and there to
balance the scene. Apply a purple mix along
the shadowed side of the tree and strengthen
the shadows on the path, adding a suggestion
of the detail.

t
The finished painting Kent Garden, watercolour, 12x11in. (30x28cm)

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LP10 20-21 PP1_Layout 1 23/08/2017 12:19 Page 20

Paint along with LP

Painting project
Part 1 Use photographs of a parade of village shops and several
figures to paint an interesting scene, with Colin Steed
give this subject interest along with the but the shop fronts have contrasting dark
LEARNING OBJECTIVES addition of figures that come and go all shadow areas. I was particularly interested
n How to gather information day long. Look for a corner of a shop, in the colour contrast of the fish and chip
from several photographs either internal or external, and a path or and butchers shops. The blue fish shop
road that leads the eye into the picture. sits back, making the red butchers faade
n Make small figure studies Contrasting colours of shop fronts or the focal point.
displays can also help give interest.
n Work out a final composition
for next months painting
Figures are a feature that should always Adding life to your paintings
be added, as they bring life to this type Facial expressions can be difficult to
of subject. achieve so I tend to photograph and

A glint of light on trees, an interesting


sky with landscape or fleeting light
on a building; inspiration can strike
anywhere, at any time. We often travel
miles looking at spectacular landmarks to
I would encourage you to practise by
painting my subject first before setting
off to find your own subject nearby.

Composition
place my figures walking and looking
in to my pictures. More importantly this
practice does not identify the individual.
Time spent looking, drawing and
sketching figures will pay dividends.
find the perfect view, but fail to appreciate I spent some time looking at various To help achieve correct scale wait until
a good subject right on our doorstep. I compositions, taking photographs and figures are near to where you think you
hope this painting project will encourage making sketches. I visited the shops on may place them. Photograph and sketch
you to consider unusual subjects near to several occasions and at different times them in that position with a small piece
your home and consider your local high of day. I had three main considerations: of the background behind. This should
street as a possible subject. It could be a composition, tone and colour. I finally reveal the tone of the figures. Are they
small corner shop, post office or a large decided on this view (below). The lighter or darker than the background? Do
parade of shops. Some of you may live composition is good. The path leads you need to change their tone? I managed
close to lovely old shops in a picturesque your eye to the shop fronts and the gap to catch the butcher looking at his display
village. For me, its just a parade of shops between the shops in the corner gives through the front window and a few
and flats built in the 1960s. At first glance, depth. The planting and trees either side moments later a woman came along and
its not your typical subject to paint. have deep green tones with splashes of looked in the window at the same spot. A
We are lucky in my home village of light green colour punctuated by the couple of days later I spotted two figures
Galleywood, Essex to have planting areas orange and yellow flower heads. walking together with a dog and decided
that are well tended. This will help The buildings above are in full sunlight, they would be added to the composition
as well. All these
scenarios can
be seen in the
photographs
above right.
I then painted
two small studies:
one of the butcher
and woman
discussing the
shop display, and
the couple with
the dog (opposite).
Positive and
negative shapes
are so important
when drawing and
painting figures.
I lightly sketched
both studies side
by side in pencil.
Using a No. 6
Round Pro Arte
brush I mixed
Prussian blue and
burnt umber to
produce a very
dark grey green
colour. I painted
around all four
figures leaving
the shape of the
t
Your main reference photograph: a parade of shops figures white.

20 OCTOBER 2017 www.painters-online.co.uk


LP10 20-21 PP1_Layout 1 23/08/2017 12:21 Page 21

Paint along with LP

INSPIRATION FOR FURTHER DETAIL

The figures were then tinted with


colour, using burnt sienna for the
sides of the faces; burnt umber for hair;
crimson red and brilliant red for the coat
and butchers smock; and varying mixes
of ultramarine blue and burnt umber for
jeans, trousers and dog. You will learn
more about the shapes of figures by
painting these types of studies.

Colour tips
Using a limited palette will help the
colours to harmonise in your finished
painting. You will need three primary
colours: a blue, red and yellow. Two
blues, two reds, two yellows and a
brown or two should be sufficient. Keep
your first washes light in tone then add
the medium tones, leaving the dark
shadows and green until the final stage.
Two thirds of this subject is either light
or medium in tone and the remaining
third is quite dark.
You could also consider adding
more colour to the foreground planting.
t
Butcher and Customer, watercolour on
t
Couple and Dog, watercolour on Canson
Highlight the two figures in front of the Canson Vidalon 140lb watercolour paper, Vidalon 140lb watercolour paper, 10x6in.
butchers shop as this is the focal point. 10x6in. (25x15cm) (25x15cm)
Change the colour of your figures
if necessary.
In next months issue I will paint The finished
t

this subject beginning with the first compositional sketch.


washes through to the finished painting, I decided not to make too
giving tips on colour mixing, applying many changes to the subject
colour and techniques. I would be photo. I added the four
interested to see your version of figures from my studies and
this subject so please email them one more walking towards
to dawn@tapc.co.uk who will post the fish shop. I also lowered
them on the LP painting project area the two lamps so we can see
of LPs website, PaintersOnline. LP the glassed bulb covers and
made a note to add more
colour to the foreground
planting. You may decide
to change the position and
Colin Steed number of figures or you
Find out about Colin and his classes may have studies or photos
and workshops by visiting www.colinsteed of figures that could be
art.magix.net and view more of his work at placed in this subject.
www.painters-online.co.uk/artist/colins5

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LP10 22-24 Soan_Layout 1 23/08/2017 12:25 Page 22

Watercolour

Wildlife in watercolour
Part 1 Build confidence in handling watercolour and your brushes
as you follow Hazel Soans exercises over the next three months

LEARNING OBJECTIVES
n Paint wildlife studies with
confidence
P ainting wildlife is an ideal way
to learn to paint in watercolour.
Light changes, shadows shift,
animals move, and shapes and colours
change. Decisions about what to
Moving subjects demand a certain
speed of execution. Having colours
at the ready, a limited palette, plenty
of sketchbook space and clean water
are the first considerations.
n Practise simple brushstroke include and exclude have to be made Taking control over the shape
techniques fast. In the next three articles, I am of the brushmark is next. Watercolour
n How to apply the wet-into-wet going to use some of my favourite is very lovely in appearance when it is
technique wildlife subjects to show you how allowed to settle on the paper without
descriptive brushstrokes and much fuss. It does not like to be
watercolours wet-into-wet technique pushed around and the fewer
make it possible to paint quick, brushstrokes you use to deliver
confident watercolour sketches paint on the paper, the fresher
from life. the watercolour will look. LP

EXERCISE 1
Choose the right size brush for the job. Just one colour is enough to paint these penguins.

t
Practise your brushmarks
t

I chose a brush that could deliver a brushmark for the penguins fin with one
stroke, a No. 8 in this case. The sable brush, fully loaded with a concentrated
mix of indigo and sepia, was brought to a point on the palette to enable
a more precise shape.

The beak
t

and head
1 Starting at the tip,
the beak was made in
one short brushstroke.
2 The stripe on the
head was created in
the same way then
the brush was pressed
down to deliver more
paint. It continued
down the back to
deliver its load before
refilling the brush
became necessary.

Shaping the fin


t

To paint the fins, the


tip of the brush was brought to a point in the palette and held at
an angle to the paper. It started at the tip of the fin, was gradually
pressed down, guided to shape the fin precisely then joined the body.

22 OCTOBER 2017 www.painters-online.co.uk


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t
Penguins in Conversation, watercolour on Rough paper, 4x6in. (10x15.25cm). By brushing more gently on the penguins backs,
the paint jumped across the tooth of the Rough paper to make an attractive fragmented look. In just a few thoughtfully delivered
brushstrokes the penguins came together, making a lively sketch.

EXERCISE 2
Adding colour wet into wet
To paint with more colour, first familiarise
yourself with the animals overall shape then
paint the shape in a pale colour, adding the
local, stronger and darker colours into this
while the paint is still wet. Subsequent colours
are more concentrated, because there is
already water in the previous wash to dilute
the pigment. Humidity and drying times vary
every day, and each hour, so judging the right
amount of water and pigment takes practice.
Gaining control of wet-into-wet technique
also takes practice. The first colour may dry
too fast or be too wet and pool on the paper.
Finding the balance between the first wash
and additional colours will soon come
with practice.
Concentrate on single colour shapes at first.
If the shape is lively, it needs little within it to
make the animal feel credible. The dexterity
of the sable brush and watercolours wonderful
ability to fuse colours within a wet wash makes
it possible to paint quickly and confidently.
You will be amazed at what can be achieved
in a very short time.

Understand the shape


t

To establish a quickly moving shape I grab


whatever colour is ready to go. Here I chose
a No. 10 brush, fully loaded it with indigo,
brought it to a tip on the palette, started at
the beak, ran down the neck, pressed down
for the feathers and lifted it back up a touch
to paint the legs with the now blunted tip.

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LP10 22-24 Soan_Layout 1 23/08/2017 12:26 Page 24

Watercolour

EXERCISE 2 (CONTINUED)
Adding

t
colour
For this coloured
version I painted
the shape with a
dilute, quite wet
mix of Prussian
blue, which was
the pale colour
I saw in the
ostrichs neck.
Immediately,
while still wet,
I touched in the
local colour of
the legs and
beak with diluted
alizarin crimson.

Adding more
t

colours
While still wet,
I touched in burnt
sienna for the foot,
Hazel Soan
To find out about Hazel, her work, workshops and
thigh and tail feathers holidays, visit www.allsoanup.com. To book a place
and brushed in indigo in on one of Hazels holidays for Leisure Painter go to
far more concentrated www.spencerscotttravel.com and buy her books from
form for the main our bookshop at www.painters-online.com
feathers on the body.

t
Mating Season, watercolour, 6x8in. (15.25x20.25cm). In the previous sketch the tail feathers had dried before I could add the black
feathers so in this sketch I applied the burnt sienna wetter and the colours blended. The female ostrich was brown so I added sepia
into the Prussian blue wash then mixed it with indigo to make a black for the male.

24 OCTOBER 2017 www.painters-online.co.uk


LP10 25-27 Parker_Layout 1 24/08/2017 15:34 Page 25

Product report

Jacksons Handmade
Soft Pastels
Adrienne Parker reports on pastels that play a leading role in mixed-media approaches
of four elegant, rectangular, strong reds, oranges and pinks that werent
LEARNING OBJECTIVES black boxes. The soft pastels were there. However, the starter set has
n Top tips on how to use themed snuggly and firmly held in place so all a good range of brighter colours.
boxes of soft pastels arrived in perfect condition. I received My greedy self would like to own
four sets of 14 colours: Sky-Cloudy, all 200 colours in the range!
n Experiment with mixed-media Woodland Brown: Landscape Green Look carefully at the themed sets to
techniques and Dark. make sure you have what you need.
n Let loose with soft pastels! My first impression was how beautiful I was excited to see what I could
and subtle the colours were. The tint do with the colours I had and find
and tonal variations in each themed solutions to those missing colours.

W hich artist, in their right mind


would not want to try a new
product? I happily agreed to
test report Jacksons own handmade
soft pastels for Leisure Painter and I
selection were generous. Many ranges
that I have used in the past have lacked
those subtle incremental tonal and
temperature changes. It is quite difficult
to find those special light shades, such
Each pastel is a good size and weight.
The slightly chunky, rounded sticks are
clearly labelled with sensible colour
names; colours that we are familiar
with and those that are in between
waited with eager anticipation to see as light lime yellow and smalt blue make sense. A key in each set would
what type of pastels would arrive at my white. I do love my bright colours so be useful for those artists who like to
doorstep. My treasure came in the form I did find myself reaching for strong file colours in a particular order. LP

EXERCISE 1 Simple texture


Jacksons Handmade Soft Pastels are
soft and buttery, and deposit healthy
amounts of colour each time. I also
enjoyed using the stronger colours,
such as wine red and lilac violet,
over the mid-tones.

You will need


n Jacksons Handmade
Soft Pastels
l Dark ochre 183 t
1 Bold, unfussy watercolour
l Yellowish green strokes established a base and form
t
Painting with pastels is all about confident application
field 578 of strokes so start with smaller, less demanding projects. for the generous layer of pastel.
l Lilac violet 293 A pear can look very sophisticated!
l Wine red 223
l Pale cobalt
blue 428
l Greenish
lemon 539
l Ochre 187
l Chromium oxide
green 545
l Light cobalt
blue 427
n Miscellaneous
l Watercolour: I used a
variety of reds, blues,
yellows and greens
l 34in. short flat brush
2 Simple pastel lines and generous
t

l Cream pastel paper


layers of pastel colour brought the subjects
to life. The form came together very
quickly. It is what you leave out that
matters. With a subtle change in pressure, t
3 The finished piece. You can achieve a sketchy,
I was able to manipulate the line width. textured and creamy finish in one piece of work.
t

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LP10 25-27 Parker_Layout 1 23/08/2017 12:30 Page 26

Product report

EXERCISE 2 Line and washes


This project gave me a chance to experiment only end up scrubbing your paper so use a loosened the pigment so it floated up to the
with pastel washes as an interim layer. It can watery medium if you want a smooth finish. I top of my wash. Of course, I just needed to
be useful in establishing an undertone or wanted to see how the pastel responded to use less water, almost dry brush, which was
linking colours together. You will never wash water. I first added scribbles of lilac violet (293) much better. This, together with the
away the texture that pastel creates you will and dark sienna (307). Adding too much water watercolour at the end, worked well.

You will need


n Jacksons Handmade
Soft Pastels
l Dark sienna 307
l Light Prussian blue 476
l Yellowish olive green 577
l Dark lavender blue 47

n Miscellaneous
l Watercolour: I used a variety
of yellows, reds, blues, plus
violet and ultramarine
l Grey pastel paper
l 34in. short flat
l PVA glue
l Old brush and pot
l Sheet of old copy

1 Despite a light pressure, the


t

pastels still deposited a healthy line


with variation in weight. These pastels
were very easy to hold and draw with.
2 I added dark umber (649) to balance
t
I can see them being useful in life
classes. I used a light Prussian blue the textures and strengthen the shadows.
(476), yellowish olive green (577) and You could stop there or experiment more.
dark lavender blue (473) here. The line
therefore described the form from the start.

3 I enjoy adding text to my pictures. An old book with


t

brown tinted edges that reflected the state of the ballet t


4 Watercolour washes were then applied over the shoes and
shoes was a must. Be aware of shapes and where they are background using my flat watercolour brush. I was careful not
placed. I placed the copy around the frayed points of the to fill in every space, leaving the tinted paper, text and pastel
shoes using PVA glue. line exposed in places.

26 OCTOBER 2017 www.painters-online.co.uk


LP10 25-27 Parker_Layout 1 29/08/2017 09:05 Page 27

Product report

EXERCISE 3 Bold colour Jacksons Handmade Soft


Once the first few layers were applied, the colours began to blend beautifully. The Pastels are easy to layer
pastels are creamy and it felt good to be able to make bigger markings. I loved the up and the pigments
choice of tonal values and, despite efforts to stick to one set I dipped into a few, are rich, even if they
building up the earthy mid-tones followed by the stronger shades, including lavender are applied in line
blue, wine red, burnt sienna and the cobalt blues. I did miss stronger oranges and only. I would certainly
pinks for this subject, but I put the woodland brown set and wine red to good use. recommend them and
at 26.50 for a box of 14,
they are good value, too.
The big question is: what
You will need colours would you choose?
n Jacksons Handmade Soft Pastels I found the colours in four
l Dark khaki 573 l Dark red brown 325 Miscellaneous of the sets irresistible and
l Light ochre 159 l Wine red 223 l Cadmium red acrylic I certainly want them all.
l Light olive green 579 l Smalt blue 459 l White mountboard Visit www.jacksonsart.com
l Beige 174 l Smalt blue white 429 l Old oil brush for for details and how to buy.
l Ochre 187 l Pale cobalt blue 428 applying Golden
l Burnt sienna 305 l Dark olive green 563 Ground for Pastels
l Green beige 178 l Dark lavender blue 47 l Small pot for the
l Yellow ochre 168 l Dark ochre 183 ground
l Light cobalt blue 427 l White II 003 l Pages of copy
l Cream 149 l PVA glue

1 I arranged and
t

glued a background
made up of pages of
copy. A tablespoon of
ground and a squirt of
cadmium red acrylic
were mixed together and
applied over the surface
of the copy and parts
of the mountboard.
Do apply it as thinly as
possible the pastels
adhere a lot better
that way. How would
the pastel respond to t
2 Once dry and it did not take long I blocked in various
mountboard, ground pastel colours. I applied a little more pressure, engaging
for pastels and printed more of the nose of each pastel. I found the ground a little
pages? scratchy so I used my fingers to soften the first few layers.

3 The soft pastels blended to a creamy


t

finish on the ground and adhered with


a little more difficulty on the bare copy
and mountboard. However, the finishes
presented plenty of interest and contrast,
which is perfect for mixed-media work.

www.painters-online.co.uk OCTOBER 2017 27


LP10 28-31 Fisher_Layout 1 23/08/2017 12:38 Page 28

t
La Cadiere, ink and pastel on Fisher 400 Classic, 13x20in. (33x51cm)

Line and colour


Part 6 How to combine inks with soft pastel on different surfaces
to create colourful landscapes with heaps of drama, by Tim Fisher

visible long enough to develop the work then wiping it with a kitchen towel.
LEARNING OBJECTIVES into a pastel painting without the edges This gives it a slight taper, which is ideal
n Practise techniques to mix ink smudging or disappearing. However, due for working on this type of surface. The
with pastel to the texture of the paper, working with marks improve progressively as the ink
traditional mark-making instruments, such soaks into the match.
n Understand the nature of as fibre-tipped pens or dip pens, the tips It was only a short progression from
coloured grounds would wear down too quickly. here to experiment with coloured
With some experimentation, I found backgrounds. I like brightly coloured

I enjoy combining soft pastels with inks,


especially when working on Fisher 400
art paper. To begin, I tried creating
lines on the surface that would remain
that a matchstick dipped in either Indian
or acrylic ink produced the desired line
work. To do this, prepare the match by
striking it, blowing it out immediately
backgrounds and found that only acrylic
inks could deliver the intensity required.
Watercolour on a tinted surface didnt
work quite so well and tubed acrylic
paint tended to block the grit surface
prior to pastelling. Unevenly coloured
surfaces were the most successful to
work on as the pastel appeared a slightly
different colour when placed against a
lighter or darker background. By adding
more than one colour, say a red and a
yellow, which are also tonally different,
I found a satisfactory finish for working
pastel over. I sometimes introduce a third
colour, indigo, which if added carefully
will not turn the other two colours
grey and muddy.
The colours that work well for tinting
pastel backgrounds are Daler-Rowney
FW Acrylic Inks yellow ochre, indigo
and scarlet. Care has to be taken to avoid
textured surfaces with non-waterproof
glues otherwise the surface can lift when
washes of ink are applied. I generally do
all the drawing, applying ink and adding
t
La Cadiere, sketch on cartridge paper, 7x11in. (17.5x28cm) pastel with the surface placed in the

28 OCTOBER 2017 www.painters-online.co.uk


LP10 28-31 Fisher_Layout 1 23/08/2017 12:38 Page 29

Acrylic ink

t
Pembroke Farmhouse, ink and pastel on Fisher 400 Classic paper, t
Dove Valley Farm, ink and pastel on Fisher 400 Classic paper,
12x15in. (30.5x38cm) 9x13in. (23x33cm)

upright position to encourage runs and Background washes represent the background buildings
unexpected effects with the backgrounds, Dove Valley Farm (above right) was more simply and break up the empty
and to control any dust generated when another subject where the acrylic ink space with foliage.
working. underpainting worked out well. All three I hope you enjoy practising
ink colours had combined into pinks, this technique as you follow my
Preliminary work mauve and violets, meaning that a landscape demonstration over
I painted La Cadiere (above left) using a minimum of pastel work was required the page. LP
photograph taken from the neighbouring to complete the work.
village of Le Castellet in Provence. Before The types of colour
starting, I created a small sketch of the mixes that resulted
subject so that the shapes and more from these
importantly the tones of the subject background washes
could be understood before I started the inspired me to create
painting (below left). After creating this an evening scene by
working sketch, I decided that a longer, lighting the doorway
letterbox format would work well and and windows with a
I added lavender fields into what was few strokes of
an uninteresting foreground. Sennelier Naples
To begin, an overall wash of scarlet and yellow 98.
yellow ochre was applied to the pastel I spotted the scene
paper. I tried to vary the intensity of that eventually
colour, making the washes stronger and became Harbour
more orange where I intended to place View, Whitby (right)
the buildings, lavender fields and poppies from the swing
in the foreground. To achieve the effect bridge. The lighting
of sky and a misty hillside, I blended the and composition was
surface. I used a shaped blender made so good that I
from an off cut of cork floor tile; this decided to work
method tends to be easier on the fingers! directly from the
Progressing down the paper I left more photograph, drawing
of the underpainting showing around the the subject with black
buildings then added more layers to FW Acrylic Ink and a
represent the lavender and poppies in the matchstick, over
foreground. I tried to keep faithful to the which I added a wash
initial thoughts of the bright foreground of yellow ochre and
colour within the sketch. scarlet.
The Pembroke Farmhouse (above) was I developed the
executed much more quickly. Working painting by adding
fast can produce some exciting and enough pastel that
unexpected results. I added indigo into only small amounts
the sky area, which mixed with the other of the underpainting
inks in such a pleasing way that I decided showed through. I
not to add any more pastel over this area. tried to avoid finger
The middle-ground buildings and trees blending, as I knew
were completed simply with only a small this would cover up
application of soft pastel to help the original
emphasise the looseness of the whole background washes.
painting. I added bright colour into the The only changes
foreground without being too literal to I made as I worked t
Harbour View Whitby, ink and pastel on Fisher 400 Classic
paper, 15x10in. (38x25.5cm)
t

represent heather and rocks. the subject was to

www.painters-online.co.uk OCTOBER 2017 29


LP10 28-31 Fisher_Layout 1 23/08/2017 12:38 Page 30

Acrylic ink

Demonstration Solva
The method discussed on the previous
You will need
pages creates a number of opportunities. n Surface n Sennelier Soft Pastels
I often decide as Im working how much l Fisher 400 Classic paper, l Cerulean blue 264 l White 527
of the underpainting to leave, and pastel 12x15in. (30.5x38cm) l Yellow ochre 116 l Madder violet 315
l Cinnabar green 754 & 753 l Golden ochre 131
n
marks will look different against a varied FW Acrylic ink
l Leaf green 204 l Hot brown 191 & 194
l
background. Its also easy to correct Yellow ochre
l Gamboge yellow 374 l Chromium green 183
l Indigo
mistakes as pastels are opaque and cover
up incorrect marks made previously l Forest green 918 l Vermilion 82
with the ink and matchstick. n Unison soft pasel BV16 l Red brown 10 l Blue violet 335
l Geranium lake 706

Step 1

t
I created this sketch of Solva village
to help me to understand the shapes
and tones within the subject. I also
used this picture to edit the scene
and remove or change anything
that would help the final painting.
I began with a line drawing in fibre-
tip pen during which I enclosed the
subject to make an impression of
the format of the finished painting.
After this I used a 3B pencil to block
in the tone. I decided to light the
subject from the right and brought
shadows across the road in the
foreground.

Solva, sketch in Moleskine


t

sketchbook, 8x10in. (20x25.5cm)

Step 2
t

1 I made an ink drawing on Fisher


400 Classic using a matchstick. Once
dry, I added diluted yellow ochre
and indigo into the upper part of
the surface.
2 Progressing down the paper, red
was added to the left and right side.
I planned a little and added these
colours where I thought the foliage
and flowers would be, although
I knew the ink would run down
the wet paper.
3 Finally, I dropped indigo into the
wet wash and allowed it to mix
on the paper.

Tim Fisher
Find out about Tim and his work by
visiting www.timfisherartist.co.uk

30 OCTOBER 2017 www.painters-online.co.uk


LP10 28-31 Fisher_Layout 1 23/08/2017 12:39 Page 31

Step 3
t
1 Once the surface was dry, I added
Sennelier soft pastels cerulean blue 264
and yellow ochre 116 to the sky area
then cinnabar green 754 into the distant
tree-lined hill.
2 Working across the entire surface
I used the side of the pastels to add a
combination of leaf green 204, cerulean
and cinnabar green 753 to start off the
foliage. I added a layer of gamboge
yellow 374 over the roadway and
building fronts.
3 Over the distant hills and foreground
I added forest green 918 then began to
develop the buildings. For the near wall
in shadow I added red brown 10 over
which I applied a few strokes of
geranium lake 706. White 527 was
added to the front of this building
and the one at the rear.
4 A side shadow on the rear building
was added with Unison BV16. I used t Step 4 wall to represent an allotment shed and
the same colour to add shadows to the 1 More BV16 was added to the left side of other garden objects.
other buildings down the street. the painting before I built up the dark green 4 The foreground grasses were created with
5 Working along the row of houses, in the trees using chromium green 183. a number of fine strokes using the tip of
I added madder violet 315, yellow ochre I also used this colour for the shadows, forest green 918 and leaf green 204 then,
116 and golden ochre 131 for the other which entered the painting from the right. to finish, I added poppies and other flower
building fronts. 2 A stone wall in the background was heads with vermilion 82 and blue violet 335.
6 To finish, the rooftops were painted darkened using hot brown 191. 5 Finally, I added a few strokes of gamboge
by adding hot brown 194. 3 The shapes were developed above the yellow 374 into the sky for the cloud edges.

t
The finished painting Solva, ink and pastel on Fisher 400 Classic, 12x15in. (30.5x38cm)

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LP10 32-33 Milne_Layout 1 23/08/2017 12:41 Page 32

Watercolour

Colour and light


Judith Milne offers a wealth of tips and techniques for painting colourful gardens

Be prepared to experiment before


you begin a painting. Take small areas
of your image and try out different
methods of working until you are
satisfied with the end result. You may
prefer to work from photographs as
opposed to painting en plein air. If
this is the case, be prepared to take
copious photos, both close-ups and
distance shots to ensure you have
sufficient reference material.
You may also have brushes of
different shapes, which will help
define particular textures and shapes.
I have some worn brushes, which
I keep as they give me suitable marks
for certain leaf shapes.

Composition
Composition is important to consider
when you begin. Lead the eye into
the image with a focal point, using the
one third to two thirds proportion,
vertically and horizontally. Never divide
your painting by putting a path through
the centre, but place off centre as
you would in any landscape painting.
You may want to emphasise prominent
flowers in the foreground, with drifts
of colour disappearing into the distance.
For this it is necessary to include more
detail as you see in my example
(opposite), but a suggestion of
shape in the distance.
Many gardens are divided into rooms
so be prepared to walk around to
discover the most attractive viewpoint
and composition. You may choose
a general vista or focus on corners such
as arbours, gateways, seats, doors or
t
Scotney Castle, Kent, watercolour, 12x12in. (30.5x30.5cm) archways; all these are ideal subjects
and can be included in garden painting.

LEARNING OBJECTIVES subject matter for sketches and Mixing colours


paintings close at hand. There are also Garden painting really tests your ability
n How to make sense of colour and various methods I use to tackle such to achieve numerous shades of green
light in a garden scene subjects so I hope the following so be prepared to experiment with
n How to suggest form rather than suggestions will help you to develop your mixes. The permutations are
add detail your own garden paintings. virtually endless, from soft blue-greens
Firstly, it is easy to become through the acid tones to rich forest
overwhelmed by the complexity of hues. We all have readymade greens

G arden painting is a subject


very close to my heart, as I have
always had a passion for flowers
and like nothing more than enjoying
them in situ. There is also the
content within a large vista and the
many varieties of plants and shrubs
you want to portray. However, much
of this can be created by suggestion
or impression, using brushstrokes to
in our palettes, but very few of those
look natural enough to use alone. Try
adding yellows or blues to them and
you will be surprised at the variation
you will achieve, besides the mixing
enticement to visit gardens open to symbolise particular shapes. of any of your different yellows and
the public to observe the wonderful Begin by observing your subject matter blues together.
splashes of colour. As an illustrator, with care, determining shape and form It is possible to adapt your paintings
I always want to record what I have to portray the character of different by changing the hues slightly. By
seen in my sketchbook, which I then plants within the overall composition. lightening and blueing background
translate into paintings at a later date. These varied shapes will give your trees you will distance them further.
As we all have a wealth of gardens in painting interest, depth and scale Try strengthening foreground areas
our own vicinity, we always have within your composition. to bring them to the fore. LP

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LP10 32-33 Milne_Layout 1 23/08/2017 12:42 Page 33

PAINTING PROCESS
This is quite a complex view of this border (right) so I began by
drawing out the basic composition and shapes of the plants.

t
A border at Buscot Park, Oxfordshire

t
1 Having outlined the shapes, I laid washes for the sky and pathway,
adding wet-in-wet shadows from the left. Next I added a grey masking
fluid where the white flowers were, gradually making smaller marks as
they disappeared into the distance. For more delicate flowers, Iike ladies
mantle, I masked then dropped in colour when the mask is removed.
I applied a background wash over the masking as soon as the fluid was
dry, as I never keen to leave it in situ too long.

2 Here I added the remaining patches of colour. Where possible I added


t

some of the darker tones as each clump had a light and a dark side. Where
shapes were packed tightly together there were strong pockets of shadow,
which gave the image depth, sparkle and contrast. The sun was coming
from the left so I was constantly aware of the light source. At this point,
the image was a feasible painting and could be read as such.

t 3 Although it looks detailed, the final foreground was masked so I touched in of white paper to add an extra dimension.
touches I added were just odd brushstrokes yellow on the blank spaces. As the coloured I am always conscious of creating depth and
here and there. On the right, the shrub in the washes were laid side by side, I left speckles distance so added little to the blocks of colour
in the far distance, and just added
marks to the trees. I placed more
emphasis in the foreground area.
The burgundy berberis on the left
was made up of varying shades,
while acknowledging the light
falling on the shiny leaves.

TIPS
l Wherever I added definition
on the flowers or the
foliage, I mixed a deeper
tone of the basic wash.
l I used negative painting
to delineate some of the
foreground leaves and
those of the tree on the
left-hand side.
l Look closely at individual
shrub shapes. The marks
I made follow the line of
growth and add textural
interest.

Judith Milne
Find out more about Judith
t
The finished painting The Herbaceous Border, Buscot Park, Oxon, watercolour on Saunders Waterford by visiting www.miart.org.uk
NOT watercolour paper, 512 x712 in. (13.5x19cm)

www.painters-online.co.uk OCTOBER 2017 33


LP10 34-37 Hogan_Layout 1 23/08/2017 12:44 Page 34

Acrylics

A walk on the moor


Tony Hogans seasonal rendition of Bodmin Moor
comes to an end with this autumn scene using acrylics

LEARNING OBJECTIVES
n How to bring light and shade into
your landscapes
I return again to Bodmin Moor in the
month of October and revel in the
anticipation of creating the final
painting in my four seasons series. Each
painting is of the same stunning view,
motivate me like no other season. My
eyes feast on hues of reds, golds, greens
and ambers, and my creative juices flow.
Working with Atelier interactive acrylics
as before, I set my outdoor easel at
n Colour mixing for autumn colours my back to the Hurlers standing stones, a comfortable working height. Using
n
just outside the village of Minnions. Light, a 16x20in. medium-grain pre-stretched
Paint form and aerial distance
colour and structure, seen through the canvas, my palette loaded with paint,
eyes of an artist, replenish them with a large water container hung on the
inspiration and as the late morning mist easel and with brushes and rags to
lifts I realise anew that autumn can hand, Im ready to begin. LP

Demonstration Autumn on Bodmin Moor


You will need
n Surface n Atelier Interactive Acrylics
l Pre-stretched and l Blue/black (indigo) l Burnt sienna
primed medium l Dioxazine purple l Burnt umber
texture canvas l Cerulean blue (hue) l Maddor brown
16x20in. (41x51cm) l Raw sienna l Sap green
l Yellow ochre l Terra verte
n
l Tinting (pearling) l Olive green
Brushes
l Rosemary & Co white
l Naples yellow
ivory long flat and
small round brushes
l Hog hair No. 4 fan brush

Step 1
t

Begin by covering the canvas with a thin coat of dioxazine


purple to establish a dark yet warm base to work from.
Apply this first wash
quite thinly to allow
quick drying. I find the
traditional method of
working dark to light
with acrylics or oils as
my preferred, though
not exclusive, method
of developing paintings.

Step 2
t

Awaiting the drying


provides you the time
to look and re-assess
the view. Although this
is the fourth painting of
the same view it looked
different as the autumn
colours and light played
across the landscape.

34 OCTOBER 2017 www.painters-online.co.uk


LP10 34-37 Hogan_Layout 1 23/08/2017 12:45 Page 35

t
Step 3 t
Step 4
I had taken along with me the earlier as possible the original proportions of sky En plein air painting can be frustrating
summer painting of the same view which and land, and the locations of the old tin with the fast-changing light so I nearly always
I placed nearby to ensure I followed as near mine head. I could have accomplished this begin with the sky, as the light determines
by means of a grid, the lands colours and shadows. Though they
but I felt confident constantly change throughout the painting
enough with just the period it works best for me to have an early
painting. I added awareness of this aspect. Using tinting
a few simple lines to (pearling) white block in the majority of the
locate the previously sky area then leave for later development.
mentioned proportions Next, quickly paint first impressions of the
of the sky, land and shape and colours of the distant moorland.
old tin mine head. By doing this distant work in the early stages
it achieves a visual balance on which to work.
Step 5
t

1 Return to work on the sky, which should be wet enough to blend into
if youre using Atelier Interactive. Introduce cerulean blue at the top of
the canvas and blend downwards, whilst Naples yellow and the slightest
touches of madder brown bring warmth to the lower sky areas. Keep the
cerulean blue deepest in value nearer the top of the canvas thus using
aerial perspective to give recession and depth towards the horizon.
2 Develop the blue-grey of the distant hills with varying balances of
tinting white, cerulean blue and indigo as you fix this land mass.
3 Use sap green, olive green, Naples yellow, yellow ochre and madder
brown to create a first impression of the mid-distance moorland.

t
Step 6 Step 7
t

As you begin to paint the predominant mine It is now time


head you will probably see the balance of to make a start
the painting completely change. The stone overpainting the
grey of the mine head is mixed from Naples first impression of the middle distance. palette in a pure undiluted form, allowing
yellow, dioxazine purple and cerulean blue Looking for the light and shade, the warm mixing and blending on the canvas as the
plus a slight touch of raw sienna for warmth, and cooler colours and specific details such moment is captured. Some mixing on the
while indigo painted into the still wet greys as hedges, the lines of trees and the standing palette can and does happen, but not often,
creates the shadow side of the mine head. stones on the horizon, use the colours on the thus retaining the cleanliness of the colours.
t

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LP10 34-37 Hogan_Layout 1 23/08/2017 12:45 Page 36

Acrylics

Demonstration continued

Step 8

t
Using terra verde in conjunction with the previously selected
sap green and olive green block in part of the foreground.
Create the light greens are created by using olive green and Naples
yellow together on a No. 12 long flat brush. Avoid lightening the
greens by mixing with white, as it tends to flatten the colour.

Step 9
t

1 The introduction of the gorse bushes and small mid-distant trees


break up the areas of moorland and so define the land contours.
Careful painting of the lighter tones on the top and right side of these,
with bold shadows lower down, give form and shape to them. The
darker undercut areas are painted with indigo and dioxazine purple.
2 To develop the plethora of autumnal colour focus on the highlights
and deeper tonal regions thus establishing the natural rhythm of the
landmass. Much of the painting is achieved using the side of a long flat
brush loaded with two and often three colours at a time and patting
the paint on to the canvas with the brush, rather than brushing it on.
3 As in the previous paintings a significant feature in this view is the
large tree to the right of the tin mine and now is the time to start
painting it. A mixture of yellow ochre, dioxazine purple, cerulean blue
and tinting (pearling) white provides a warm grey which I use to make
the first basic marks then immediately add indigo on the shadow side.
As trees grow from the ground up, so they are painted, thus allowing
for the brush to lift from the canvas as the higher branches are reached.

Step 10
t

1 Use the No. 2 pointed Round brush


to paint the tree trunk and branches,
switching to a hog fan brush No. 4 for the
remaining autumnal leaves. With the paint
still wet apply quick flicks of the tinting
(pearling) white to the right of the trunk
and branches where the light catches them.
They blend easily with the wet paint yet
stand effectively as highlights.
2 Using dioxazine purple, burnt umber
and indigo, block in dark areas in the now
dry gullies. This immediately starts to
strengthen the visual depth of the work.
3 With the fan brush heavily loaded with
a selection of raw sienna, madder brown,
Naples yellow and yellow ochre, drag it
in an upward motion to create the early
marks for the reed beds. Attention to the
different heights and movements of the
reeds are significant in their representation.

36 OCTOBER 2017 www.painters-online.co.uk


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Step 11
t
At this point the foreground appeared too similar to the middle
distance and needed adjustment. There was a definite earthy
yet lighter green look to this area so I overpainted it incorporating
raw sienna and yellow ochre into the original selection. Edges of the
grassed area where it meets the gullies were defined by deepening
the darker tones in the gullies with indigo and dioxazine purple then,
carefully cutting in the foreground, I used a mixed lighter green-earth
colour. Additional small clumps of wild moorland grasses were added,
working from dark at the lower parts to highlights where the light of
the sky catches them in the breeze. The lower parts and the cast
shadows to the right of these were painted with indigo and dioxazine
purple. I then moved up the growth of the grasses with terre verte
and sap green before catching the tops with madder brown and burnt
umber. For the counterchange of dark against the lighter grass area
I used the burnt umber mixed with indigo.

t Step 12
After several hours standing on the wind- arial perspective of the painting could
swept rugged landscape of Bodmin Moor, be improved with a simple touch so I
looking and capturing the beauty of autumn introduced tinting white and Naples yellow
in all its glory, I needed to stand back, study to the top of some of the reeds. It is quite Tony Hogan
the painting and ask the questions. Had amazing how such a simple observation Tony runs art holiday courses for all
I really achieved what I set out to capture? adds to the painting by strengthening the abilities from his studio in Wadebridge,
Did the painting speak of this glorious foreground, allowing the middle and distant Cornwall, as well as in Scarborough, Spain
location on an autumn day? Were there moorland and hills to recede. More sitting and Venice. Visit www.hoganart.co.uk;
elements of colour, form, light or other and observing brings no further thoughts email admin@hoganart.co.uk or telephone
requirements missing? It was good to sit back of alteration, addition or subtraction for 01208 895088 and 07888 852503
with coffee and cake and relax as I studied the work so its time to retire to the
the work. Eventually I identified that the studio and leave it to completely dry.

t
The finished painting Autumn on Bodmin Moor, acrylic, 16x20in. (41x51cm)

www.painters-online.co.uk OCTOBER 2017 37


LP09 52-55 Paul_FINAL_Layout 1 23/08/2017 13:01 Page 38

Composition

In the frame
Part 1 Tony Paul begins a four-part series on composition by
looking at how the use of classic shapes can enhance your paintings

LEARNING OBJECTIVES ready-made image a photograph learn about the law of threes,
n How to compose your paintings or other reference that has appealed which is loosely based on the
to them. The subject will already golden section and which enables
n Understand how various classic have been pre-composed in the eye the user to play safe in producing
shapes can enhance your work of the photographer or original work. Like most things, however,
creator of the image. this is really just scratching the

U pon starting to paint many


beginners and improvers
will be working from a
As these painters progress, they
will often acquire a sense of what
works and what doesnt. They may
surface of how much enhancement
considered composition gives
to a subject, if used well.

THE BEGINNING
t Here we have a rectangle, which has had a spot marked within it. This spot t Gone is the tranquillity here. There
provides a focus for the eye within the rectangle. The spot also relates to the edges is a sense of tension and movement, as if
of the rectangle. In this case it is a tranquil relationship, being placed equi-distant the spot is hurtling out of the rectangle.
between the two sides, but a little nearer to the top than the bottom. The reason
for the latter is that, if it
had been placed dead centre
vertically, it would look
as if it were lower than the
centre (this is an optical
effect and why, when making
mounts for paintings, the
skilled artist will always
make the width of the top
and sides equal, but the
bottom a little wider).
So the effect of this most
simple of compositions
is one of tranquillity.

COMPOSITIONS BASED ON LETTER FORMS


There are several compositions frequently used by artists that relate to the forms of certain letters.

X shape
Probably one of the most obvious is the X form as
used by Meindert Hobbema in his painting The Avenue at
Middelhamis. My painting, Early Evening at the Rialto (left)
uses a very flattened form of the X-shaped composition.

Early Evening at the Rialto, acrylic, 12x16in. (30x40cm)


t

38 OCTOBER 2017 www.painters-online.co.uk


LP09 52-55 Paul_FINAL_Layout 1 23/08/2017 13:03 Page 39

Composition

Here there are two spots, each of which relate to the


t

rectangle, and also to each other. With one spot larger than
the other there is an impression of depth, with the larger dot
appearing to come three dimensionally out towards us. These
spots, or centres of interest, within their rectangle, give different
impressions of activity. Positioning your centres of interest in
less ordinary places can create fresh and evocative paintings.

In my painting,
t

Winter Sparrow (far


right) the centre of
interest the bird
is placed as you see
in this diagram
(right). The vertical
palings and the
horizontal ripples
of the water act as
supporting interest
in this fairly
minimal painting.

t
Winter Sparrow, egg tempera, 14x10in. (35.5x25.5cm)

A shape
A composition form much used by the wildlife artist, David Shepherd, is the
A-shaped composition. This can create a sense of monumentality, especially
as it is often used in conjunction with a low eye level. This composition form
litters portraiture, too. Who can forget Pietro Annigonis wonderfully majestic
1955 tempera portrait, Queen Elizabeth II, Queen Regent? The perspective
in my tempera landscape Baled and Stacked (right) pulls the eye through
the bales to the trees in this A-format painting.

Baled
t

and Stacked,
egg tempera,
14x10in.
(35.5x25.5cm)
t

www.painters-online.co.uk OCTOBER 2017 39


LP09 52-55 Paul_FINAL_Layout 1 23/08/2017 13:04 Page 40

Composition

L shape
Landscape painters often use the
L, the C and, on occasions, the T
and U are useful for many subjects.
The L-shape echoes the horizontal
and vertical edges, and repetitions
of the horizontal and vertical create
a grid within which the more irregular
elements can play. Looking at my
tempera A Ghost, Haunted (right) the
reverse L of the buildings on the right
and the horizontal lines of the prom
are reversed and echoed throughout
the painting. The organic shapes of
the figures and umbrella nestle in
the crook of one of these elements.

t
A Ghost, Haunted,
egg tempera, 12x16in.
(30.5x40.5.5cm)

The Arch,

t
Dixcart Bay, Sark,
watercolour, A4
sketchbook. Again
a reverse L is used
in this painting. The
large rock formation
on the right opposing
the line of the beach,
acts to frame the
remainder within it.
Without the figures
the scale of the rocks
would be ambiguous.

C shape
The C shape made from the bay wall
and groynes in Katoro, Istria, Croatia
(right) is the structure upon which
all the other elements are hung. In
Zorro & Paquerette at Serez (below) the
C created by the tree and its shadow
both frame and spotlight the animals
against the bright, summer sun.

t
Zorro & Paquerette at Serez,
tempera 16x20in. (40.5x51cm) t
Katoro, Istria, Croatia, watercolour, A4 sketchbook

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LP09 52-55 Paul_FINAL_Layout 1 23/08/2017 13:05 Page 41

Composition

T shape
Still Life with Rose (left) is structured by the inverted T of the
table and the vase. The arranged cloth breaks the insistence of
the table top. There are also elements of L shapes in the work.
In Music and Celebration (below) the T is almost cruciform, but
with the verticals of the glass stem and the vertical fold of the
cloth the underlying structure is made more interesting.

t
Still Life with Rose, tempera, 12x9in. (30.5x29cm)
Music and Celebration, tempera, 16x14in. (46x40.5cm)
t

U shape
The watercolour of the Panama Canal
(right) is from my world cruise journal. This
is a classical U-shaped composition, whereby
the enclosing frame of the white lampposts
and the top of the locks frames the interest.
The distant lock gate reinforces the
composition shape. In the Shed (below), the
window frame and the pot and brush edge
the subject the harvest mouse in this
U-shaped composition.

t
Panama Canal, watercolour,
6x8in. (15x20.5cm)
Tony Paul
Read a number of Tonys past articles
Next month I will be dealing with by visiting www.painters-online.co.uk
classical compositions, perspective and following the link to articles
t
In the Shed, tempera, 12x10in. (30.5x25.5cm) and rhythms.

www.painters-online.co.uk OCTOBER 2017 41


LP10 42-45 Kingston_Layout 1 23/08/2017 13:07 Page 42

Acrylics

Bottles, jars and spoons


Part 2 Develop your skills with Rodney Kingston as you follow a three-part
exercise from a photograph then a step-by-step contemporary still-life painting

LEARNING OBJECTIVES
n Flex your drawing muscles with
pencil, pen and brush
L ast month I introduced painting the
contents of your kitchen cupboard
using acrylic paints. My graphic
design background attracts me to the
For this demo we will tackle a more
complex arrangement of the items.
Before undertaking any painting it is
useful to warm up by studying and
n How to set up and observe your branding of these iconic objects and sketching your subject. Below is an
subjects I painted individual still lifes of Marmite exercise to help loosen up before diving
jars, Coke, Oxo cubes, ketchup and more. into the main demo (opposite). LP
n Practise acrylic painting techniques

TRY THIS FIRST!


A bit like athletes stretching and warming up their muscles before
competing, it is good to prepare yourself before taking on a painting.
This exercise serves as a good warm up and gives you an opportunity
to familiarise yourself with your subject. For this exercise chose
something from your kitchen cupboard to draw or use this
photograph of ketchup and mayonnaise jars (right) as reference.

1 Sketch the
t

setup using a
pencil in your
sketchbook,
spending no more
than two to three
minutes. The
intention here is
to learn what the
object looks like,
not necessarily
produce a
masterpiece.

2 Produce another two to three


t

minute sketch, but this time use a


pen. Using a pen takes away the safety
net of an eraser and ensures bold
mark making. You may find that the
second sketch was easier and quicker
because you have already learnt what
the jars look like after the first sketch.

3 Finally, produce one more sketch


t

using a paintbrush and black acrylic


paint. The intention of this final
sketch is to continue studying the
relationship between the shapes and
to familiarise yourself with the feel
of your brush and the flow of paint
before beginning the final painting.

42 OCTOBER 2017 www.painters-online.co.uk


LP10 42-45 Kingston_Layout 1 23/08/2017 13:08 Page 43

Acrylics

Demonstration Still Life


Step 1

t
Arrange a group of objects
You will need so that large and small items
n Surface are distributed evenly,
l 300gsm watercolour or use this photograph
paper, 10x12in. as a reference. Sketch the
(25.5x30.5cm) setup in a sketchbook to
familiarise yourself with
n Daler-Rowney System the arrangement. If youre
3 acrylics not confident sketching
l Titanium white a large setup like this,
l Cadmium yellow use the grid system over
l Yellow ochre the photo provided. Draw
l Cadmium red evenly spaced horizontal
l Sap green and vertical lines over the
l Ultramarine blue photo and scale up the grid
l Burnt umber on your working surface.
Carefully draw each small
square one-by-one to build
the overall picture.

t
Step 2 t
Step 3
For those not using the grid system, observe and sketch with a thin 1 Block in the largest areas of colour, which in this case
paintbrush the basic shapes of the still life. Take your time to be as are the desk and wall. If you were describing the desk to
accurate as possible by looking at the relationships between each object. someone, youd say it is white, but when you take the time
Use black paint or a 50-50 mix of burnt umber and ultramarine blue to look at it in the context of a painting, youll notice it
with a little water to help the brush flow over the surface. is a light blue-grey colour with loads of shadows cast onto
it by the objects in the set up. Look carefully at the shadows
and block in the colours with simple, broad brushstrokes.
2 The background wall colour is visible through the empty
Coke bottle and the top of the area of the full bottle so
make sure you paint these areas now.

Step 4
t

Change your focus and concentrate on the smallest objects


in the painting. The silver wrapped Oxo cubes have a lot
going on in terms of reflections and branding. Try not to
become overwhelmed by the detail but just paint the
general colour of each surface. There are three sides of
each cube visible and in this example the top of each cube
is dark, because of the reflections of the dark objects
around them. The sides are quite light because the light
desk is reflecting up onto them. There are also hints of
red, blue or brown throughout. Use a small square brush
to paint the simple shapes of the cubes, which will
come to life later on when highlights are added.
t

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LP10 42-45 Kingston_Layout 1 23/08/2017 13:08 Page 44

Acrylics

Demonstration continued
Step 5

t
Use the same method
of blocking in the basic
colour of each of the
items. When you mix
a colour of one object
look around the still
life to see if the same
colour exists elsewhere.
This will save time
mixing the colour again
later on, for example
the dark red of the
ketchup in the bottle is similar to the dark red on the box
for Oxo cubes. I painted these two areas at the same time.
You can see how the painting develops so that with each area
of blank paper that is filled, the objects look slightly more solid.
It is the shadows painted in the early part of the painting that
helps ground them and makes them look solid.

Step 6

t
1 By this stage pretty much the whole paper is covered with
a base layer of blocked-in colour. Now turn your attention
to more detail. Look at how the gold colour in the Golden
Syrup packaging has a big contrast between its darkest and
lightest areas.
2 The ketchup bottle creates a mosaic of colours with bits
of wall, sauce residue, reflections from other items and
highlights from lights all blending together. Apply to various
colours in an impressionistic way with dabs of colour.

t Step 7
This stage is a continuation of Step 6 as you add more
detail, but you can still apply paint in a suggestive way.
Acrylic paint has a lovely, saucy consistency (similar to
ketchup) when you squeeze it onto the palette. Embrace
its smoothness in the way you apply it to the surface
by gliding it round your picture.

Step 8
t

This is the time to use a small thin brush to hone in on


the packaging labels. As you carefully add the type to the
objects, see how they suddenly come to life. Dont fall into
the trap of thinking the word Marmite, for example, is
written in white therefore you must use white paint, when
in reality it appears to be an off-white. To make the still life
look more believable its important to paint what you see
and not what you think you see so look carefully at the true
colour in front of you and embrace the mixing of paint on
the palette. A great example is the difference between the
two Coke logos where one looks like a blue-white colour
and the other has a hint of yellow.

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LP10 42-45 Kingston_Layout 1 23/08/2017 13:09 Page 45

Step 9
t

Having spent time concentrating on small areas of


the painting with the logo work, remember to step
back and look at the whole painting. This will help
you see if what you have painted is correct. I spent
time painting the Coca-Cola logo on the red label
only to step back and realise it was not curving
correctly with the label. To correct the problem
I waited for the paint to dry, re-painted the red
and started the logo again.

t Step 10
Add the brightest highlights throughout the painting
to bring the painting to a finale. I painted over
several sessions so, although I had two artificial light Rodney Kingston
sources, the highlights moved depending on where Rodney paints portraits, still life and en plein air landscapes. He works as
I positioned myself on my seat. The Oxo cubes were a full-time graphic designer, painting at every spare moment during free time.
especially inconsistent when it came to what they Follow his progress and keep up to date with his art events on Intsagram:
reflected back at me, but a general placement of @rodneykingston, Twitter: @rodneykingston, Facebook: facebook.com/
highlights works well. The most important thing is rodneykingstonartist and his website www.rodneykingston.com. He will be
to make them nice and bright so paint them on with selling work at the Landmark Arts Fair, Teddington (13 to 15 October).
a clean brush and a thick application of paint.

t
The finished painting Still Life, acrylics, 10x12in. (25.5x30.5cm)

www.painters-online.co.uk OCTOBER 2017 45


LP10 46-49 Hopkinson_Layout 1 23/08/2017 13:18 Page 46

Watercolour

Harvest mouse
Part 1 Join Paul Hopkinson over two months
as you paint a harvest mouse in detail

LEARNING OBJECTIVES
n How to paint watercolour
in detail
n Practise applying masking fluid
n How to work wet in wet

You will need


n Surface n Watercolour
l 300gsm NOT See colours, below
n
watercolour
Miscellaneous
paper, 812 x12in.
l Acrylic white
(21x29.5cm)
l Paper towel
n Brushes l 2 water pots
l Detail brush l Ceramic mixing
No. 00 palette
l Rounds Nos. l Masking tape
4, 6 & 16 l Masking fluid
l Mop brush l Mechanical
(background pencil
wash) l Putty rubber
l An old detail
brush No. 00
for the acrylic
t
The finished painting Harvest Mouse, watercolour on 300gsm NOT watercolour
paper, 812 x12in. (21x29.5cm). Complete this harvest mouse in next months issue. (acrylic can
damage a brush)

COLOURS USED

Raw sienna Burnt sienna Burnt umber

Quinacridone Alizarin Sap green


red crimson

Lamp black Gamboge hue French


ultramarine
Acrylic opaque
white

This lovely photo of a harvest mouse


t

was taken by photographer, Roger Wasley


https://www.flickr.com/photos/rogerwasley/

46 OCTOBER 2017 www.painters-online.co.uk


LP10 46-49 Hopkinson_Layout 1 23/08/2017 16:35 Page 47

Watercolour

Step 1 Drawing

t
Using your preferred method draw the harvest
mouse using my drawing as a guide. Keep your
drawing lighter than the one shown, which was
darkened for this tutorial. Much of this tutorial
will be using the No. 00 brush so please assume
this unless mentioned otherwise.

Tip Remember to place a piece of clean


paper underneath your painting hand. This
will help prevent transferring natural oils
from your hand onto the paper and acting
as a barrier to the paint.

Step 2 Masking fluid


t
t

1 I prefer to use blue masking


fluid so I can see where I have
placed it. Its a pain when
ou start to paint and realise
there is still masking fluid on
the paper. Apply the mask to
approximately 1in. inside
the outline of the mouse.
2 Use a cocktail stick to flick
out the fine hairs very lightly
whilst the masking fluid is
still wet. You have to be
quick before it dries.
3 Leave to dry completely. The masking
fluid should feel tacky with no wet areas.

French ultramarine
Quinacridone red &
French ultramarine

Burnt umber

Lamp black

t
Step 3 Background Step 4
t

The background needs to be 1 Use a mop


painted quickly so preparation brush to wet
beforehand is vital. Start by mixing the background
your colours before you wet the with clean
paper. Make up watery washes of water (but not
French ultramarine, burnt umber, inside the
lamp black and quinacridone red. harvest mouse). You may need to do 2 Using a shaky hand and the side of the
Add a little French ultramarine this two or three times to prevent the No. 16 brush, lightly scrub in the purple,
to the quinacridone red to make paper drying too quickly. Allow the leaving gaps for other colours.
purple. Remember the mixes water to soak in a little for a few 3 Do the same with the burnt umber, French
need to be watery so similar minutes so its not dripping down ultramarine and a touch of lamp black in
t

to tap water. the paper like a waterfall. places. Leave to dry for a few hours.

www.painters-online.co.uk OCTOBER 2017 47


LP10 46-49 Hopkinson_Layout 1 23/08/2017 13:19 Page 48

Watercolour

Demonstration continued

t
Step 5
When the paper is completely dry, carefully remove
the masking fluid using the tip of a clean finger.
Begin from the outside of the mouse and tease the
masking fluid towards the inside. If the paper tears
it will remain within the mouse and can be
overpainted, whereas if it damages the background t
Step 6 Body wash
it can be tricky to cover up the damage. 1 Make up three single watery mixes in your
palette: raw sienna, burnt umber and alizarin
crimson.
2 Using the No. 6 brush dampen the background
of the body and add raw sienna to cover the body
and tail. Whilst still wet, drop in a line of burnt
umber to the top of the head and back. Lightly
blend this into the raw sienna.
3 Tap a watery mix of alizarin crimson into the
nose area and lightly blend.

Step 7 The eye


t

1 Once the body wash has dried, wet the eye


with clean water and drop in a touch of burnt
sienna. Whilst still damp add in a little burnt
umber around the edges then leave to dry.

Step 8 Finishing the eye


t

1 Very lightly dampen the eye and with


your No. 6 brush and a mix of burnt
umber and lamp black, add in the pupil,
allowing it to blend softly, but still
showing the iris colour.
2 When dry change to your No.00 brush
and carefully paint the outline to the eye
including the outer circles.
3 Dampen the outside edge of the eye
and drop in a touch of the same pupil
colour but watered down, to make the
eye a little more three dimensional.
4 Add a couple of highlights into the eye
with a touch of opaque white. We will
finish the painting in next months issue.

Paul Hopkinson
Paul paints and teaches in Devon.
Visit www.devonartist.co.uk;
join him on facebook.com/
thedevonartistpaul; and follow him
on twitter.com/thedevonartist

48 OCTOBER 2017 www.painters-online.co.uk


LP10 49-51 McNaughton_Layout 1 23/08/2017 14:36 Page 49

Watercolour

Lost and found


Paint free-and-easy foxgloves and background using a loose watercolour
technique as you follow Rachel McNaughton step by step

LEARNING OBJECTIVES
n Practise an impressionistic style
n Build confidence with
watercolour
n Use Clingfilm for adding
natural texture

You will need


n Surface
l Saunders Waterford High White
NOT or Rough watercolour paper
22x15in. (56x38cm)
n Watercolour
See colours, below

COLOURS USED
This is a suggested list; it is not
essential to have every colour!

Winsor violet Aureolin

Permanent Quinacridone
rose gold

Opera rose Raw sienna

Cobalt violet Ultramarine

Paynes grey Light red

Tip Mix an assortment


of pinks and pink-purples.
Try to make them
significantly different
from each other.
t

t
The finished painting Foxgloves, watercolour, 22x15in. (56x38cm)

www.painters-online.co.uk OCTOBER 2017 49


LP10 49-51 McNaughton_Layout 1 23/08/2017 13:26 Page 50

Watercolour demonstration continued

t
Step 1 t
Step 2 t
Step 3
1 There is no drawing for this painting While the first few are still wet, rinse your Repeat this procedure up the stem,
although you might find it useful to put in brush and remove excess moisture then drag gradually painting smaller flowers until
a couple of lines that represent the shape it through the flowers you have just painted to you reach the top part where the flowers
of the stem. The stem should have a bit of mess them up a little. Allow the white paper are still buds. Weak raw sienna is a good
rhythm and not be ramrod straight! to show in places and dont lose all the flower colour for these with a little pink dropped
2 Much of this painting evolves from how shapes. Use a clean damp brush to diffuse in while still wet. The green of the stem is
the paint settles on the paper but, to begin, unwanted hard edges. Splatter pink from your made from Paynes grey and raw sienna or
paint a few foxglove flower shapes, varying brush into the painted and unpainted areas. quinacridone gold. Adding the stem where
the colours as you go. Tip the paper to let them run if you want. the buds and flowers are still wet will
allow it to run into the wet colour and
make a connection. You could also put
in the stem at the bottom. Dont be
afraid to let things run.

Step 4
t

While the painting is drying a little, use


Paynes grey and quinacridone gold to
paint the large green leaf shapes at the
base. Use Clingfilm scrunched onto the
green while it is still wet to add texture.
Try to make the wrinkles in the Clingfilm
follow veining in the leaves. Leave the
Clingfilm in place until the leaves are dry.

Step 5
t

While you are waiting,


begin to look for flowers
in the pink washes and
emphasise them in part.
Dont finish everything off,
but let the outlines merge
softly into the background.
At this point, start another
foxglove stem. Dont forget
to give it rhythm, too.

Step 6
t

As individual flowers dry, place


the shadows inside the
trumpets. Use ultramarine and
light red to paint the curve of the shadow
at the top of the trumpet and fade out with shapes in the wash and edges. Again
a damp brush to avoid tidemarks. Build up on resist the temptation to finish it off, but
how the paint has settled, looking for flower allow some edges to blur into the wash.

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LP10 49-51 McNaughton_Layout 1 23/08/2017 13:26 Page 51

Step 7

t
As the insides of the
flowers become dry, add
the pattern of spots inside
the trumpet. Observe them
closely. They vary in size
and shape, and are dark
pink or purple.

Step 8

t
Remove the Clingfilm
if the green is dry and
repaint the leaves. Suggest
others in the background
as necessary. Add your
darkest greens between
the leaves, but again lose
and find them. Add darks
between some of the
flowers where it needs
extra contrast.

t
Step 9 Step 10
t

If some of the flowers need Finally, suggest flower


definition use negative painting to spikes of foxgloves
show them more strongly. in the background.
Keep this simple and
quiet, painted only
in silhouette and once
Rachel more lose and find
McNaughton them. Then dampen
areas of the background
Find out about Rachels work
and her courses by visiting and splatter again
www.artbyrachel.co.uk with pinks.
t
The finished painting Foxgloves, watercolour, 22x15in. (56x38cm)

www.painters-online.co.uk OCTOBER 2017 51


LP10 53-56 Chadderton_Layout 1 23/08/2017 13:40 Page 52

Watercolour

Loose and lively


Part 3 Liz Chaderton completes her series on how to paint
animals in watercolour with this portrait of a cat step by step

LEARNING OBJECTIVES
n Put into practice the exercises
from the past two articles
n Learn to plan your painting
n Practise loose and lively
brushstrokes in watercolour

T wo months ago we discovered that


painting loose in watercolour takes
forethought and its success is often
about simplification what we leave out
is as important as what we include. Last
month we explored controlling the water
to help colours mix in exciting ways on
the paper. At last we are ready to paint
a full portrait. Lets choose a cat I love
them for their marble-like eyes and their
whiskers. I love the patterns they make.
I really want to capture those elements in
this painting; everything else is irrelevant.

Your reference material


When you are painting animals, you
will end up using plenty of photos for the
obvious reason that animals just wont stay
still and, if they are wild, they will not let
you near them. Sketching from life is
fantastic, but back in the real world,
photographs are a lifeline.
Please be aware of copyright laws. There
is no problem if you are simply using a
photo to paint from for pleasure, but the
moment you share it online, exhibit it or
sell it, you may be infringing the rights of t
Your reference photograph for this project
the photographer. They will have got up
at 5am to take that photo of the hare, with colour. My thumbnail helped me identify painting and free your mind. I try to
a lens that cost them 1000 so just using that I wanted the cat to be smaller in the limit my palette to a maximum of seven
their photo without permission is not on. frame than I initially thought. I also colours. Consider whether you want to
Luckily websites like Paint my Photo identified a nice S shape through the use the subjects colours or your own
(pmp-art.com) and Pixabay (pixabay.com) eyebrows and markings. I wonder if colours. Mix into a semi-skimmed milk
have beautiful high-resolution images that I can incorporate it in my final painting? consistency. Now you are good to go. LP
are royalty free. Or just ask. Many
photographers will give permission for Loose pencil sketch
free. This gorgeous reference photo Do you want the pencil lines to show in
(above right) is from Pixabay and can be your painting? I prefer not and find that
used without attribution. I cropped it you can usually erase lines through a thin
to the square format I prefer. wash. Either way make loose, expressive
lines by holding your pencil at the end. If
Plan your work you want the drawing to be erased, draw
As a guideline we work light to dark, it slightly bigger than you need or use
background to foreground, all because a watercolour pencil.
watercolour is transparent. We need to I chose a half sheet of Bockingford NOT
plan the whites, as the white of the paper paper. This gave me space to alter the
brings the whole painting to life. I like to composition even at the end. A simple
add darks early on. The area where there drawing with a HB pencil, showing the
is most contrast will draw your eye so overall sizes and shapes is all you need
put this at your centre of interest. Create try not to make it too complicated or
a thumbnail sketch (right). Once the dark. Look at it in a mirror or turn upside
composition and values are thought out down to check it is right.
it leaves you free to focus on fresh, lovely Using fewer colours will strengthen your t
Thumbnail sketch

52 OCTOBER 2017 www.painters-online.co.uk


LP10 53-56 Chadderton_Layout 1 23/08/2017 13:40 Page 53

Watercolour

Demonstration Cat portrait You will need


n Surface
l Bockingford NOT watercolour paper
1334x1334in. (35x35cm)
n Watercolour
See colours, below

COLOURS USED
French Phthalo
ultramarine turquoise

Quinacridone Perylene
gold maroon

Quinacridone Dioxine
sienna purple

t
Step 1
1 Start with the eye. Lets be honest, if you muck up the eye, you have
mucked up the entire portrait. Better to do that in the first five minutes
than get to the end and have wasted hours. It also helps bed the eye into
the skull rather than have it look like a sewn-on button.
2 Look carefully to identify
highlights, shadow and colour
variations. Cats eyes are like
marbles. Simplifying and
retaining the white highlight
(use masking if you have to,
but you shouldnt really need to)
paint the iris including behind
the pupil. While damp, gently
touch the edge with a
complementary colour and you
will find it feathers into the
damp area. Use a thirsty brush
to lift colour to give the illusion
of three dimensions.

t
Step 2
Now move on to the dark around the
eye. If some of the iris colour bleeds
into the surrounding fur, so much the
better. Use deliberate brushstrokes as
if you are stroking the fur go in the
direction it grows and the marks
will look far more natural.

Step 3
t

With a clean wet brush pull some of


this dark away to start creating that nice
S shape I found in my thumbnail sketch.
Add more markings, working wet up to
wet, dampening the paper first in places
where you want the mark to be softer. Be
conscious of which edge is drying and be
ready to soften any off to avoid hard
edges in the middle of the fur.
t

www.painters-online.co.uk OCTOBER 2017 53


LP10 53-56 Chadderton_Layout 1 23/08/2017 13:41 Page 54

Watercolour

Demonstration continued

t
Step 4
Time to add the whisker marks while the area is damp.
If it is too wet they will run rather than merge. Place the
nose with perylene maroon and the far eye is very simple.
Soften an edge around the chin.
t
Step 5
Now work outwards on three fronts the pale under
the chin, the top ear and the nearest ear developing
each in turn to keep movement going.

t
Step 6
With all the major shapes and patterns in, let
it dry and assess what needs lightening (the
eyebrow and nose), what needs to go in (the
pupil to stop it looking like a zombie cat), and
what needs softening (the chin and the far ear
fluff). Pencil in shapes that you will paint t
Step 7
around negatively, such as the far eyebrows I decided on a predominantly gold background and wet around
and whiskers. the whiskers before touching in the loaded brush and tipping the
paper to help the paint flow softly in the direction I wanted.
A little splatter gave the cat something to look at.

54 OCTOBER 2017 www.painters-online.co.uk


LP10 53-56 Chadderton_Layout 1 23/08/2017 14:55 Page 55

t
The finished painting Cat, watercolour,
1334 x1334 in. (35x35cm)
QUICK-FIRE Q&A
t
Step 8 Q My colours are too pale. possible. Only grab your Rigger for
Only now do I reach for my Rigger and gouache A You might not have them creamy the last ten per cent maximum and
to put in the nearest whiskers and add a little enough to start remember, stop too soon you can always add
colour from my palette to make them more watercolour dries 30 per cent lighter but taking away is difficult.
interesting, trying not to overdo it. Did you or, when you are cleaning your brush Q My colours are flat.
notice I put a tiny blue shadow in the highlight and dipping it back into your palette, A Have you dabbed at the paper? If it
of the eye to show where the pupil is? it is still loaded with water and you is damp and you go back into the area,
are diluting the colour at each dip. you disturb the wash and it is more
Q The ears have gone off the page. likely to go dull and flat. Check the
A Thats why you need to plan your quality of your materials. Are you using
painting in your thumbnail. Dont panic, Student paints on cheaper paper?
Liz Chaderton its the eyes and whiskers that count. Q Ive lost the highlight in the eye.
Liz is a professional artist based Q Its all a bit flat. A Use a spot of gouache on your Rigger
in Berkshire. She runs classes and A Do you have a good balance of dark or if you are brave, carefully scrape or
workshops, exhibits across the country and light? If your tone is not right all the cut the surface with a scapel and peel
and has work published by Wraptious pretty colours in the world wont save it. it back to reveal white paper. This
and Artko, as well as with companies Squint and what do you see? Or take needs to be done on dry paper
in the US and New Zealand. Visit her a black and white photo on your phone. right at the end.
website www.lizchaderton.co.uk for Now adjust adding a glaze or lifting
details or her blog for tips and ideas colour gently. NOW TRY THIS
http://lizintheshed.wordpress.com/ Q Its gone tight. Paint the cat again but make it
She is taking part in the Wokingham A Use a large brush on a large piece of predominantly purple or blue or a
Arts Trail 23 to 24 September. paper for as long as possible. Hold your non-cat colour. If you get the tones right
brush towards the end and stand if it will still be a lively portrait of a cat.

www.painters-online.co.uk OCTOBER 2017 55


LP10 66-67 Cooper_Layout 1 23/08/2017 14:58 Page 56

Painting on holiday

Wide-open spaces
Feeling adventurous? Amanda Cooper offers a lesson in landscape
painting as she discusses a recent painting tour of Georgia

t
Amanda Cooper, somewhere above
Kutaisi in Georgia
Shepherds and sheep near the Grand
t

Military Highway. You can clearly see


the Z shape in the landscape

overwhelming so never pressurise landscape painting, an enormous vista


LEARNING OBJECTIVES yourself into drawing or thinking what is being condensed into a tiny rectangle
n Techniques for painting middle on earth do I draw? Just let the pencil in so if you include too much detail it can
and near distance your hand do the orientation for you. look fussy or plain wrong. It helps to
Georgia is a geography lesson, as well get something down in the way of an
n How to look at a landscape as one of distances, perspectives and undercoat, because it prevents you
ancient civilisations and capturing the from doing this. All you need is a very

G eorgia, sitting as it does at the


intersection of Europe and Asia,
is an unexpected surprise.
A former Soviet republic the first
impression is that someone has thrown
full-on enormity of this country is difficult
if you only have an A4 pad. Full marks
to my friend, Charlotte, who brought her
large size pastel paper all the way from
Heathrow, via Istanbul as hand luggage!
pale underwash or a good ground
colour for an oil painting. In the case
of pastels, they are invariably on tinted
paper anyway.
It is far better to concentrate on
a derelict Russian industrial estate across Incidentally it seems that you can get an interesting mountain outline than
Italy and forgotten to clear up. Dont get away with a modest portfolio under focusing on a fierce green forest or
me wrong; the countryside is awe- your arm on some flights. rocky outcrop half way down the hill.
inspiring with regions as diverse as the That is not to say that they cant be
Caucasus villages and Black Sea beaches Keep your distance! included, but you have to be subtle
to the ancient wine-growing flatlands of This would not be an article about wide- about it and depict them tonally. In
Kakheti in the east. open spaces if we didnt discuss middle paint you can literally change the
We covered the entire country in a mere distance or its dictionary definition: half colour as you move across the hillside
nine days, thanks to our driver, Nuzgar, way between the foreground and the to give a different emphasis. The tonal
who made the Top Gear team look horizon. More often than not it is the intensity of the mid-distance is crucial
cowardly. On our first morning in Tbilisi, relationship between the two that can it must be half way between the
we set out on foot to explore the old make or break a painting. It will help if foreground and background.
quarter, armed with our notebooks and you can find a subtle feature to lead the Basically, the further away it is the
cameras. We did not have far to go to eye in, like a small rock or tree. There is lighter and bluer you can make it,
find ancient streets with a wealth of also the technique of angling your sight even if you know it to be green. What
sketchable material. The mixed lines in, with a road, track or row of you see with the naked eye and what
architecture of Tbilisi (much of it under fence posts which can literally walk works on the page are often two very
reconstruction) is due to its historic you into the painting. A Z shape in different things! This is why I used
proximity to the east-west trade routes. your composition can also work in the Clingfilm in my final picture (right). I felt
It was not known as the bread basket same way, but this sometimes happens that it needed some texture to tell the
of Russia without just cause. Culturally without prior planning. story of a harsh landscape in what is
fascinating places like this can be a little It is important to remember that in essentially a watered-down medium.

56 OCTOBER 2017 www.painters-online.co.uk


LP10 66-67 Cooper_Layout 1 23/08/2017 14:58 Page 57

I am also well aware of my own


capacity for overdoing it.

Foreground features
Many people worry about the
foreground and will purposely start
their painting too far down to include
any but if the composition is working
then the foreground will look after itself.
Sometimes it pays to be really bold and
have something really close, like the
post in my finished painting. Dont be
tempted to scatter random cows and
sheep about the place; use them as a
tool but dont allow them to use you!
If you litter the hillside with them the
overall impact will suffer so be judicious.
Green being the witch of colours is
difficult to avoid in a place like Georgia,
t
Armenian Church, pencil sketch on notepaper
and nor should you. The hills seem to
fold into each other like velvet and sienna, Hookers green, green gold and yourself to make bold statements in
I tried to replicate a flavour of this in a touch of alizarin. the sky and keep your painting alive
my next picture. I tried to express I cannot finish without a word on and vibrant as a result. LP
everything that Georgia offered us painting skies the sky is a vital
emotionally as well as physically in the ingredient. It is easy to overlook the
vast mountain wilderness and rolling fact that they too have perspective
pastures. As you can tell, I had a bit and therefore become paler towards the Amanda Cooper
of fun with Clingfilm and candle wax. horizon. With moving clouds you have Find out more about Amanda and
I purposely left the paper white for little to be brave and tackle them quickly but her courses and holidays by visiting
bits of spring snow and the only colours please dont dab at them with kitchen www.amandacooper.co.uk
I used were French ultramarine, burnt roll to make cotton wool shapes. Allow

t
Hard Shoulder, Jvari Pass, watercolour, 9x1612 in. (23x42cm). I began with a preliminary layer of Clingfilm, which I put straight onto
the wet paint and massaged it into place. I left it to dry before peeling it off.

www.painters-online.co.uk OCTOBER 2017 57


LP10 57-59 White3_Layout 1 24/08/2017 10:49 Page 58

Watercolour

Try something different


Ready for a miniature challenge? Paint a medieval
decorated initial letter, with Helen White

LEARNING OBJECTIVES
n Materials and techniques for
painting in miniature
M edieval manuscripts are
filled with wonderful patterns,
borders and illustrations,
surrounding the beautifully written
text. The first letter of a book, chapter
centuries in various forms. An internet
search should provide you with an
example to use if you dont have
a book of calligraphic alphabets.
The pattern surrounding it is known as
n Paint a decorative letter or verse was often larger and a diaper pattern, a repetitive geometric
n How to control watercolour decorated. This project uses versal pattern used in the 13th and 14th
when painting small studies capitals, which were used for many centuries. The variations are endless. LP

Demonstration 1 Decorated letter


The following demonstration images have been reproduced
larger than actual size to help you follow in the detail.
You will need
n Surface n Winsor & Newton n Miscellaneous
l Fabriano 5, 350gsm or Professional Water l Gum
Step 1
t

other HP watercolour Colour ammoniac


1 Having decided paper, 412x412in. l French ultramarine and other
on the size of your (12x12cm) l Neutral tint mordants
letter, draw a square l Indigo l Gold leaf
n Brushes
on a piece of l Alizarin crimson and shell
watercolour paper. l Winsor & Newton
gold
The square needs to Series 7 Sable brushes, n Winsor & Newton
be larger than your Nos. 0 and 000 Designers gouache
letter, but not so big l Permanent white
that the letter will
be lost when the
pattern is painted around it. The exact colours, wash in the background colour,
dimensions will depend on the size of the which will be the lighter of the two colours
squares chosen for the diaper pattern; 2mm you choose. I used a diluted mix of French
squares require particularly fine brushwork. ultramarine with a hint of neutral tint.
For this example, I used 3mm squares and Ultramarine on its own can be a little harsh,
the size of the outer square is 36mm. The but the neutral tint must be used sparingly.
letter is 2.3cm high. If you are not used 3 When the wash is completely dry, trace
to very fine painting, try 4mm squares. down the outline of the letter in the
2 Having tested and experimented with your centre of the square.

t Step 2
1 The letter will be in gold. If you want to use gold leaf (real or imitation)
it needs to be stuck to something; this is called a mordant. In this example
I used gum ammoniac, which was painted on with a brush and left
to dry. There is quite a range of mordants available so use what you have
access to. If you dont want to use gold leaf, you can use gold gouache.
2 It was then breathed on and the gold leaf applied. Sometimes it is not
covered completely the first time so some patching needs to be done.

Step 3
t

1 Next, measure the


squares for the diaper
pattern with fine, sharp
pencil marks around
the edge of the square.
It is important to be
very accurate with this.
A fraction out is a big
discrepancy at this scale!
2 Using a sharp 3H pencil
rule in the square grid,
being careful to protect
the letter with a piece of
tissue under your ruler.
The lines should be just
dark enough to see.

58 OCTOBER 2017 www.painters-online.co.uk


LP10 57-59 White3_Layout 1 24/08/2017 10:44 Page 59

Watercolour

Step 4

t
1 Paint a chequer board pattern SUPPLIERS
with your darker tone. I used French Gold leaf and shell gold are available from:
ultramarine with a hint of neutral tint. l L. Cornelissen & Son 105 Great Russell Street,
2 Using a darker shade of your chosen London (near British Museum); 020 7636 1045;
colour I used indigo and a No. 000 www.cornelissen.com
brush, paint fine lines to outline the l Wrights of Lymm 01925 752226;
squares (over your ruled pencil lines). www.wrightsoflymm.co.uk or
Dont skip this step, thinking it www.stonehouses.co.uk
unnecessary; it really sharpens l Stuart Stevenson 68 Clerkenwell Road, London;
and defines the pattern. 020 7253 1693

Step 5
t
Now, using permanent white
gouache, paint a small square in
each of the dark squares. They can
be small, medium or large, but try
to be consistent. Using a small square
will give a different overall effect to
a large square so experiment first. It
is particularly important to make the
paint the correct consistency. Too much
water means it will be transparent
when dry; not enough water and the
paint will be sticky and difficult to use.

Step 6
t

1 Join the corners of the white squares,


working right across the diagonal in
one direction.
2 Join the corners on the other diagonal.

t
Step 7 t
Step 8
Paint a dot of colour, in this case alizarin Paint a small dot of white gouache in the centre of the coloured dots.
crimson, in each of the lighter coloured squares.
Step 9
t

1 Having measured and ruled, paint a gold


border. I used real gold powder, known as Helen White
shell gold, but you could use gold gouache. Helen is a member of the Royal Society of Miniature
2 Finally, outline the border with the same dark Painters, Sculptors and Gravers (www.royal-
colour used for the outline of the chequerboard. miniature-society.org.uk). Visit this years annual
exhibition at the Mall Galleries, London from 20
The finished letter, watercolour, gouache and September to 1 October. Find out more about
t

gold leaf on Fabriano 5, 112 x112 in. (3.6x3.6cm). Helen by visiting www.helen-white.co.uk
t

Now try an alternative letter over the page.

www.painters-online.co.uk OCTOBER 2017 59


LP10 57-59 White3_Layout 1 24/08/2017 10:45 Page 60

Watercolour

Demonstration 2 Variations on a theme


STEP 1 Square pattern
If your darker colour cannot be painted over the lighter colour successfully, dont wash in the background colour. Instead try this:

2 Paint each individual square, first


t
1 Mark and rule the squares after gilding 3 Outline the squares with a darker shade.
t t

the letter. the lighter colour then the darker one.

STEP 2 Flower pattern

2 Add triangles to each of the


t
1 To add flowers, use the dark colour 3 Add a tiny dot in the centre of each
t t

used to outline the squares and paint other sides, turning the paper as you flower using either gold, white or a colour.
a small triangle on the lower side of go to achieve consistent shapes and
each light-coloured square. the result will be dainty flowers.

STEP 3 Circles
Painting circles might sound rather a challenge, but the following method makes it easier by just painting a quarter at a time.

2 Turn your paper around, through


t
1 You will find it more comfortable to paint 3 Turn your paper round to repeat in
t t

in one direction, and this will give a more 180 degrees, and paint the arcs to join up the other directions. Outline the letter if
consistent pattern. I painted an arc, joining the the first ones. necessary. Add a gold border and outline.
two left-hand corners of the (darker) squares.

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


LP10 Subs_Layout 1 23/08/2017 15:37 Page 1

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LP October 2017 Art Clubs p62-65_News 1st 24/08/2017 10:12 Page 2

Art clubs Enoka David

t
Shades of Glass,
OVER TO YOU FOR THE LATEST NEWS ON CLUB collage, 3912x2712in.
(100x70cm) from
EXHIBITIONS AND ACTIVITIES runner-up, Pinner
Sketch Club

David Church The Artist at the Foile Bar, oil, 32x4134in. (81x106), one of five winning paintings from the Cardigan Art Society, named Art Club of the Year 2017
t

Art Club of the Year 2017


Now in its second year, Leisure Painter is Art Centre: Sally Bulgin, editor of The members of the public visiting the
pleased to announce the winners of the Artist and Ingrid Lyon, editor of Leisure exhibition were invited to vote for their
2017 Art Club of the Year. Art clubs Painter. First prize was awarded to the favourite club and chose The North
around the country were invited to enter Cardigan Art Society a lively group of Lincs Art Society as winner of The
five pieces of members work, which they artists based in west Wales. The club wins Peoples Choice Award and recipient of
felt best represented their club. From the 500 vouchers from Jacksons Art 100 vouchers from Jacksons Art
many entries received, ten art clubs were Supplies plus 100 towards the cost of a Supplies. Full profiles of each of the
selected to exhibit these paintings at demonstration for society members. The winning clubs will be featured in
Patchings Art Centre in Nottinghamshire two runners-up prizes (250 vouchers forthcoming issues of Leisure Painter. In
in July. The judges included well-known each from Jacksons Art Supplies) were the meantime, all the exhibited works
artist and tutor, Hazel Soan; Liz Wood, awarded to the Pinner Sketch Club and can be viewed on our website at
artist, tutor and co-owner of Patchings the Hornsea Art Society. In addition, www.painters-online.co.uk

62 OCTOBER 2017 www.painters-online.co.uk


LP October 2017 Art Clubs p62-65_News 1st 24/08/2017 10:12 Page 3

Tom Ingham
t

Girl Guide, acrylic,


22 2x20in. (57x50.5cm).
1

Tom is a member of the


North Lincs Art Society,
winner of the Peoples
Choice Award

Pam Williams
t

From the Bridge,


watercolour,
13x15in.(33x38cm)
submitted by runner-up
Hornsea Art Society
t

www.painters-online.co.uk OCTOBER 2017 63


LP October 2017 Art Clubs p62-65_News 1st 24/08/2017 10:12 Page 4

Highlights
Ambleside and District
Art Society
The Ambleside and District Art Societys
annual exhibition takes place at
Ambleside Parish Centre from 18 to 29
October. This year the featured artists will
be Ron Ward, Jean Grazier and Mike
Labrum. The society, which began in
1974, has over 100 members of all
abilities but new members, living within
a 10-mile radius of Ambleside, are always
welcome. The exhibition is open daily,
10am to 5pm; 10.30am to 5pm on
Sundays; closing at 2.30pm on final day.
For details contact Patsy Derry 015394 36180

Ron Ward Castlerigg and Blencathra, oil on


t

board, 1714x18in. (44x46cm) from the Ambleside


and District Art Society
John Biggs Basilica of Santa Maria Maggiore, Miglionico, watercolour and acrylic ink on paper,
t

Banstead Art Group 19x1334in. (48x35cm) from the Poole & East Dorset Art Society
The Banstead Art Group celebrates its
60th anniversary with an exhibition at October, where over 250 pieces of new Kineton Art Group
Banstead Community Hall, Park Road, and original art will be on sale. Denbies This year the Kineton Art Group will be
Banstead, Surrey SM7 3AJ on 26 October, has a caf, restaurant, vineyard tours, celebrating its 30th anniversary with an
10am to 8pm; 27 October, 10am to 5pm and shop so theres plenty to do. The exhibition at Kineton Village Hall on
and 28 October, 10am to 4pm. Over 250 exhibition is open 10am to 5.30pm; 7 and 8 October, 10am to 5pm daily.
paintings will be on show. Visitors are closing at 4pm on the final day. The Members, from south Warwickshire
invited to meet the artists with free wine group meets at Beare Green Village Hall and Oxfordshire, attend weekly
and nibbles on Thursday 26 October, 6 to on Tuesday afternoons for a varied Monday meetings. This year the club
8pm. The exhibition will be opened by programme of demonstrations and offered special Monday afternoon
the Mayor of Reigate and Banstead. workshops, with outdoor painting during sessions to anyone wishing to try their
Dorking Group of Artists the summer months. For more information hand at painting and drawing or who
The annual autumn exhibition of the contact Jane Anderson Wood on 01372 375123; had recently returned to painting.
Dorking Group of Artists will take place at email j.andersonwood@gmail.com These proved to be so popular that
Denbies Wine Estate, London Road, Horsley & Clandon Society of Arts they will be running them again in
Dorking, Surrey RH5 6AA from 13 to 15 The annual exhibition by the Horsley & September. If you would like to find out
Clandon Society of Arts will take place at more, visit www.kinetonartgroup.co.uk
East Horsley Village Hall, Surrey on PEDAS
Saturday 14 October, 10am to 4pm. The The Poole & East Dorset Art Societys
society holds monthly painting autumn exhibition will take place at
demonstrations and lectures in a variety The Gallery Upstairs, Upton Country
of media; visitors are welcome for a Park, Poole BH17 7BJ from 29
small fee. For more information contact September until 16 October. The venue
Robyn Cormack on 01483 224063 or David King is ideal, as visitors can enjoy the
on 01372 454003. exhibition as well as the newly opened
waterside walks. The gallery is open
Pauline Allbeury Art Shop Window, Venice, oil,
t

814x1134in. (21x30cm) from the Dorking Group of daily from 10am until 5pm. For more
Artists details visit www.pedas.org.uk

64 OCTOBER 2017 www.painters-online.co.uk


LP October 2017 Art Clubs p62-65_News 1st 24/08/2017 10:12 Page 5

Profile
Dedham Arts Group
In celebration of its 50th anniversary, the Dedham Arts Group
has decided to hold a very special art exhibition and sale to
raise funds for East Anglias Childrens Hospices (EACH). The
exhibition opens at the beautiful Dedham Parish Church,
where an original painting by John Constable is on
permanent display, from 24 to 28 October. In addition to
work by members in a variety of styles and media, the
exhibition will also feature paintings by professional artists
who have helped the group at studio sessions in recent years,
as well as work from children at Dedham Primary School.
Earlier in the year, the children took part in an art
competition and the winning painting was used for posters to
advertise the 50th anniversary show. The exhibition is open
daily from 10am to 4pm. Visitors will be asked to vote for
their favourite painting in the show. The result will be
revealed at a special awards ceremony at 3pm on
28 October the precise time of the arts groups first meeting
50 years ago!
Janice Anjo Two Dancers, black ink and wash on paper, 1112x8in.
t

(29x20cm)

CLUB EXHIBITIONS
n Alton Art Society n Muskham Art Group September, 10am to 5pm and 1 October,
Annual exhibition at Alton Assembly Annual exhibition at South Muskham 10am to 4pm. Enquiries to Alan Massey
Rooms, High Street, Alton GU34 1BA from 7 Village Hall, near Newark NG23 6EE on 14 01234 327219.
n
to 15 October, 10am to 5pm daily. Visit and 15 October, 10am to 4pm daily. Visit Studley Art Circle
www.altonart.org.uk www.muskhamartgroup.co.uk
Annual exhibition at the Village Hall, High
n Arnold Art Society n The Post Office & BT Art Club Street, Studley B80 7HJ on Saturday 14
Exhibition at the Pondhills Community 111th exhibition at the Salvation Army HQ, October, 10am to 4pm. Enquiries to John
Centre, off Coppice Road, Arnold, 101 Queen Victoria Street, London EC4V Gumbley 01527 592859.
4EH until 15 September. Open daily, 10am
Nottingham NG5 8DR on 14 and 15 n Weald of Sussex
October, 10am to 4.30pm daily. Visit to 4pm; closing at 1pm on final day.
Exhibition at The Martlets Hall, Civic Way,
www.art4arnold.com n Postwick Painters Art Group Burgess Hill RH15 9NN from 11 October,
n Artful Dodgers Art Group Annual exhibition at Postwick Village Hall, 1 to 9pm; then 12 to 14 October, 10am to
Autumn exhibition at Wetherby Town Hall, Ferry Lane, Postwick, Norfolk NR13 5HL on 5pm; closing at 4.30pm on final day.
7 and 8 October, 10am to 4pm daily.
Market Place, Wetherby LS22 6NE on n Winchester Art Club
Saturday 7 October, 10am to 5pm. n Scholar Green Art Group Annual exhibition at the Discovery Centre,
Enquiries to 01904 705552. Exhibition at the Scholar Green Village Hall, Jewry Street, Winchester SO23 8SB from 16
n Attic Club on 7 and 8 October; 10am to 5pm daily. September until 8 October. Open Monday
Original Print Fair at The Queens Hall, High n Shefford Art Society to Friday, 10am to 6pm; from 10am to 5pm
Street, Cuckfield RH17 5EL on 29 Exhibition at Shefford Community Hall, 60 on Saturday and from 11am until 3pm on
September, 12 noon to 8pm; 30 September High Street, Shefford, Bedfordshire on 30 Sunday. Visit www.winart.org.uk
and 1 October, 10am to 5pm.
n Chester Grosvenor Art Society
Exhibition at Upton by Chester Golf Club,
Upton Lane, Upton by Chester CH2 1EE Demonstrations
from 7 to 15 October from 10am until 7pm Halifax Art Society
daily. Visit www.grosvenorartsociety.org.uk Artist, Stephen Coates, will give a demonstration to the Halifax Art Society on
n Disley Arts Society Reflections in Watercolour on Friday 13 October, 10.30am to 1pm at All Saints
Exhibition at Disley Methodist Church, 70 Parish Hall, Godfrey Road, Skircoat Green, Halifax. Non-members welcome. Visit
Buxton Road, Disley SK12 2EY on Friday 29 www.halifaxartsociety.com
September, 3 to 8pm and Saturday 30
September, 10am until 5pm. Visit
Tewkesbury Art Society
www.disleyartssociety.weebly.co Jackie Garner will give a demonstration on painting birds in acrylics to the
Tewkesbury Art Society on Tuesday 17 October. The demonstration will take
n Horsforth Art Society
place at the Methodist Church Hall, By The Cross, Barton Street, Tewkesbury,
Exhibition at The Studio, 15 Back Lane, off
Fink Hill LS18 4RF, 30 September to 8 Gloucestershire from 10.30am until 1pm. Non-members welcome; entrance 3.
October, 1 to 3pm weekdays; 10am to 5pm For more information visit www.t-a-s.info
weekends. Enquiries to 0113 2688231.

www.painters-online.co.uk OCTOBER 2017 65


The online home of
and magazines
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LP_FullPage_LPSeptember.indd 1 16/08/2017 09:15:03
LP October 2017 Books p61_News 1st 24/08/2017 10:35 Page 6

Books
WHAT TO READ THIS MONTH
Visit www.painters-online.co.uk/store and click on
the link to books to buy the latest practical art books
available from LPs online bookshop

The outdoor painter


As the Impressionists proved, theres nothing quite
like painting direct from nature for creating lively
and spontaneous work. Its the serendipity of the
process that gives it that spark. Drawing on years
of experience, well-respected tutor and artist, A painting a day
M. Stephen Doherty, has brought together the best Lorna Scobies 365 Days of Art
plein-air methods and tools in The Art of Plein Air encourages you to spend a little time
Painting. Working within a time limit, rationing every day on a creative project thereby
supplies, dealing with sudden changes in the improving your artistic skills as well as
weather and simplifying the scene before you, are relieving daily tensions. The book is as
just some of the subjects he covers. Throughout, much about self-reflection and
there are examples from many of the worlds best mindfulness as it is about art.
plein-air artists, such as Manet and Singer Sargent, together with interviews from Understanding that taking the first
contemporary masters. Theres plenty of resource material too, with information steps towards drawing and painting can
on plein air and quick draw events. For anyone wanting to build the courage to get be daunting, London-based illustrator,
out there and start painting, this book is a must. Lorna, has provided a project for every
The Art of Plein Air Painting by M. Stephen Doherty. Monacelli Studio, (s/b), 25. day of the year, starting each of these
off for you to complete in any way you
In perspective choose. The variety of projects has
Commercial artist, David Chelsea, brings a refreshing been specially chosen to introduce a
look at perspective in Perspective in Action, using a broad range of media and techniques
series of creative exercises depicting spatial so that by the end of the year you will
relationships presented in a comic book format. have the confidence to move forward
Building on his previous books, Perspective! For on your own.
365 Days of Art by Lorna Scobie.
Comic Book Artists and Extreme Perspective! For
Hardie Grant, (s/b), 12.
Artists, David stretches us even further, moving us on
to creating interesting projects and simple
animations. There are 31 projects in total, each of
which has a full list of materials and processes so
that you can replicate the subject exactly, learning as
you go without wading through mathematics. The comic book format helps in
this respect, whilst also providing visually engaging tutorials.
Perspective in Action by David Chelsea. Watson-Guptill, (s/b), 18.99.

Drawing people
Borrowing from five previous titles in drawing is developed in stages, using
the How to Draw series including different coloured pencils for each of the
Babies and Children; Faces; Hands and progressions so that you can clearly see
Feet; People and People in Action, Susie how the examples evolve into the final
Hodge brings us How to Draw People in stage. Over 130 step-by-step drawings are
Simple Steps. As with the rest of the included, showing a range of ages from
How to Draw titles, theres pretty much babies to the elderly, and including
no text, just images, which the reader stationary figures as well as figures in
is encouraged to copy and use to action.
develop their own drawings. Starting How to Draw People in Simple Steps by Susie
with basic geometric shapes, each Hodge. Search Press, (s/b), 12.99.

www.painters-online.co.uk OCTOBER 2017 67


LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048

Holidays & Courses

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Email: dolangerard@eircom.net Tel: 01642 712926 Tel 07931 742450 sue@creative-getaways.com
www.ashcraftframing.co.uk/store

68 OCTOBER 2017 www.painters-online.co.uk

lp CLA oct_NEW.indd 68 25/08/2017 08:50:51


Holidays & Courses
Cumbrian Studio Painting Holidays
Sark Chapel, Hethersgill
Studio with optional tuition situated near historic Carlisle, the Scottish
borders and Hadrians wall.
The Chapel is a unique and spacious
conversion with accommodation for
individuals or groups of up to six.
Large, light studio space with original
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Additional painting day-schools
and courses can be arranged with
professional artist and tutor Ceri Allen.

07944 859849 email: art@ceriallen.co.uk www.ceriallen.co.uk

Paint Provence with Tess goes Global!


Paint Provence with Tess goes Global!
Paint Provence with Tess goes Global!
Go on your dream painting holiday to Provence, Mallorca,
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painting with artist Tessa Baker.
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IN THE ARTISTS HAVEN OF STAITHES
www.staithesgallery.co.uk
email.tessa@tessasprovence.com
T: +33 4 94 68 73 76
email.tessa@tessasprovence.com contact al@staithesgallery.co.uk Haidee-Jo Summers tutoring at Staithes Art School
T: +33
T: +33 4 9468
4 94 6873
73 76
76 01947 841840 or 07972 012464 (photo courtesy of Rachel Ward)

BATH PAINTING SUMMER SCHOOL


2018

www.bathpaintingsummerschool.co.uk

Tutors for Spring/Summer


2018 will be Judi Whitton,
Jennifer Johnson
and Phil Hobbs
Abbey Churchyard, Bath by Phil Hobbs

For more information visit our web-site www.bathpaintingsummerschool.co.uk

Watershed Studio
Gozo Painting Holidays
Come and
Celebrating our 16th year join us on
Proven reputation for quality courses an all inclusive
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High profile, popular tutors held every year
Tim Fisher, Robert Dutton, during March
Marie Antoniou, Kay Elliott & October
Charles Evans and many more or try one of
Call Allison Bond for details:
01255 820466 our individually
Email: allison@watershedstudio.co.uk planned painting
www.watershedstudio.co.uk Email dorart@hotmail.com - mobile 0035699438158 holidays with
St Cleres Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX
www.gozopaintingholidays.com watercolourist Doranne Alden.

www.painters-online.co.uk OCTOBER 2017 69

lp CLA oct_NEW.indd 69 25/08/2017 08:51:07


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BRAND NEW SERIES


Ready to Paint in
30 Minutes
This is genuinely excing evoluon of a popular series. Youll be
gguided through some simple exercises and on to complete painng,
gaining valuable insights that will develop and improve your skills.
- Artbookreview.net

These complete beginners guide to painng in


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short on me. Both books include over 30 quick and easy
exercises which no more than 30 minutes to complete.
special offer 2 off RRP & Free UK P&P using
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www.painters-online.co.uk October issue 2017 4.40

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Since 1931 The Artist has been created by New ideas for ... THREE-POINT PERSPE
CTIVE
PRAC TICAL

COMPELLING
Eye level

artists, for artists. Each issue is packed with COMPOSITIONS


new ideas, advice and insights into the work Three-point perspectiv
below eye level; e with buildings
the angles are
drawing is dynamic!
being
very extreme but
the

of professional artists, covering all subject WATERCOLOUR OILS BEACHSCAPES Also.. how to PERSPECTIVE IN FOCUS: 1 OF 3

matter and media, to inspire and guide your Use body colour for
best results
Master perspective The city in perspective Three-point perspectiv
Eye level

Evening Light Towards


Teintes Touch
350gsm black
Two-point perspectiv
the Santa Maria
Della Salute, pastel
pastel paper, 2020in on Canson Mi-
for city scenes stretching above
give you the feeling
e with the buildings
eye level and to
the left and right 2/3rd divisional
e was applied
ratio for the square
(5151cm).
for this high vantage
point. Using a

technical and creative development


Robert Dutton continues his series on perspective
with the with
emphasisadvice on how
that the buildings
are reallyto
and placing the
axis point pretty
composition, repeating 1/3 to
triangular shapes
Paint musical still
uselifes
of them stretching
the rules of one-, two- and three-point perspective with excitingaway from you
tall Maria Della Salute
glowing Venetian
much through
makes for a strong the main bell tower
design but it of Santa
is the celebration
step by step viewpoints to create dynamic - cityscapes light that makes
the painting really
dynamic
of the

see the diagrams


(above). Without
three-point perspecti doubt,

P
ve
erspective is the
create the most
unusual
can be used to foundation to
everything
and dynamic you will ever want to
How to start with Practise the alla prima Discover the secrets !
compositions.
paint convincingly be it Robert Dutton
a mess & end in technique for fresher- to painting successful Other types of expressively, detailed or any
perspective teaches pastel,
acrylic,
Aerial perspectiother way. By learning the rules of
success! looking paintings beach scenes perspective uses
ve is another form
perspective first, your
of creative
watercolour and
mixed-media
techniques nationally
to give visual and tutors
effects of depthinterpretations and of the world around you
creative art holidays in
in their work. Next the Lake District,
we will look at will confidently
   this more closely executedmonth behind Norfolk and Spain.
He exhibits
when
focus on coastal every great painting iswe a great drawing. widely and has
seascapes. won several
Whether you arePerspective
working withdrawing is a technique
awards for his work.
conventional materials Robert has
used to create the illusion of a three- contributed pastel
and paints, or dimensionalsuch as pencils paintings to

SUBSCRIBE TODAY
other media, a surface on a flat surface. Artists Drawing
knowledge Techniques to be
and understan There are other ways to convince the published by Dorling
ding of perspecti Kindersley,
remains an essential ve
viewer
toolthat your drawing
to help work appears to be price 20, ISBN97802
41255988.
enhance your you To learn more about
drawing technique Roberts art
A clear understan . holidays and workshops
ding of the rules and to
perspective will, of see more of his
without doubt, work, visit:
your painting. ONE-POINT PERSPECTIVE
strengthen www.rdcreative.co.
uk
TA
www.painters-onlin
e.co.uk

artist October 2017


35
Eye level

and save over 10 on the shop price with our special Diagram 1: one-point
perspective seen from above
The rules of one point perspective do not

introductory offer of 6 issues for just 15. Subscribe now at


necessarily need to apply to a view seen at
street level. This diagram shows how, using
one-point perspective, the viewer is led
directly down into the city from above. Note
how the lines of perspective converge to a
vanishing point way below the buildings. As
artists we have to learn to see through
shapes to find the anchor points we need to

www.painters-online.co.uk/store and enter code LPTA1710 Evening Light, Manhattan, pastel on Canson Mi-Teintes Touch black pastel paper,
make every aspect of the drawings correct. In
this case the eye level (and theoretical
horizon) is almost through the centre of the
drawing. Notice how the buildings above that
line appear to converge downwards towards
the vanishing point, while those below it
appear to converge upwards to a vanishing

or call 01580 763315 and quote LPTA1710


350gsm, 201214in (5235.5cm).
point somewhere in the sky. The buildings
Here one-point leads the viewer through the painting to the right of centre. By making use
bisected by the eye level (such as the round
of the diagonal, I have created a dynamic composition
tower) do both

32 artist October 2017 www.painters-online.co.uk

www.painters-online.co.uk OCTOBER 2017 71


LP October 2017 Online Gallery p72_News 1st 24/08/2017 10:25 Page 66

Online gallery
Jane Strouds selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK

I know its another flower


painting, but as with last
months choice, this is very
much more than just a
painting of flowers. I think
what attracted me most here
was the setting. The artist has
placed the vase of flowers
against the window, allowing
the light to shine through.
Geoff has managed to keep his
colours clean and pure,
resulting in a composition full
of sunshine, particularly
around the leaves and stalks.
Here he shares some of his
colour mixes and working
methods with us. If you would
like to see more of Geoffs
work, post a comment or
upload your own images to our
free online gallery, visit
www.painters-online.co.uk

G
eoff has been painting for
over 50 years. Initially, he
says, he painted as an
adjunct to my interest in
motorsport, later turning to
painting as an antidote to my
day job in marketing. He now
paints at leisure in his
retirement. Geoff works mainly
in watercolour and oil with a
wide choice of subject matter
varying from landscape to
portrait, with the occasional
skirmish into the botanic as
Freesias in a Jug testifies.
t
Geoff Storer Freesias in a Jug, watercolour, 14x1212 in. (36x32cm)
I bought the flowers on impulse, he
writes, as they are a favourite of my from light to dark, painting the lighter lemon yellow with ultramarine and for the
wifes. She placed them in this traditional shadows of the white flowers first with a darker ones I introduced olive green. Once
water jug on the kitchen windowsill and mix of raw sienna and raw umber and I was happy with the flowers, I painted the
the morning sun backlit them to provide leaving the sunlit areas as untouched jug using a mix of raw sienna and raw
this composition. I hastily took some paper. I then applied the same technique umber. The shadows in the windows were
photographs to capture the moment and to the other flowers, using quinacridone added with a touch of Paynes grey mixed
then developed the painting in the studio. gold and alizarin crimson sparingly as they in with the raw sienna. I used the grey in a
Using Two Rivers watercolour paper I drew are both strong pigments. I added more more concentrated mix for the casement
the jug fairly accurately in relation to the shading to the base of each flower head, and lead work, before finally applying a
window and frame and then proceeded to darkening the pigments with raw umber. fairly loose treatment to the trees, lawn
sketch in the flowers and leaves. I worked For the lighter sunlit leaves, I used and garden outside.

72 OCTOBER 2017 www.painters-online.co.uk


page73_Layout 1 24/08/2017 08:44 Page 1

TAKE THREE COLO U RS PAINTERSONLINE


START TO PAINT WITH 3 COLOURS, 3 BRUSHES AND 9 EASY PROJECTS
The online home of Leisure Painter
NEW: SEP 17 NEW: JUL 17
Here are links to some of the
best practical art videos online,
recommended by our website
editor, Dawn Farley

This month: how to paint animals


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forums, blogs, hints & tips and much more!
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+44 (0) 1580 763673. Alternatively, email liza@tapc.co.uk www.painters-online.co.uk
www.painters-online.co.uk OCTOBER 2017 73
LP10 74-79 Patchings17_Layout 1 23/08/2017 15:26 Page 74

LP Open

Open Competition 2017


We have great pleasure in publishing the award-winning
work from the amateur category in this years Open Competition,
organised in partnership with Patchings Art Centre

L eisure Painter Open 2017 at Patchings


Art Centre was once again a huge
success. The skill and creativity of
the amateur artists chosen for exhibition
were outstanding, and the diversity of the
paintings on show in the Pavilion Gallery
created a spectacular exhibition.
Thank you to all the readers who
entered this years competition. Many
congratulations to those who made the
exhibition and those whose paintings
were highly commended. We dont
know how you are going to top this years
show in 2018, but Im sure you will!
We would also like to thank our
generous sponsors (page 79), whose
prizes make this competition so exciting
and worthwhile every year. The awards
are an invaluable part of this competition.

Excellent paintings
Artist and judge, John Sprakes says of this
years competition: The Leisure Painter
exhibition continues to improve year
by year and there were some excellent
paintings in this section. It is pleasing
to see that drawing continues to improve
and that many of the artists are mindful
of its importance when approaching
their chosen subject matter.
John went on to offer advice to future
entrants: I would like to see more
attention paid to composition. I felt that
some of the artists had put too much into

Leisure Painter Award Jason Carlisle


t

Painted Lady, oil on canvas, 3912 x55in.


(100x140cm). Painted Lady was completed
earlier this year and shows a previous
partner, Victoria Parkes, and the mother
of my 26-year-old daughter, explains Jason.
My last few paintings have been full torso
with an emphasis on perspective and
compositional elements to reflect the
personality of the sitter. Deciding on the
next painting is constantly on my mind and
much of the preliminary work is in the form
of words. I discussed my ideas with Victoria,
who was happy to sit for me. A few hours of
rapid sketching and lots of photos became
the basis of the work. A later final sitting
working on the face completed the piece
to a level I was happy with. Find out more
about Jason and his working methods in
next months issue of Leisure Painter.

74 OCTOBER 2017 www.painters-online.co.uk


LP10 74-79 Patchings17_Layout 1 23/08/2017 15:23 Page 75

Patchings Award Brenda Mawditt Waiting, watercolour, 1212 x1612 in. (32x42cm). Brenda is a mature student who attends Selston Art
t

Group in Nottinghamshire. A friend had visited India and brought in some photographs. This particular photo inspired me as it captured
some of the atmosphere of India. I have painted seriously for 14 years and I am so proud to have won this award. My preferred medium
is watercolour, although I do paint in oils.

their pictures and should have been 78) is a powerful image of a cityscape t Royal Talens Award Alan Bickley First

more selective when constructing their with well-placed and considered Light Whitehaven Harbour, oil, 20x24in.
paintings. Once again, less is more. foreground figure content, adding (51x61cm). This scene is indicative of my
I would also like to make an observation hugely to the sense of place and favourite subject: the sea, harbours and
regarding colour. Some of the pictures bustling activity, all enhancing the boats, says Alan. I dont have any desire
used too much local colour and I would design and impact of the piece. to paint in a photographic style, but prefer
advise a closer and intensive observation Paul Brambles Man and Machine to work rapidly with large brushes and
try to portray the atmosphere of a scene.
of this element in the seen and natural (page 77) offers us, once more, an I like to produce a painting with feeling
world. A good sense of colour is example of his controlled and that says something about a place and not
achieved by intense and long observation disciplined approach to the pure simply a skillful copy. I always prefer the
of ones chosen subject matter. watercolour medium, cleverly spontaneity of working en plein air when
There were also some excellent small composed and exceptionally well possible, but this work was painted in my
paintings in this exhibition and it was drawn and observed. And Alan Bickley, studio using small watercolour sketches
pleasing to see some of the artists First Light, Whitehaven Harbour (below) that I had made on the spot earlier. They
controlling the small space with artistic gives us a fine example of a work are a great way of collecting information
confidence. I much enjoyed my visit to produced with profound mood and and so much better than simply taking
this exhibition and went back several atmosphere, effectively described, a photograph.
times to view the work. economic
brushwork, never
Notable highlights overplayed in terms
It does seem, says fellow artist and of finish.
judge, David Curtis, as each years Finally, Id like
exhibitions come together and especially to mention Andrew
in 2017, how the Leisure Painter final Jacksons powerful
showing snaps at the heels of The Artist portrait study of Pat
category, demonstrating a noticeable (page 76), although
increase in the standard of the work sent the list could go on.
in. There are many notable highlights, His brushwork is
illustrating this point and, in particular, simply stated and
I have to mention Brenda Mawditts produced in a
quirky,Waiting (above), which is so series of simple
confident and competent in terms of broad dynamic
technique an intimate snapshot, which strokes again with
could have been a much more expansive a surety of touch
composition, but all the better for the as seen in in other
cameo approach. pieces on show
Andew Craigs Bicycle in the Sun No. 8 this year, really
(page 79) is an expression in economic convincing and
observation, beautifully composed with probably an echo
a limited palette and lovely areas of of the sitters
subtle tone and colour harmony. strength of
Keith Gornys Putney Embankment (page character. LP

www.painters-online.co.uk OCTOBER 2017 75


LP10 74-79 Patchings17_Layout 1 23/08/2017 15:24 Page 76

LP Open

Open C

t
Derwent Award Kevin Donaldson The Corner Caf, pen & wash,
812 x12in. (22x30cm). Kevin started painting eight years ago. He began
by learning to draw, moved onto watercolour to combine the two, t
Caran DAche Award Sarah Jennings The Winding Road, Yorkshire
before concentrating on watercolour alone. He now also works in oils. Dales, mixed media, 10x12in. (25x30cm). I spotted this view one
My inspiration for the prizewinning work was my desire to capture February morning when out walking with my husband near Malham
life on and around streets, as there is always a good picture to be and immediately knew it was a subject I wanted to paint, explains
found in everyday scenes. I like to bring all the elements together Sarah. The light was fantastic the sun was just appearing after a
in one picture, using watercolour in a loose and sketch-like manner night of heavy rain and I loved the suggestion of the road simply
over the drawing, safe in the winding on forever. I used watercolour washes in the background
knowledge that the pen work will to suggest aerial perspective and had fun with mixed media in the
tie the whole thing together and foreground using oil pastel, watercolour, acrylic inks and acrylic
work its magic very nicely. paint applied with card, pipette, brush and finger!
Sennelier Award Anthony
t

Jackson Pat, oil on canvas,


1912 x16in. (50x40cm). Anthony
took up painting seriously two
years ago and has attended several
workshops. Building my work
on a foundation of traditional
painting techniques, I try to inject
an expressive and painterly
element into my work to evoke
the sitters character and mood.
This painting involved two sittings
with the model and was finished
from a photograph. More of
Anthonys work can be seen on
Instagram, @tony_the_tonalist.

t
Website Highly Commended Wendy Coaten The Lane to Foxes
Wood, oil and mixed media, 1912 x2312 in. (50x60cm). Wendy studied
A level art as a mature student, followed by an art foundation course
where she learnt to work in a variety of media, specifically oils.
When preparing my boards, I build up texture using white tissue
paper and gesso, sealed with an acrylic primer then work in oils, ink
and pastels. For The Lane to Foxes Wood I used Winsor & Newton
quick-drying alkyd oils and oil pastels in a limited colour palette,
taking ideas from sketches and a friends photograph. My inspiration
came from the light that shone through the winter trees and
reflected in the puddles.

Daler-Rowney Award Gemma Wiseman Llangrannog, pastel,


t

1212 x16in. (32x40cm)

76 OCTOBER 2017 www.painters-online.co.uk


LP10 74-79 Patchings17_Layout 1 23/08/2017 15:28 Page 77

LP Open

n Competition 2017
t Daler-Rowney Award Paulene Allett
Branston Garden, oil on canvas, 24x30in.
(61x76cm). I have been painting since I retired
14 years ago. My garden evolved by allowing
plants from pots to seed themselves into the
cracks in the paving, especially primroses and
herbs. Purple crocus and cyclamen appeared
in their seasons together with wild geranium,
clover, foxgloves and old-fashioned grannys
bonnets. I am glad I painted it because, when
I had a conservatory built, the garden was
used as a storage and concrete-mixing area.
It is only just starting to recover a little now.
t
Great Art Award Catherine Whiteside Arboretum, acrylic, 10x2912 in.
(25x75cm). Im a painter and photographer of the landscape, says
Catherine, with a strong emotional attachment to the images I make,
be it the place itself, the subject, or even who I shared the moment
with. Arboretum began life as a photograph of the pinery at
Westonbirt Arboretum. I was there with my Dad as we are both keen
photographers. It was very early in the morning and the beginning of
a beautiful autumn day. The colours are soothing and make me think
of the early morning calm we enjoyed. The biggest challenges were
getting each colour completely flat and making sure that there
was enough variation of tone but not too much! See more of
Catherines work at www.thewiderlandscape.co.uk
t

St Cuthberts Mill Award Lucy Marks Cliffs Edge II, watercolour,


t

6x8in. (15x20cm). Lucy, who has an MA in fine art, is a landscape


painter living and working on the south coast of England. My work
is influenced by the environment around me, both the sea and the
South Downs. I often work in the landscape, either painting directly
or sketching. I use these works back in the studio to develop further
work. My aim is to help the viewer connect back to a sense of
the earth, sea and sky, and visually experience the power of the
elements in the natural world. I work in both watercolour and
oil. Find more of Lucys work at www.lucymarks.co.uk

Batsford Books Awards Judy Meats Victorian Interior,


t

oil, 17x14in. (43x36cm). I have been a hobby painter for


many years, but when I retired from work as a systems
analyst two years ago, I had enough time to begin
to enjoy the possibilities of painting in oils. This new
direction is proving to be very rewarding and much
easier than I expected. If, as I do, you use water-mixable
oils (Cobra is my first choice) then it need not be too
smelly or messy! This particular view caught my eye
while I was holidaying at a B&B near Hastings. I loved
the diffuse back lighting and the rich harmonious
colours. I do think interiors tend to be underrated
subjects and I shall be looking out for more!
Canson Award Paul Bramble Man and Machine,
t

watercolour, 1912 x16in. (50x41cm). I really enjoyed


painting this character on his beloved steam engine.
What struck me was the fact that the colour of his
overalls matched the colour of the steam engine. The
initial ghost wash of ultramarine blue and burnt sienna
covered the whole page with the exception of his face
and hands, which were protected with masking fluid.
The strong sunlight created great light and dark
contrasts, which really make the painting sing.

www.painters-online.co.uk OCTOBER 2017 77


LP10 74-79 Patchings17_Layout 1 23/08/2017 15:24 Page 78

LP Open

Open C
Winston Oh Award Amanda

t
Wragge Harriet, oil on canvas,
16x12in. (40x30cm). Amanda
only recently took up painting,
but has had a life-long passion
for art. When I am creating a
picture, it is pure escapism from
all the stresses of daily life. The
beauty of portrait painting is
trying to capture the emotion
whilst leaving you with more
intrigue than answers. Hence
I like to leave my painting not
completely rendered. With
Harriet I attempted to convey
the feelings of hope behind
her eyes. At the time the
photograph was taken, Harriet
was holding a friends puppy.
I think her eyes say it all.

t
Clairefontaine Award Keith Gorny Putney Embankment,
oil, 44x44in. (112x112cm)
t Batsford Books Award Deborah Pearce Contemplating
Monet, oil on canvas, 16x20in. (41x51cm). I started painting
a few years ago when Jane Harvey, our local village artist,
began giving oil-painting lessons. I developed an interest
in figurative and portrait painting and, on a visit to
The National Gallery, was fascinated by a group of people
of all ages, who sat admiring a painting of water lilies by
Monet. I used the fat-over-thin method to complete my oil
painting, referring to photographs taken during my visit.
This was my first competition entry and winning the prize
has certainly encouraged me to continue painting.

t
Pro Arte Award Mayumi Taguchi Tomatoes, watercolour, 14x20in.
(36x51cm). I have always loved painting and drawing. After working as
a product designer on computers for many years, I gradually learned to
appreciate the beauty and the difficulty of painting by hand in the traditional
way. I have painted in a variety of media, but my current interest is painting
with watercolour. I thought that watercolour was the most appropriate
medium to express the freshness
and transparency of this
subject, where I tried to present
the object by omitting the detail
while some parts were painted
precisely and accurately. It is
very much a process of trial
and error. See more
paintings by Mayumi at
www.mayumitaguchi.com

Daler-Rowney Award Marjorie Firth Autumn Flame, oil on canvas, 22x18in. (56x46cm). Marjorie
t

is largely self-taught, having taken up painting after a career in teaching. She now attends short
courses and is a member of two local art clubs. Light always fascinates me when I set out to paint,
how it falls on an object and how it creates an atmosphere. In Autumn Flame, the afternoon light
was streaming in when I put down the simple vase with montbretia. I loved the way the shadow
was cast vertically and the angles were reflected in the background. I used a restricted palette
over a warm ground of Venetian red, which shows through in places and draws the elements
of the painting together. I chose to highlight the vase and flowers by deliberately leaving
suggestions only of the shapes in the space around.

78 OCTOBER 2017 www.painters-online.co.uk


LP10 74-79 Patchings17_Layout 1 23/08/2017 15:25 Page 79

LP Open

n Competition 2017
THE AWARDS 2017
Batsford Awards
Three prizes of Batsford art books to the value of 150 each
www.batsford.com

Canson Awards
Three prizes of 200 worth of paper
www.canson.com

Caran dAche/Jakar Awards


Two prizes of 250 worth of art materials
www.jakar.co.uk

Clairefontaine Awards
Two prizes of 250 worth of art products selected from
the Clairefontaine Graphic & Fine Art range
www.clairefontaine.com

Daler-Rowney Awards
Five sets of materials to the total value of 700
t
Premium Art Brands Award Andrew Craig Bicycle in the
Sun No. 8, watercolour, 8x10in. (21x26cm). Andrew paints www.daler-rowney.com
exclusively in watercolour. Bicycle In The Sun No. 8 is based
on a sketch he made in northern Spain when he was cycling Derwent Awards
to Santiago de Compostela. Above all, I was attracted by the Three prizes of 300 worth of art materials
tonal contrasts created by the early evening light. I have www.pencils.co.uk
painted this picture a number of times (hence the No. 8)
and always enjoy the crucial application of strong shadows, Great Art Awards
which can make or break the picture. This old bike, I think, Two prizes of 250 worth of art materials from Europes largest art
carried bread. materials supplier www.greatart.co.uk

Leisure Painter Award


One prize of a showcase feature on a selected artist in Leisure Painter
magazine www.painters-online.co.uk

Leisure Painter Highly Commended Award


A subscription to Leisure Painter worth 100
www.painters-online.co.uk

Patchings Award
of a gift voucher worth 450 to be used at Patchings Art Centre,
Nottinghamshire www.patchingsartcentre.co.uk

Premium Art Brands Awards


One prize of Daniel Smith watercolours worth 350 and one prize
of Pan Pastels worth 250
www.premiumartbrands.com

Pro Arte Awards


Two prizes of brushes to the value of 150 each
www.proarte.co.uk
t
Batsford Books Award Graham Lockett Black Rock Sands Gull, Royal Talens Awards
oil, 16x20in. (41x51cm). Drawing and painting have always Four prizes of 250 worth of art materials
been an important part of Grahams life and in the past he www.royaltalens.com
worked mostly in pencil and watercolour. Early in 2015 my wife
treated me to oil-painting lessons. I really took to it, which gave Sennelier Awards
me the impetus to take my art more seriously. I live in the village Two prizes of 250 worth of Sennelier art materials
of Cookley in Worcestershire, which is surrounded by wonderful www.globalartsupplies.co.uk
countryside. I am also a keen hill walker so landscapes and
wildlife are the dominant subjects in my artwork. Black Rock St Cuthberts Mill Awards
Sand Gull resulted from a winter photo session when we took our
Three prizes of 200 worth of watercolour paper
border collie for her first trip to the beach. I was taken by the
simplicity of the shot, the lovely blue sky reflecting on the water www.stcuthbertsmill.com
of the beach and just had to paint it. I usually like to paint as
loosely as possible. Here I used a combination of looseness Winston Oh Award
with the background and the gulls reflection, but with the gull A painting course up to 400 of your choice, sponsored by Winston Oh
I added a reasonable amount of detail and sharpness without www.winstonoh.com
going too far. It was quite a challenge, but very rewarding.

www.painters-online.co.uk OCTOBER 2017 79


David Shepherd Wildlife Foundation

Wildlife Artist of
the Year
CALL FOR
ENTRIES

Open to all artistic styles and media


depicting wildlife and wild spaces
10,000 TOP PRIZE
Expert judges include fellow artists, conservationists & art critics

Entry until 19 February 2018


For full details & rules of entry please see www.davidshepherd.org
or call 01483 272323
David Shepherd Wildlife Foundation - saving endangered wildlife - registered charity no: 1106893 Saba
House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU UK
Tel: 01483 272323 Email: dswf@davidshepherd.org
Image courtesy of Catherine Ingleby - 2017 shortlisted finalist

p80_lp_oct17.indd 1 12:23:03
24/08/2017 14:35:34
Inspirational
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ACH Top 38 v3.qxp_Layout 1 31/07/2017 15:48 Page 8

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Bath Painting Summer School London Art College has many home-
Nestled amongst beautiful countryside, Art Holidays in France study art courses from digital illustration
Bath is a fabulous setting for a painting Escape for a week of art and discovery to pet portraits, art history to
holiday, offering inspiration from its in the glorious Lot and Garonne. Stay cartooning, landscapes to oils and many
medieval Roman and now quintessential full board in secluded luxury others. All courses are supported by
Georgian architecture. We offer teaching accommodation and enjoy daily hands- experienced and enthusiastic tutors. We
from highly respected and on teaching sessions from our guest have 83 years experience in helping
internationally renowned artists. For artists close to home and on location. artists, from beginners to experienced
2018 we have classes with Judi Whitton Enjoy good company in a great location, artists, develop their skills using our
and Jennifer Johnson. whilst improving your skills. self-paced courses.
E lynne@roche-dolls.co.uk E pruemurray@yahoo.co.uk E admin@londonartcollege.co.uk
T 01225 318042 T 07770 811757 T 0800 3280 465
www.bathpaintingsummerschool.co.uk www.artholidaysinfrance.com www.londonartcollege.co.uk u

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Art in the Algarve


Operating since 2008 we offer a winning
formula: learning, enjoyment, meeting
new people, discovering new destinations,
scenery, culture and colour together
with glorious sunshine, lots of laughter
and great food. We offer week-long
holidays painting in all media for all
abilities. Tutors include Grahame Booth,
Roger Dellar, Bettina Schroeder, Paul
Weaver and Sue Ford, amongst others.
E info@artinthealgarve.com
T 0203 287 7140
www.artinthealgarve.com

Tuscany in the Frame


Italian painting holiday specialists in
stunning locations: Tuscany, Amalfi,
Venice/Lake Como, Malta, Matera and
Puglia, Sicily. Tutors include Jan Pollard,
Margaret Evans, Phil Hobbs, Tom Wood.
E info@tuscanyinthefame.com
T 00 39 0575 610406
www.tuscanyintheframe.com

The Open College of Arts


With the OCA, you can study a one-off
course or a BA (Hons) Open degree from
anywhere you like, at a time to suit you.
You will receive support from a one-to-one
tutor who is also an arts practitioner and
SBA DLDC ad 2017 HC issue:SBA DLDC ad June 09.qxd 30/06/2017 13:00 Page 1 you will become part of a thriving student
After a hard days painting with community.
Art in the Algarve, find a spot to relax Freephone 0800 731 2116
www.oca.ac.uk/ta u

The Society of Botanical Artists PAINTING HOLIDAYS


DISTANCE LEARNING DIPLOMA COURSE
A unique course in botanical painting based on textbooks
IN SCOTLAND
The Art of Botanical Painting, The Botanical Palette and
Botanical Sketchbook.
Assignment-led two-year course: twelve separate assignments
and a Diploma portfolio specifically created to develop and
hone skills.
Expert guidance and tuition: learn from experienced members
of the Society, specialists in the fields of pencil, watercolour,
coloured pencil and gouache. Set in the stunning Loch Lomond
Comprehensive marking structure: critiques and marking and The Trossachs National Park,
delivered after each assignment. historic Gartmore House offers
both watercolour and painting
Meet Tutors and fellow students at the Introductory meeting in with mixed media holidays.
the first year and the Seminar in the second year of the course.
Enjoy accommodation, full board
Course 12 Diploma work and expert tuition from our
by Kay Leeves DipSBA(Dist) tutors.
Applications being taken now for the
2 nights to 7 nights available.
15th course starting in January 2018.
From 289 - 659 per person.
Closing date November this year.

For prospectus, application form GARTMOREHOUSE.COM


and comprehensive details, visit the
website or contact the Society on
01747 825718.
#gartmoreexperience
www.soc-botanical-artists.org
Charity reg no 1110869 Stirling, FK8 3RS | 01877 382 991 | mail@gartmorehouse.com

6 Inspirational art courses and holidays 2017/18 www.painters-online.co.uk

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BEAUTIFULLY CRAFTED
CREATIVE HOLIDAYS
Inspirational painting, drawing, Stone Carving courses
stone carving/sculpture, with Simon Keeley.
stained glass, marbled paper
Workshop in Illuminated
and print making courses and
Manuscripts, Miniatures & Frescoes,
writing retreats in the heart
with Claudia Tulifero.
of Umbria.
Stained Glass course,
Master Classes and Painting Classes
with Neal Winfield.
in Italy with Grahame Booth,
Kelly Medford, Caroline Bays, Price includes tuition, art materials,
Adele Wagstaff, Belinda Biggs, complimentary accommodation,
Liz Chaderton, Roger Dellar food, wine and refreshments.
and Paul OKane.
All inclusive from 1085
Writing Retreats course with
Visit our website arteumbria.com
Sue Moorcroft.
for full details on all our courses.

Phone 0033 643 436 721 or 0039 340 371 6510


Follow us on Twitter: @arteumbria; our Facebook page
ArteUmbria; and Instagram arteumbria

ARTE UMBRIA
T H E L E A D I N G PA I N T I N G H O L I D AY D E S T I N AT I O N

ART IN THE ALGARVE


Watercolour Oil painting Oil & Acrylic Specialist courses

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


www.artinthealgarve.com

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H&C 12-15 Cooperv2.qxp_Layout 1 16/08/2016 16:58 Page 2

t Copsa Mare, watercolour,


1134x1412in. (30x37cm). Painted in
situ. The rooftops were a very specific
red (almost purple) so I added a tiny
amount of alizarin to burnt sienna;
brown madder would have done the
same job. Green gold with ultramarine
or raw sienna was employed to make
some speedy green tones.

hours later to surroundings seemingly


unaltered for centuries. Cows were
gently grazing on untainted verges;
nothing but scythes had been near them
p Copsa Street, 3B pencil in Moleskine sketchbook, 514x814in. (13x21cm)
for the past 200 years. Transylvania is
still mostly agricultural and superstitious
in many ways and it is easy to
understand how the vampire myth was
cultivated. All the villages are dominated
by fortified Saxon churches with
imposing spires that rise up from the
landscape in a slightly menacing way,
depending on the weather. That said, Barry Herniman
some of the older villagers are still more teaching in the Camilo,
afraid of the brown bear, but we didnt western Algarve, for
see one on this visit. Alpha Painting Holidays

Holiday painting
After
Alpha a long journeyHolidays
Painting it is important not party atmosphere. Single travellers, all the footsteps of Laura Knight and the
to be too
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www.creative-getaways.com pen, 8x15in. (20x38cm).
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E paint that we could have stayed for in some capacity
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and one-to-one last October
tuition with ourso old farmsteads and houses that have
www.shorlandoldfarm.co.uk through your
enhance the local town, we came upon
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itexperienced,
was not possible fun andto linger for long
professional and
artist. never been touched by western ideas Ethe family in Three Generations (page 15):
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www.art-holidays.com
capture the atmosphere or emotion of a was spent with another foolhardy artist, was impossible to capture it all. u

You stay in a beautiful house beside an


old watermill in a graceful valley
fringed by the Appenines.
We offer all-inclusive painting holidays
with acclaimed tuition, fantastic food
and excellent accommodation.

For more information and booking, please email info@watermill.net or call Bill or Lois on 0039 327 379 9178

8 Inspirational art courses and holidays 2017/18


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www.painters-online.co.uk
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Lake Pichola, Udaipur, India


just one of the painting
destinations with Arte Umbria

Arte Umbria techniques and joys of watercolour. accommodation, lovely food, friendly
and Painting in Europe Paint en plein air in great destinations: atmosphere, and its extensive list
We offer painting and creative Antigua, Mallorca, Venice and Provence. of tutors. The studio and gardens
courses in Umbria and other exotic E tessa@tessasprovence.com of Dedham Hall as well as the
world locations. Check out Udaipur, T 0033 4 94 68 73 76 beautiful Stour Valley offer the perfect
the Himalayas in India or their new M 0033 6 11 25 29 72 setting to relax and let your creative
stained glass course in Umbria next www.paintprovencewithtess.com juices flow.
year. We guarantee the best art E sarton@dedhamhall.demon.co.uk
workshops with top tutors dedicated The New Pastel School T 01206 323027
to ensuring that you achieve fantastic Nel Whatmore and Rebecca de www.dedhamhall.co.uk
results. Take the painting trip of a Mendonca, with over 50 years
lifetime in 2018! experience between them, run four Authentic Adventures
T 0033 643 436 721 courses in the UK and one in Italy. Devised with artistic travellers in
T 0039 340 371 6510 Our courses are friendly, structured mind, Authentic Adventures offer
www.arteumbria.com and and designed to inspire! We both innovative escapes set in inspiring
www.paintingineurope.com teach on each course and, as locations. The range of painting
www.paintingineurope.com/india.php professional artists, our work is also holidays is with small groups of
exhibited at national exhibitions. fellow artists, with each holiday led
Paint Provence E thenew.pastelschool@yahoo.co.uk by a professional tutor. The aim
with Tess Goes Global T 07801 051468 or 07719 585957 is to combine a memorable and
Our all-inclusive painting holidays www.thenewpastelschool.co.uk enjoyable holiday whilst helping
include transport and accommodation in participants achieve their true
beautiful villas. Five-star meals cooked Dedham Hall painting potential.
by professional chefs and amazing Dedham Hall has been hosting E info@authenticadventures.co.uk
locations. Looked after from start to residential art courses for nearly T 01453 823328
finish, you will be guided through the 30 years and is well known for its www.authenticadventures.co.uk u

art safari
UK, USA
Cambodia
Galapagos, Costa Rica
Malta, France
Where will you paint next year? Norway, Spain
Join us and paint. Art Safari runs UK art workshops and exciting holidays Malawi, Zambia
worldwide with artist tutors Mary-Anne Bartlett, Karen Pearson, Roger Dellar, Namibia, Botswana
James Willis, John Threlfall, Sian Dudley, Julia Cassels, Jackie Garner, India, Sri Lanka
Claudia Myatt and Mark Boyd
Bhutan, Mongolia
Call us today on 01394 382235
www.artsafari.co.uk ATOL protected 9916

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Painting Getaways
Discover new places while developing
your own style with the help of
watercolourist, Ibolya Taligas, who has a
lot of experience painting outdoors and
knowledge of the local areas of central
and southern Europe. Small groups,
individual attention, varied locations,
scenic accommodation and a friendly
environment. No previous experience
needed.
T 0208 458 3583 or 07564 906 850
www.paintinggetaways.com

The Watermill at Posara


Secluded millstream gardens, sun-
drenched terraces, riverside walks just
some of the charms of The Watermill at
Posara in Tuscany, Italy. Set in the
unspoilt region of Lunigiana, the
Watermill offers relaxing, inspiring, sun-
filled, fun-filled painting courses with
internationally renowned tutors in
watercolour, oils, pastels, acrylics and
other media.
E info@watermill.net
www.watermill.net

H & G Italy Ltd


Painting in Italy provides the very best
in fully organised holidays with painting
or cooking tuition. We use high-standard
Osumi River at Berat, Albania. Explore new and hotels, provide excellent food and wine,
exciting locations with Painting Getaways professional tuition and excursions to
interesting places. The holiday suits

Gorgiano Studios
All inclusive Art Holidays in the Heart of Italy
Now with private ensuite rooms for all artists

This has been the best vacation of my life! I came


for the painting but just as much loved the food and
wine and fantastic company. Karyn, Canada

Happy days painting, singing, laughing, laughing,


laughing. Val, UK

www.paintingholidaysitaly.com
or ring/text 0039 968 0796 for a brochure

10 Inspirational art courses and holidays 2017/18 www.painters-online.co.uk

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clients travelling alone or partners and


friends, who want to go on holiday
together but do different activities each
morning.
E info@paintinginitaly.com
Freephone 0808 1185729
M 07802 682575
www.paintinginitaly.com

Watercolour Painting Holidays


at Gartmore House
A painting holiday at Gartmore House
gives you the chance to improve your
skills in relaxed company and the
stunning surroundings of The Trossachs
National Park. Breaks include
accommodation, full board and expert
tuition. Available for two to seven
nights, from 289 to 659 per person.
Find out more at
www.gartmorehouse.com

Gozo Painting Holidays


Our Gozo holidays are known for their
spectacular locations, offering days out
in the sun, while the rest of Europe is in
the middle of winter. An all-inclusive trip
(no flights) comprises transfers,
accommodation, meals, tuition and a bit
of sightseeing. We also offer tailor-made
individual holidays so please feel free to
enquire. Contact Doranne Alden
Caruana (art tutor and host). Paint in the spectacular Trossachs National Park with
E gozopaintingholidays.com@outlook.com Watercolour Painting Holidays at Gartmore House
www.gozopaintingholidays.com u

Your First & Best Choice for a Painting Holiday


Wells in Somerset, Exmoor National Park & North Devon Coast, North Cornwall
Coast, Wye Valley, Lake District, Provence, France & The Western Algarve

David Bellamy, Grahame Booth, Jem Bowden, Roger Dellar, Joe Francis Dowden, Soraya French, Jeremy Ford,
Steve Hall, Barry Herniman, John Hoar, Richard Holland, Michal Jasiewicz, Anne Kerr, Carol Kibble, Arnold
Lowrey, Kevin Scully, Keiko Tanabe, Andy Walker, Paul Weaver, David Webb, Dave White & Peter Woolley

We guarantee you wont want to go home and


you will definitely want to come back!
Organisers on location with the group
ovely All Destinations researched thoroughly by Alpha beforehand We only pick
At Alpha we use only proven tutors from around the world perfect places to
Art Materials included on selected holidays
ainting Non painters & All Abilities Welcome
have painting
Studio & Location based courses in all media holidays you will
oliday All rooms en-suite & some Ground Floor rooms never forget
Combined Sketching & Walking Holidays
dventure 01934 733877
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Abbey Arts
On this practical course, youll learn the
techniques and secrets of egg tempera.
Our expert tutor will guide you through
the stages of this timeless process via a
clear structure. Accommodation is a
unique property in the magical Loire
Valley, France. For five per cent
discount use code renaissance17
at checkout.
E info@abbey-art.com
www.abbey-art.com

East Devon Art Academy


Be inspired. Breathtaking scenery,
fantastic top-level tutors and friendly
atmosphere in a town caught still in
timeless charm (John Betjeman).
Devon coastal location in an AONB.
Tutors include Amanda Hyatt, Francesco
Fontana, Haidee-Jo Summers, Laura
Reiter, Stephie Butler, Jake Winkle, Paul
Weaver, Gareth Edwards, Chris Forsey,
Jem Bowden and many more.
E info@eastdevonart.co.uk
T 01395 516284
www.eastdevonart.co.uk

Unlock your Jan Blanch: Cottage Flowers


creativity and With courses in Norwich and Corfu, Jan
develop your teaches painting flowers, gardens and
skills as you join landscapes in watercolour and mixed
Abbey Arts in media to all abilities from the absolute
the Loire Valley beginner to more experienced painters.
Jans watercolours have sold in the form

Dedham Hall
2018
Egg Tempera: The Italian Primitives
22nd - 31st October 2017
Loire Valley, France

This practical course will teach you the techniques


& secrets of the Renaissance artists. A rare
opportunity to learn & paint with egg tempera.
John Hoar

Come to Dedham Hall where we offer tutored courses run by an ever-increasing


number of tutors that include Alvaro Castagnet, Soraya French, Paul Banning,
Roger Dellar, Jane Evans, Liz Seward, Chris Forsey, David Howell, Carole Massey,
John Hoar, Herman Pekel and many more.

Dedham Hall has been hosting residential art courses for nearly 30 years and is
well known for its accommodation, lovely food, friendly atmosphere,
as well as its extensive list of tutors. The studio and gardens of Dedham Hall
as well as the beautiful Stour Valley offers the perfect setting to relax and let
5% discount for readers. Use code RENAISSANCE17 at checkout your creative juices flow.

www.abbey-art.com E. sarton@dedhamhall.demon.co.uk
T.01206 323027
www.dedhamhall.co.uk

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of gicle prints, greetings cards and Enjoy quiet year-round. Run by people who actively
stationery in Harrods, Fortnum & time painting enable the creative process, with access
Masons, Libertys of London and in and relaxing in to stunning private Devon coastal
Kobe, Japan. the courtyard locations, gorgeous food and tutors,
E info@janblanch.co.uk at Coombe who actively teach and demonstrate,
T 01493 393639 or 07702 069300 Farm Studios Coombe is an ideal creative break.
www.janblanch.co.uk E lara@coombefarmstudios.com
T 01803 722 352
Quality Art Retreats in Spain www.coombefarmstudios.com
Dramatically improve your watercolours

54
in Spain. Enjoy a life-changing painting Artsmartuk
experience away from the world with Tutors include Varvara Neiman,
the best watercolour masters: Zbukvic, Ali Cockrean, Barry Herniman and
Castagnet, Chien Chung-Wei, Schaller Jonathan Newey teaching landscapes,
and Penovc. Every detail is fully Enjoy a week of painting in seascapes and portraiture in oils,
organised, just for you to relax, enjoy beautiful surroundings with watercolour and acrylics. Locations:
the sun, the food, exquisite wine and Dalvaro Art Holidays (page 7) Buckinghamshire, Oxfordshire, Italy,
the company of your favourite tutor. Spain and France. Weekly and weekend

51
E angela@epc-artcourses.com
David Webb innovative and informative learning courses together with painting holidays
T +34 645 767 contributor
Popular 403 to Leisure programmes for adults. Drawing on the in perfect locations for beginners and
www.epc-artcourses.com
Painter, David, runs adult watercolour specialist knowledge of its staff, improvers.
art classes, workshops and holidays. practitioners and historians, and E info@artsmartuk.com
The Norfolk
Learn Painting
useful painting School
and drawing utilising the museums incredible T 01494 670372
The Norfolkand
techniques Painting
choose School
from is the UKs
venues collections and exhibitions, the V&A www.artsmartuk.com
in Dorset, Cornwall, south Walestuition.
leading specialist in oil painting and delivers lively and engaging sessions

55
From traditional
Essex. Groups have glazing skills to of 12
a maximum for a wide range of interests. Tuscany in the Frame
expressive
students to contemporary
allow one-to-one oils,tuition.
we have T 020 7942 2000 Italian painting holiday
Tcourses
01803for all interests, abilities and
846321 www.vam.ac.uk/courses specialists in stunning locations:
ambitions. Tuition starts from as little
www.davidwebbart.co.uk Tuscany, Amalfi, Venice/Lake Como,

53
as 199 with our affordable Pay Now Coombe Farm Studio Malta, Matera and Puglia, Sicily. Tutors
Join Martin Kinnear at
52
pricing. To find out and
Victoria moreAlbert
and read Painting Holidays include Jan Pollard, Margaret Evans,
student reviews, just visit our website The Norfolk Painting
Museum (V&A) I learnt more in a weekend than I have Phil Hobbs and Tom Wood.
or call. School for oil painting
The V&A Learning Academy was in years! Unlock your creativity, paint E info@tuscanyinthefame.com
T 01485in 528588. courses for all levels
launched 2016 to build on over fresh vibrant watercolours, get to grips T 00 39 0575 610406
www.norfolkpaintingschool.com u
30 years experience of delivering with oils or experiment with acrylics www.tuscanyintheframe.com bb

Painting Holidays Self Catering Accommodation


TUSCANY Acclaimed Artist tutors Jan Pollard,
Margaret Evans, Phil Hobbs,
IN THE FRAME Tom Wood and more...

2018 dates
Lake Como 5th-12th May
Tuscany 6th-13th June
Amalfi 1st- 8th Sept
Amalfi 8th-18th Sept
Amalfi 18th-23rd Sept
Tuscany 23rd Sept-1st Oct
Amalfi 1st-8th Oct
Sicily 9th-16th Oct
Sicily 16th-26th Oct
Sicily 26th Oct-5th Nov
Other workshops to be
Villa Nobile Villa Nobile updated.....check website

For more information, contact Raffaele Nobile


TUSCANY IN THE FRAME
Villa Nobile, Loc. Oppiello, Farneta, Cortona, 52044 (AR)
Tuscany, Italy
Italy +39 0575 610406 Mobile +39 339 825 6617
Email: info@tuscanyintheframe.com
Website: www.tuscanyintheframe.com

www.painters-online.co.uk
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Enjoy a house-party
Fire your enthusiasm for painting atmosphere and plenty
in an unspoilt region of central of individual tuition with
Italy with Gorgiano Studios Art Holidays in Dorset

Art Holidays in Dorset St Ives School of Painting Wild and Tame wildlife
We offer professional, supportive For nearly 80 years, we have been workshops in pastels
tutors, comfortable, en-suite providing high-quality art tuition in Cate Wetherall runs small friendly
accommodation and no single spacious studios overlooking the beach. wildlife pastel workshops at her home
supplement. Theres a relaxed, friendly Our tutors are well-respected exhibiting studio, set in six acres of
house-party atmosphere. Enjoy our artists with the training and ability to Buckinghamshire countryside. Youll
attractive secluded courtyard, well- share their knowledge. We work in small meet her donkeys, goats, hens and
equipped in-house studio, stunning groups so there is a friendly atmosphere ponies, which are often used as the
locations and delicious home-cooked and plenty of one-to-one time. subjects of the day! Small, unhurried
food. Small groups ensure individual All materials are provided which makes and relaxing workshops enable you to
support. All holidays include full board packing easy and all this in one of the develop your own style, using a variety
and wine. most stunning locations in the world. of pastels and papers.
E info@artholidaysindorset.co.uk. Use code EARLY10 for 10% off courses E cate@wildandtame.co.uk
T 01202 393234 booked by end Sept. T 07702 060113
www.artholidaysindorset.co.uk T 01736 797180 www.wildandtame.co.uk
www.schoolofpainting.co.uk
Inspired Painting Holidays Watershed Studio
Join Catherine and Peter Stott for Gorgiano Studios Watershed Studio holds a wide variety
inspiring 2018 painting holidays in Art holidays in central Italy now offer of art workshops throughout the year.
beautiful Devon and Exmoor. Enjoy four- private en-suite rooms for each artist. We are very lucky to have such a great
star accommodation, a spacious studio Unleash your creative side with the team of tutors who teach here and we
and wonderful locations with individual resources of our vast studio and find try to cover most media. We specialise
attention from experienced tutor, inspiration in this unspoilt region. With in one and two-day courses, priding
Catherine, and Peters lovely cooking! delicious food and wine included, and a ourselves on good-quality, professional
Small groups, family atmosphere, all range of floppy hats, you just bring the but affordable painting breaks.
levels. Fabulous painting experience. enthusiasm. E allison@watershedstudio.co.uk
The whole set up painting, rooms, E caroline@paintingholidaysitaly.com T 01255 820466
food, atmosphere is brilliant, VD, T 0039 328 968 0796 www.watershedstudio.co.uk
Carshalton www.paintingholidaysitaly.com
E info@catherinestott.co.uk Cumbrian Chapel Studio Breaks
T 01398 332094 or 07763 882955 Society of Botanical Artists Unique painting holiday venue with
www.inspiredpaintingholidays.co.uk Course director Simon Williams SBA optional tuition situated near the
says: Our independent SBA Distance historic city of Carlisle, Hadrians Wall
Callington School of Art Learning Diploma Course is highly and the Scottish Borders. Sark Chapel is
Callington School of Art offers painters respected internationally. Each year it a delightful, spacious conversion with
of all abilities the chance to develop and evolves with new aspects, assignments accommodation for individuals or groups
improve their techniques in any medium and tutors and the standard of students of up to six guests. Large and light
or try something new. There is a studio work continues to rise. Many graduates studio with original feature chapel
to die for and Tessa is a patient and go on to become full-time botanical windows. Enquiries welcomed for tailor-
knowledgeable tutor. Peters cooking artists, illustrators or tutors throughout made courses with professional artist
always attracts praise. the world so if you aspire to be a and tutor, Ceri Allen. Contact Ceri at
E info@callingtonartschool.com botanical artist then we look forward to E art@ceriallen.co.uk
T 01579 383491 welcoming you to our course. T 07944 859849
www.callingtonartschool.com www.soc-botanical-artists.org www.ceriallen.co.uk b

14 Inspirational art courses and holidays 2017/18 www.painters-online.co.uk


I LOVE ART COMPLETE WATERCOLOUR SET
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Travellers Companion_Oct17.indd 1 02/08/2017 12:39:28


The opportunity to learn how to assess artworks critically and link
ideas in a creative way now means that I can endow everything I see
with constructive potential. The world has become a different place.
Painting and words by student Margaret Hargreaves

With the Open College of the Arts you can choose from one of our specialist
Open BA (Hons) Degrees in Fine Art, Painting or Drawing, or try our
pre-degree Open Foundations Drawing course first.

LIVE | LEARN | CREATE oca.ac.uk/ta

p16_hacoct17.indd 1 02/08/2017 10:28:14