04 April 2013 01 Opti

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Ken Howard OBE: "My life in art"

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Artists & Welcom e!
W
eve had a very busy month here
Artists & Illustrators
The Chelsea Magazine Company Ltd. at Artists & Illustrators. It began
Jubilee House, 2 Jubilee Place with a trip to Paperworld in
London SW3 3TQ
Frankfurt, Europes leading trade
Tel: (020) 7349 3700
Fax: (020) 7349 3701 fair for art materials, where we got
www.artistsandillustrators.co.uk sneak previews of lots of new products that will be
launched in the UK this year. Weve picked out a few of
EDITORIAL
Editor Steve Pill
our favourites in the diary pages this month but you
Senior Art Editor Chlo Collyer can also look out for exclusive reviews in forthcoming
Features Writer Martha Alexander
info@artistsandillustrators.co.uk
issues too just as soon as we get our hands on some
samples for testing
With thanks to...
Zena Alkayat, Fabio Cembranelli, Diane
The other big event of the month was the launch of
Coates, Jemma Derbyshire, Neil Hall, the Artists & Illustrators Artists of the Year 2013
Gareth Iwan Jones, Sandrine Maugy, Andy
Smith, Jenny Wheatley and Alice Wright
exhibition at the Osborne Studio Gallery in West
London. Our team had a great time at the opening night
ONLINE
Digital Product Manager Terri Eaton as we got to see all the winning
support@artistsandillustrators.co.uk works up close and present the
ADVERTISING artists with their prizes. Our
Group Advertisement Manager
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overall winner Linda Alexander
Tel: (020) 7349 3741 was there, along with the owners
lyndal.beeton@chelseamagazines.com
of her winning painting, Physalis,
Senior Sales Executive Tom OByrne which they kindly loaned us for
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tom.obyrne@chelseamagazines.com
the exhibition.
There was plenty of interest in
Advertising Production allpointsmedia
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the works, which also included
pieces by our Portfolio Plus
MANAGEMENT & PUBLISHING
Managing Director Paul Dobson members. Ken Howard RA and
Deputy Managing Director Steve Ross Society of Graphic Fine Art
Publisher Simon Temlett
Commercial Director Vicki Gavin president Jo Hall were among the leading artists who
SUBSCRIPTIONS AND BACK ISSUES dropped by and red dots quickly began appearing next
Subscriptions Manager Will Delmont to the paintings. In fact, the response was so great that
will.delmont@chelseamagazines.com
Tel: (020) 7349 3710 the gallery extended the exhibition by a whole extra
week! A huge thanks must go to Geoffrey and all at
For all subscriptions and back issues
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FEATURED CONTRIBUTOR
Artists & Illustrators (ISSN 0269-4697) is published every

JENNY WHEATLEY
four weeks. We cannot accept responsibility for loss of, or Jenny has been working as a full-time painter since graduating from
damage to, unsolicited material. We reserve the right to
refuse or suspend advertisements, and regret we cannot West Surrey College of Art and Design in 1981. Jenny was one of
guarantee the bona fides of advertisers. Readers should
note that statements by contributors are not always the youngest ever members to be elected to both the New English
representative of the publishers or editors opinion.
UK Trade: COMAG, Tavistock Road, West Drayton, Art Club and the Royal Watercolour Society, and she was one of the
Middlesex UB7 7QE.
Tel (01895) 444055, Fax (01895) 445255. expert judges on Channel Fours Watercolour Challenge. On page 36,
Printed in the UK by Wyndeham Heron.
Colour origination: allpointsmedia Jenny gives an inside account of the RWSs painting trip to Malta.
www.jennywheatley.co.uk
Artists & Illustrators 3

CONTENTS
FEATURES
16 CHARLOTTE SORAPURE
The Bath painter on finding her artistic voice
23 SUMMER IN FEBRUARY
Exclusive preview of a new film about artists
31 WHISTLE-STOP TOUR
Can Yorkshires four galleries be seen in a day?
36 MALTESE CROSSING
Join the Royal Watercolour Society on location
39 THE BEST TRADITIONAL ART SHOPS
The stores with the most history and character
40 IN THE STUDIO
A sculptors workspace up two flights of stairs!
TECHNIQUES
45 TIP OF THE MONTH
Your bumper practical art guide starts here
46 TALKING TECHNIQUES
Sophie Knight reveals her unusual methods
50 MASTERCLASS
A step-by-step watercolour demonstration
54 THE FIVE RULES OF WATERCOLOUR
...and tips on how to break them!
59 WHY NOT TRY...
Ditch your square canvas to paint in the round
60 QUICK SKETCHES
Get the juices flowing with this great exercise
64 PACKING A PUNCH
How to paint like US master George Bellows
66 LEARN SOMETHING NEW
A five minute guide to sculpting in clay
67 HOW I MADE...
Jeremy Gardiner on his textured landscapes
68 HARMONIC SHADOWS
Learn how to add depth to botanical paintings
72 READER REVIEW
Get your art portfolio critiqued by an expert
74 PAINTERLY DRAWING
Liven up your sketching with our demonstration
76 WINNING WAYS
WIN!
A 7-day painti
holiday in Maltng
With Lynn Painter-Stainers Prize 2013 winner
a
REGULARS see page 15
6 YOUR LETTERS
9 THE DIARY
Your guide to the month ahead
15 COMPETITION
42 PORTFOLIO
62 REVIEWS
The latest art books and materials rated
82 MY LIFE IN ART
With Ken Howard OBE
ISSUE 324 WWW.ARTISTSANDILLUSTRATORS.CO.UK APRIL 2013

Your Letters
Letter of the month
WRITE TO US
Send a letter or email to the addresses below
for the chance to win a 50 GreatArt voucher
POST
WHERE IS THE LOVE? Your Letters
Re: My Life In Art, Issue 323 Artists & Illustrators,
While reading your March issue, I came to the interview with the artist Eleri Mills. She Chelsea Magazine Company Ltd.,
was asked, Whats the biggest misconception about being an artist? to which she replied Jubilee House,
That you are so lucky doing what you enjoy. Enjoyment does not come into it; it is a 2 Jubilee Place,
London SW3 3TQ
serious occupation, hard work and requires huge commitment.
I was quite amazed by this statement. Does she mean she gets no enjoyment
Whats your favourite art
shop?
EMAIL
info@artistsandillustrators.co.uk
junkie.
I am not really an art shop
Whats your first Beautiful new art materials
make
memory of art? me nervous.
Kenneth Clark (right)
out of art? Do all professionals feel this way? Im just an amateur but, at the
presenting Civilisation What one art product could
up
on television. I was brought you not live without?
and
on a hill farm in Mid Wales This can vary as I am
watching it was like a door dependent on many materials
opening into a magic world. and tools the tube of
be a
Prussian Blue seems to
Were your family artistic? favourite at the moment.
the rich
I grew up surrounded by
age of nearly 60, I still love my art and get great enjoyment every time I go on
and
cultural traditions of Wales Who or what would be
Every month, the writer of the winning letter

music,
my mothers passion for your dream subject?
of
poetry and theatre. Members I am always open to new
methods
my family were skilled craftsmen and subject matter. I see
my art as
and women and I was encouraged an on-going adventure.
to be creative.
When were you happiest?
so far?
will receive a 50 gift voucher from our

What is your career high During my residency at
Columbia
my drawing board. It is my dream to work as a professional artist and cant

There are two special highlights. University, New York, in
the
Wales
The first was representing spring of 2012.
the
with a solo exhibition during
in
Wales in Catalonia festival
2010,
Barcelona 1995. Then in
Council
I was awarded the Arts
partner GreatArt, who offers the UKs largest

of Wales Creative Wales
Ambassador prize, which
has
MY LIFE IN ART
directions.
imagine a day when I get no enjoyment out of being creative. Is Eleris view
taken my work in new
What have you sacrificed

for your art?
A possible career in music.
My
ELERI MILLS Cambrian Academy,
Whats the biggest miscon-
ception about being an
That you are so lucky doing
artist?
what
A member of the Royal
range of art materials with over 40,000

the
mother wanted me to study does not
a Mid-Wales farming you enjoy. Enjoyment
harp in London. I rebelled
and
Eleri lives and works in come into it; it is a serious
did an art foundation course
in landscape works
community. Her poetic occupation, hard work and
Birmingham. I think I made paint and pastel
shared with other artists? I would love to hear their views.

combine embroidery, ink,
requires huge commitment.
the right choice...
INTERVIEW: MARTHA ALEXANDER cult?
Do you still find art diffi
What is the best I am not a very mechanical
art supplies and regular

piece of advice youve person and have periods
when
been given? North Wales, which currently
I get stuck it takes great
By Shakespeare, To hangs in Tate Britain. going.
self-motivation to keep
thine own self be true
Whats the last exhibition Apart from art,
Michael Walsh, Blackburn

Which artists do you you saw? whats your
turn to for inspiration? William Kentridges
discounts and promotions.

biggest talent?
Marc Chagall, Mark Rothko, videos in the Tanks at Playing the harp,
Samuel Palmer, the 18th-century Tate Modern (below). which makes me
Richard I like to be challenged
Welsh landscape painter very happy.
What is your studio like?
Wilson and also J.D. Innes,
for and surprised by what
IMAGES WILLIAM KENTRIDGE,
to it: high
It has an industrial feel
seeing Wales in psychedelic of I see, and have very What single thing
also ceiling, good light and plenty
colours a century ago. I work. I catholic tastes. would make your
wall space for pinning up
www.greatart.co.uk
for the
admire David Hockney back work easier?
like to have space to stand
joy in his work. working. Always being in the
and walk around as I am
right mood in the studio.
COLUMBIA, BBC, ISTOCK
Wheres your favourite runs

If money was no object,
what Eleris latest solo exhibition
place to paint? to own? from 5-22 March at Thackeray
with painting would you like
The landscape of Mid Wales Gallery, London W8.
ancestral Arenig, North Wales, JD Innes
all its layers. This is my a series www.thackeraygallery.com
an final glorious painting in
landscape and therefore in
matter. inspired by the mountain
extremely potent subject
82 Artists & Illustrators

23/01/2013 17:05
82 Life in Art.indd 82
EN PLEIN (COLD) AIR looking forward to painting. By the time

I surprised myself for once: I actually followed we started painting, the snow was already
through on a New Years resolution. For a long beginning to thaw. After we had finished
time now I have been saying I should get out the snow scene, we turned our attention to
and do some painting, but I never quite got a lane just yards from where we had been
around to it, so on 10 January, I did just that. painting: it was one of those images you
I organised all my equipment for plein air see and say to yourself: Wow! I gotta paint
painting, trying to keep it as light as possible that. I must say that the end result was a
(wishful thinking). I put on some extra painting I am quite proud of.
clothing and drove a short distance to an area If there was a recommendation I could
of farmers fields where I set up my easel. pass on it would be: If you are thinking
An hour in, two women stopped to about painting en plein air, do it when the
admire my painting. One of them said weather is cold and uninviting. If you can
that her husband also painted and then stand the cold, but more importantly, enjoy
asked me for my website details to pass the whole experience then you are more likely
onto him. Two days later I had an email to stick at it. I only wish I started years ago.
from the womans husband asking if he Bob Hughes, via email
could join me on my next painting trip.
We decided to meet up a few days later. A HAPPY START
On this day the weather was a little My first issue of your magazine was received
colder, we set up our easels and started in February. I certainly had value for money.
painting. By the end of the session my There were excellent, very useful and
fingertips were slightly numb with the informative articles therein, to say nothing of
cold. As I was gathering up all my the excellent free gift for subscribing by direct
equipment, I bent down to pick up my debit. My March issue is equally excellent:
drawing board with the painting taped to painting exercises, masterclass marvelous!
it, it slipped out of my grasp and fell face But it is unfair to single out a specific
down onto the grass. I had to repaint areas contribution, as the whole magazine is
that were damaged, but thankfully the invaluable. I can see I shall gradually
cleaned up painting doesnt look too bad. accumulate a portfolio of excellent articles,
A couple of days later, we met up again. which will be a great help in my journey
On this occasion there had been an as an artist.
overnight snowfall, which we were both Miss Wendy Dedicott, St Johns, Worcester
FOLLOW US ON TWITTER (@AANDIMAGAZINE) OR FACEBOOK (FACEBOOK.COM/ARTISTSANDILLUSTRATORS)

And breathe...
Its amazing what you miss when you rush by. Thats why all our
walking and cycling holidays, across Europes unspoiled corners and
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01653 617083
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the diary
the diaryAn artists guide to the month ahead
Baselitz: Women Dont Paint Very Well

after the german artists ridiculous claim, we asked the society of women artists to set him straight
g
eorg baselitz has made the ridiculous work of us ladies and i would love to know the likes of June mendoza (top right) and
claim that women dont paint very what is really behind his angst. maggi hambling are pleased to be working
well. talking to german publication in response to his claims, Jelley highlighted in a far more egalitarian environment.
Spiegel, the painter (pictured centre) said his some of the swas most prestigious Perhaps mr. baselitz is trying to ape
beliefs were fact and also added that members, including bP Portrait award finalist ruskin who very loftily opined that no
despite being in the majority at most art frances bell and past president daphne woman could paint. he did, however, revise
schools, women simply dont pass the test. todd obe (top left). in contrast, baselitzs this view upon seeing the famous Roll Call by
keen to set the record straight, we asked comments are a throwback to less lady elizabeth butler.
the society of women artists (swa) enlightened times. sylvia gosse swa, a Jelley extended an invitation to baselitz to
president sue Jelley for her take on close friend of walter sickert, was never attend the private view of the 152nd annual
emma wood; wolfgang neeb; andy smith
baselitzs words. i am rather intrigued as to accepted by the art establishment, explains swa exhibition, which runs from 27 June to
his qualifications to be able to make such a Jelley. fortunately in the 21st century 6 July at londons mall galleries. i would be
sweeping statement, she told us. he women artists no longer have to contend delighted to show him around, she said.
obviously has little time or regard for the with these old prejudices and i am sure that www.society-women-artists.org.uk
what do you think of baselitzs comments? email us at info@artistsandillustrators.co.uk

the diary
Enjoy A Pick Me Up
This invitingly-titled 11-day festival returns to Somerset
House in London for its fourth outing, bringing with it
boundless enthusiasm for graphic art, design and
illustration. As well as showcasing and selling exemplary
contemporary graphic prints and products, the event hopes
to encourage fledgling and practiced artists of every age to
get involved. Print Club London will be setting up a pop-up
studio to teach screen-printing; animation studio Aardman
will demonstrate how to make a Shaun the Sheep model;
and a Pick Me Up pub will
provide the opportunity to
design a beer label as well
as stop for refreshment.
Pick Me Up runs from
18-28 April at Somerset
House, London WC2.
www.somersethouse.org.uk
OPEN INVITE
Explore Yorks artistic side at the citys two open studios weekends.
Some 50 local artists (including abstract painter Jerry Scott, below)
will be opening their doors and offering a sneak peek of their studio
and current work. Some of the most sociable will also be popping the
kettle on, proffering a slice of cake, presenting demonstrations and
organising workshops. Email info@yorkopenstudios.co.uk to be sent
a free map of the York Open Studios trail.
York Open Studios takes place on 12-14 April and 20-21 April.
www.yorkopenstudios.co.uk
LEBANESE SHOWCASE
Arguably neglected and misunderstood in the West, the work of
Lebanese artist Saloua Raouda Choucair is finally getting the
attention it deserves as Tate Modern presents the artists first major
UK show featuring more than 100 abstract paintings, sculptures and
objects. The retrospective show covers five decades worth of work
and should deftly demonstrate the artists myriad influences, from
maths to modernism.
KEVIN MEREDITH; SALOUA RAOUDA CHOUCAIR FOUNDATION; THE DAVID BOWIE ARCHIVE 2012 IMAGE V&A IMAGES
Saloua Raouda Choucair runs from 17 April to 20 October at
Tate Modern, London, SE1. www.tate.org.uk
COMING UP THIS MONTH...

23 MARCH 31 MARCH 10 APRIL
WOWIE BOWIE! A TALENTED BUNCH NORTH WEST SOCIAL
David Bowies latest single features a Paul Nash claimed there was an outbreak of talent North West Art is a new regular event that will offer
sculpture of Egon Schiele on the cover and while he was teaching at the Royal College of Art in networking opportunities to artists in the area.
now V&A presents a whole exhibition the 1920s. Now that phrase has become the title of a Taking place at Castle Park Arts Centre in
devoted to his singular style. David Bowie new show at Essexs Fry Art Gallery. Open until 30 Frodsham, Cheshire, this particular evening will
Is runs until 11 August and also includes June, it includes classic works from the inter-war include an interactive presentation from the chair
this intriguing 1978 pencil self-portrait. years by Edward Bawden and Eric Ravilious. of the Guild Framers Committee, Mal Reynolds.
MAKE A DATE WITH US! THE MAY ISSUE OF ARTISTS & ILLUSTRATORS IS ON SALE FROM 28 MARCH 2013

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the diary
NEW FOR 2013

The Paperworld trade show in Frankfurt is a great opportunity for art
manufacturers to launch new products. We popped along to bring you
a sneak preview of a few new products hitting UK shops this year
Fredrix Canvas
US firm Fredrix has been making canvas since 1868. New
European distribution means that we will soon be able to
get our hands on their quality stretched canvases
including this interesting circular option!
Schmincke Linoprint Binder

Following on from Schminckes paint binders comes this
new linoprint option. Add two-parts binder to one-part
freshly ground pigment to create your own ready-to-use
artists colours.
Caran dAche Sharpening Machine

Not strictly a new product but rather a relaunch of an
HELPING HAND enduring classic. The Geneva Maison de Haute Ecriture

has marked the 80th anniversary of this cult instrument
The Jerwood Painting Fellowship
by reissuing it in a vintage tin.
programme is designed to offer support to
emerging artists, in the form of a 10,000
bursary and year-long mentorship with an
established figure.
Jackknife Easel
The first three fellows have now finished Distributed in Europe by Cappelletto Italia, this California-
their programme and you can see the designed easel has a patented folding design that makes
fruits of their labour at the Jerwood Space, it easy to transport. Made from sustainable hardwood ply,
London SE1 from 13 March to 28 April. it comes in three sizes.
The Royal Academician Mali Morris
[pictured above with her fellow, Sophia
Starling] was among the mentors and she New Age Pastrello palette knives
revealed that it is has been very much a Find normal palette knives too unwieldy? Try these for
give-and-take relationship: When we size! Developed with artist Franco Pastrello, the 14
occasionally meet up in her studio, I feel different shaped heads include some of the smallest
that I too am learning a lot. weve ever seen perfect for detailed work.
MORE DATES FOR THE DIARY...

13 APRIL 25 APRIL 27 APRIL
PHOTOGRAPHY: BEN ANDERS. ART DIRECTION: HYPERKIT
A DRAMATIC TURN(ER) GRAB AN ART BARGAIN WILDLIFE TRIBUTE

Maurice Davies presents a dramatic recreation of Two major art fairs get under way this month. You Roland Green A Tribute pays homage
JMW Turners lectures on art at the Turner can buy direct from leading artists at Londons The to one of the 20th centurys fi nest
Contemporary in Margate. Laid on with the help of Other Art Fair, which runs from 25-28 April at wildlife artists. Running until 8 June
Daily Telegraph art critic Alastair Sooke, they will Ambika P3. A day later, The Affordable Art Fair at St Barbe Museum & Art Gallery in
coincide with the Turners Perspective exhibition then returns to Brunels Old Station in Bristol from Hampshire, it also includes work by
which runs until 6 May. 26-28 April, with all artwork under 4,000. Society of Wildlife Artists members he inspired.
EVER WANTED TO SELL YOUR ART ONLINE? SIGN UP AT WWW.ARTISTSANDILLUSTRATORS.CO.UK/REGISTER

CALL FOR
ENTRIES
2013
OPEN ART EXHIBITIONS
Submit online
Pastel Society 20 Dec 21 Mar
The Threadneedle Prize 4 April 4 July
Royal Society of Marine Artists 25 April 25 July
Society of Wildlife Artists 16 May 15 Aug
Exhibition sponsored by
Find out more at:

www.mallgalleries.org.uk
Kensington Palace studios The Princes Drawing School

the MaKing Process daytiMe and evening Summer Programme 2013
courses in drawing, Painting, sculPture, An experience of art school
the aPPlied arts and art history for all open to all...
levels of exPerience Daytime and evening drawing courses in East
London for all levels, 22 April - 29 June 2013
suMMer terM 22 aPril 28 June 2013 www.princesdrawingschool.org / 020 7613 8568
booKings now oPen www.KensingtonPalacestudios.org
telePhone: 020 7613 8568
Drawing by Max Naylor

AI_kpsadvert_Summer2013.indd 1 AI_shoreditchadvert_Summer2013.indd
15/02/2013 10:15 2 15/02/2013 10:11
competition
WIN A MALTESE
Coming up in this issue, Jenny Wheatly has
given us an exclusive insight into the Royal
Watercolour Societys painting trip to Malta
(see page 36) and we decided that they
P
PAINTING HOLIDAY
Enter this months prize draw for the chance to spend a week
shouldnt be the only ones having all the fun. painting in the glorious Mediterranean sunshine
We have teamed up with Authentic
Adventures to offer one lucky reader the
chance to enjoy a seven-day painting holiday
to the Maltese island of Gozo, worth more
than 1,300.
THE PRIZE INCLUDES:

Return economy flights between London
Gatwick and Malta, and return transfers
from Malta to Gozo
Full-board accommodation and a single
supplement for the hotel.
Full-time services of a painting tutor and
tour manager
Visits to various local destinations in
air-conditioned vehicles AUTHENTIC ADVENTURES PRIZE DRAW
For your chance to win this fantastic painting holiday,
Maltas prettier little sister, the tiny island of simply fill in this form and return it to:
Authentic Adventures Prize Draw, Artists &
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charlotte sorapure
A touCh
of
GrACe
Half of a fine art power couple, Charlotte Sorapures work
combines an elegant touch with a disquieting atmosphere.
On the eve of a major new show, the New English Art Club
member reveals how she found her own artistic voice
Words: mArtHA AlExANdEr PhotograPhy: gArEtH iwAN jONEs
O
ur first attempt to visit artist Charlotte
Sorapure in her West Country home hit
the buffers before we had even set off.
The UK was in the midst of a huge
blizzard and while we might have been
able to make the initial trip, there was no way of telling
when or by what means we could have left.
However, as we were to discover when we finally
made the trip after the arctic conditions had mellowed,
if one was to get stuck anywhere, Charlottes home,
which she shares with her husband and fellow artist
Saied Dai, would be no hardship.
Charlottes home and studio are both attractively
designed and filled with so many wonderful objects
Saieds architectural origami, a money tree, tiny
figurines, small glass bottles that it was easy to forget
we were there to talk about the artist and her work.
Her environment is reflected in her paintings, however:
elegant, original and stylish. Whether she is painting
portraits, landscapes or her most recent figurative scenes
from Giffords Circus that will be shown in her
forthcoming exhibition at Victoria Art Gallery in Bath,
Charlottes paintings all contain a rare beauty and have
something otherworldly about them not quite mystical
perhaps, but they hold a mysterious darkness, certainly.
Charlotte doesnt shy away from the idea that her
work is unsettling. I want to bring peoples attention to
something that might to all intents and purposes seem
initially mundane, she says. I am attracted to the
quirky and the odd as well, and I aim to bring a
heightened sense of atmosphere. >

charlotte sorapure

charlotte sorapure
Painting spans so many subjects: history, philosophy, psychology and anatomy...

It was a revelation. It opened up the world for me in a way that no other subject did

charlotte sorapure
Enchanted Garden, for example, depicts a vista as seen throughout her childhood. However, it wasnt until her
through a narrow opening. There is something unnerving teens that she began to develop an interest of her own in
about the composition, not least because there seem to painting. It opened up the world for me in a way that
be eyes and faces everywhere. There is a subliminal no other subject did, she recalls. Painting spans so
hint of the anthropomorphic, confirms Charlotte, who many subjects: history, psychology, philosophy, anatomy
works on four or five paintings at any one time and says and chemistry It was a revelation to me.
that the composition of her paintings is often arrived at Charlotte started going to life drawing classes with
intuitively. The colour scheme is limited to intensify the her mother when she was 16. Artist Sam Rabin, a former
image. Its about seeing possibilities and finding things. Olympic boxer whose work had a profound effect on
In many of her paintings, Charlotte likes to include a her, taught the classes. He was big and burly, with
person of some description. I have to be careful not to hands the size of shovels, and yet, he did the most
repeat myself too much you dont want to start delicate beautiful drawings and paintings of boxers in
cannibalising your own work but I do notice there is the ring, she recalls. He was very kind to me, probably
often a little figure. For psychological focus, you because I was so young. I found him very inspiring.
sometimes need a human presence in a painting. People (Drawing is still very much the lifeblood of Charlottes
identify with a child, particularly because they are practice today. She teaches classes in it at Bath Artists
vulnerable by nature. I try not to be too self-conscious Studios and her own drawings will feature in the new
about it though. You can glean and learn so much from show at The Victoria Art Gallery.)
all kinds of unlikely sources. After the success of those early classes, Charlotte
Charlotte has a wide variety of inspirations, including studied in Bournemouth and Cheltenham for her
the painters of the early Renaissance, such as Sandro foundation and BA courses respectively, before setting
Botticelli and Vittore Carpaccio. She especially admires her sights on the Royal Academy Schools in London for
Stanley Spencer, too, citing his The Resurrection of the her post-graduate studies.
Soldiers at the Sandham Memorial Chapel in Burghclere, top Hide and Seek, The atmosphere felt right, she says of her first visit
Hampshire, as a modern masterpiece. oil on linen, 61x76cm to the Academy. It was one of the few places left that
Charlottes mother was a painter, which meant that opposite page Spotlight, really valued drawing. That was fundamentally
she was always aware of drawing and watercolour oil on linen, 76x60cm important to me because its a means of working out >

charlotte sorapure
ideas. At the time it wasnt a very pretentious place, you above Golden City, oil on probably have blown it. So many artists get picked up
could just get on with learning. I liked the fact that it gesso panel, 78.5x61cm too early and they are over exposed and burn
was a three-year course: more time to explore who you top right Enchanted Garden, themselves out too soon. Art comes out of life, out of
are and what you want to do without the complications oil on linen panel, 57x37cm your experiences. Painting is not about what other
of the outside world. I think the RA felt like a opposite page Saied, oil on people think. I have carried on regardless of whether my
homecoming to me at that time. gesso panel, 70x50cm pictures sell or not.
Interestingly, Charlottes husband had also previously In person, Charlotte is quiet and softly spoken. Her
studied at the RA, and this shared education led to them studio is neat, tidy, well ordered and as serene as a place
sharing their approach to painting, too. Both artists
believe that great art has its foundations in excellent
artists bio of creativity could possibly be. However, she is quick to
point out that creating work isnt an easy process.
drawing. Yet despite sharing a philosophy they very It always amuses me when people say it must be
much stand alone as artists. relaxing to be an artist, as if you are just sitting here
Each has a studio at the opposite ends of their house, with a glass of wine, she says, with a wry smile. They
and although they both understand the need at times to think its a gift and you have inspiration like a lightning
be left alone to get on with a painting, they do help one bolt from the sky, but its not like that its demanding.
another where possible. Its not competitive, says She admits that living without financial security is
Charlotte. On the whole we are very sympathetic to one tough, but painting is the only path for her; a pursuit that
another. Its difficult because of other peoples extends far beyond paints, brushes and filling a blank
perception of us: people tend to compare us all the time, Name canvas. Its an intellectual business, she says, explaining
which is natural. Its happening less so, but it can be Charlotte Sorapure how books, films and travel all inform her work.
irritating. People are always looking for similarities or Born Painting is fundamentally about living and it all filters
trying to find friction. Bournemouth, 1968 in. I want to deal with the poetry of painting, not just the
In fact, Charlotte and her husband are both Education mechanics, and that is why it is so hard to articulate.
represented by Messums a big cheese in the world Bournemouth and Poole Charlottes aunt once told her sometimes you just
College of Art and Design;
of private art galleries, even by the lofty standards of have to trust life and this seems to be a motto she
Cheltenham and Gloucester
Mayfairs iconic Cork Street. Her first solo show with College of Art and works by. She also recalls the words of Roderic Barrett,
the gallery last year was, she says, the highlight of her Technology; Royal Academy a tutor at the RA who once told the girl who worked
career to date. Artists are notoriously insecure and it Schools, London next to her that if you are painting something, you are
takes a while to find your voice and have your own Next Exhibition asking the world to look at it, so I need you to show me
insights, says Charlotte, who was also elected to the 13 April 23 June, that you love it.
Victoria Art Gallery, Bath
New English Art Club in 2007 and won last years This idea has clearly resonated with Charlotte. You
More info
Holburne Portrait Prize. I feel personally that it was need to invest your painting with everything you have.
www.charlottesorapure.co.uk
good to not have too much success early on as Id You cant be indifferent. A&I

charlotte sorapure
Charlotte on her artist

husband Saied Dai: People
tend to compare us They are
always looking for similarities
or trying to find friction

Stanhope Alexander Forbes, (1857-1947)
The Old Fishermans Rest, Newlyn 1907 oil on canvas, 37 x 29 inches, Exh. Fine Art Society
Samuel John Lamorna Birch (1869-1955), Elizabeth Adela Forbes (1859-1912), Exhibited in RA 1904
Kerris Quarry, Lamorna,oil on canvas, 38 x 54 inches, Illustrated in 2 books. The Poet and Some Country Girls... oil on canvas, 36 x 26 inches.
www.newlynschoolgallery.com www.newlynschool.com
www.strandbergfineart.com
www.newlynschool.com
Websites: www.newlynschoolgallery.com
Email: newlyn-s-gallery@btconnect.com
Tel/Fax: (+44) 01736 366448
58 Chapel Street, Penzance, Cornwall TR18 4AE
Newlyn School Gallery
summer in february
The
Cream of
Cornwall A new film starring Downton Abbeys Dan Stevens is set to shine
a spotlight on a remarkable group of artists that worked in
Cornwall a century ago. Alice Wright uncovers their story
ART-PHOTOGRAPHERS.CO.UK; MURRAY CLOSE; PRIVATE COLLECTION,
C/O CHRISTIES IMAGES LTD. (2000) THE ARTISTS ESTATE
A
s a child, David Evans remembers being
fascinated by The Morning Ride, an
atmospheric painting that hung in the
drawing room of his family home in the
Cornish village of Lamorna.
Painted by the noted artist Sir Alfred Munnings, it holding an exhibition of key works from the period. The
depicts a beautiful woman elegantly riding side-saddle film and exhibition are sure to reignite interest in a tale
through dappled light. The woman is Florence Carter- that involved some of the greatest British artists of their
Wood, who was to become the artists wife, and it clearly time but it is a story that could just as easily have
made an impression on the young David. remained hidden.
But only after the death of his father, Gilbert Evans,
did David learn that Gilbert, Florence and Sir Alfred A STORY UNEARTHED
(known as AJ) were once involved in a love triangle that Sir Alfred left Lamorna not long after Florences death
unfolded among the Newlyn School of Painters, a group and went on to work as an official war artist, securing
that congregated in Lamorna just before the First World his reputation as one of Englands finest painters of
War. Tragically, Florence later killed herself. horses. He later remarried and settled in Dedham, on TOP AND ABOVE LEFT Stills
The story inspired a novel, Summer in February, which the border of Essex and Suffolk. None of his three from Summer in February
has now been turn into a feature film of the same name autobiographies mentioned the central events of his time ABOVE Sir Alfred Munnings,
starring Downton Abbeys Dan Stevens. To coincide with in Cornwall, presumably because the memories were The Morning Ride, c.1912,
the release of the film, Penlee House in Penzance will be too painful. And David remembers his father making > oil on canvas, 51.5x61.5cm

summer in february
SPOILER ALERT!
The story behind the Summer in February film
J
onathan Smiths Summer in February tells the story of a love triangle
that unfolded amid the Bohemian colony of artists who lived and
painted in the Cornish village of Lamorna in the early 20th century.
Alfred Munnings, the celebrated equine artist and future president of the
Royal Academy, was attracted to the village by the famous Newlyn School
of Painters. An influential group of artists had already settled there,
including Laura and Harold Knight and Samuel John Lamorna Birch, and
Alfred established a studio among them.
A forceful and flamboyant character, he quickly made his mark on the
village, throwing wild parties and holding the artists community in his
thrall particularly the female members.
He also befriended Gilbert Evans, the mild-mannered and much-liked
land manager. But their friendship was put to the ultimate test when
Florence Carter-Wood arrived from London to study with Stanhope Forbes,
one of the founding members of the Newlyn School of Painters.
Both men found themselves falling for the beautiful aspiring artist and
she in turn was drawn to both Alfred and Gilbert.
Gilbert was devastated when Florence agreed to marry Alfred. But, after
Florence attempted suicide on their wedding night, it was clear that
the marriage was not a happy one and Gilbert and Florence briefly
became entangled in a love affair.
The doomed affair ended when Gilbert left Cornwall to pursue a
new life in Africa. Tragically, Florence took her own life soon after.

summer in february
We gave the actors painting lessons not to learn

to paint but to learn how their characters would
have painted Director Jeremy Cowdrey
just a single reference to the woman in the painting.

I remember looking at it once and saying, did you
know her, Daddy? he recalls. And he said, Oh yes,
she was a very great friend.
It was only after his fathers death that Davids
mother, who was many years younger, revealed that her
husband had confided he had once been in love with
Florence and about the tragedy that ensued.
Davids mother also passed on Gilberts diaries, which
contained more details of the love affair. But it was the
discovery of a keepsake, when David and his wife were
helping his mother clear out her house in the 1980s,
which really brought the story alive. We were sitting on
the lawn on a lovely spring day clearing out this tin
trunk, remembers David. At the bottom was a tiny
little piece of exercise paper gone brown with age. I was
just about to chuck it out but I decided to open it, and
out popped two bright jay feathers and a tiny left A still from Summer in
photograph of Florence. We were quite overcome. February showing Hattie
Enthralled by the romantic tale, the Evans mentioned Morahan as Laura Knight.
it to a friend who was head of the art department at
ArT-pHoTogrApHerS.Co.uK; privATe CoLLeCTion. THe ArTiSTS eSTATe
Director Jeremy Cowdrey:

Tonbridge School. He in turn told the story to his This was based on a generic
colleague, Jonathan Smith, who was so fascinated he notion of Lauras style rather
took a term off to research it. The result was the novel than a particular work. We
Summer in February. were after something that
And it was the Tonbridge connection once again would make a good shot
which led both to the film being made, and Downton but also showed how she
Abbey star Dan Stevens being cast as Gilbert Evans: both painted on big canvases
the actor and the films producer, Jeremy Cowdrey, had down by the rocks.
attended the school and were taught by Jonathan. above Sir Alfred Munnings,
Jeremy recalls that as soon as he finished reading Portrait of Florence
Summer in February he rang Jonathan and said it would Munnings at Sunset, 1912,
make a wonderful film. It took some years to bring the > oil on canvas, 53x61cm

summer in february
EStAtE oF DAME lAurA KniGHt DBE rA 2013. All riGHtS rESErvED.

PrivAtE CollECtion. rEProDuCED WitH PErMiSSion oF tHE
The only misgiving about casting Dan Stevens was dressed. Its not as period-detail precise as Downton
Abbey has to be. We have been able to play fast and
that the part was too similar to Downton Abbey loose because of the environment they were living in.
Nevertheless, Dan put a lot of thought into
project together, but from the outset both Jeremy and researching his character, and visited Gilberts son to
Jonathan were keen for Dan to be involved. find out more about the man he was to portray. Among
And, as Jeremy explains, Dan ended up playing a vital other items David showed him a silver cup Gilbert had
part in the project, not only as an actor but also behind won for horsemanship, which worried the actor. Dan
the scenes. He helped us with the script and hes been a went rather pale and said, I dont know how Im going
key part of the whole proceedings really. It got to the to get on with all this riding, David recalls.
point where it was inconceivable to do it without him. However, the talented actor seems to have mastered
So when they finally decided to go ahead in October the horse riding along with the rest and David was
2011 they had to act fast to accommodate Dans Downton delighted and moved by how his father was portrayed.
commitments. He had a brief window in January and Ive seen the film and I think hes really got my father.
February of 2012 before filming resumed for the popular Its a most extraordinary feeling.
above Harold Knight, ITV series, so the crew had a tight schedule. Fortunately for Dan, Gilbert was not an artist
Portrait of Florence, 1911, Jeremy adds that the ferociously intelligent actor (although he was a keen collector of work by the Newlyn
oil on canvas, 74x61.5cm could have played either the unassuming Gilbert or his School of Painters) so he didnt have to learn to paint as
top right Actress Emily larger-than-life love rival AJ, a role taken by Mamma well. But some of the other lead actors, who include
Browning plays the artist Mia! star Dominic Cooper. The only misgiving about Australian film actress Emily Browning as Florence
Florence Carter-Wood Dan playing Gilbert Evans was whether he is too like Carter-Wood and Hattie Morahan as Laura Knight, were
above right Actors Dan Matthew Crawley in Downton. But I think this part gave given art lessons in order to master their characters
Stevens and Dominic him more scope to show what a brilliant actor he is. different styles. We gave them painting lessons not to
Cooper star as Gilbert Evans There are more dimensions to it. learn to paint but to learn how their characters would
and Alfred Munnings Reflecting on making another period drama, Dan have painted, explains Jeremy. They needed to know
opposite page Dan Stevens himself has said: These artists colonies at that time how to stand and how their characters would be when
and Emily Browning were progressive in the way people behaved and they were painting.

summer in february
ART-PHOTOGRAPHERS.CO.UK
NEWLYN LIVES ON
Newlyn School of Art founder Henry Garfit
reveals how he has attempted to recreate
the community spirit of the original Newlyn
The crew also stayed in the Lamorna Cove Hotel, School of Painters
formerly Mrs Jorys Cliff House Hotel, where Gilbert
T
lived for a time alongside AJ and Florence. And they he Newlyn School of Art was launched in
drank in The Wink, the same pub frequented by the September 2011 with the help of some funding
characters they were playing. from the Arts Council. Before I decided to begin
People said theyd never experienced anything like it work setting it up, I had got to know hundreds of
filming a very atmospheric story and actually staying artists working in West Cornwall through having
in the place where it all happened, says Jeremy. It recently opened a set of 15 purpose-built art studios in the beautiful Victorian
made it even easier for them to get into their characters. stables at Trewidden Garden, just a mile from Newlyn.
As an artist myself, I was all too aware that it is very difficult for artists to live
COMMUNITY ART on their earnings from painting sales alone. In far West Cornwall there arent
Opening this month, the new Penlee House exhibition many part-time jobs to help supplement artists incomes so it started me
will also give fans a similar chance to immerse thinking that there must be a way of enabling artists to share their considerable
themselves both in the artists work and in the artistic experience and deep enthusiasm for their practice to teach others and
landscape that inspired them. in so doing help them earn income to support their creative practices.
As soon as Alison Bevan, the gallerys director, With such a wealth of artistic experience to draw on locally there would
heard there was to be a film of the book she saw the be an amazing group of artists to help make the school a success, building
opportunity for a very special show. It seems natural to on the history of the famous artistic colony of Newlyn. The school building has
say, youve read the book, youve seen the film here wonderful light rooms and period features from the 1880s and it is always a
are the actual pictures, here are their diaries. hive of activity with so many students coming through the school
The exhibition will include a painting by Florence, throughout the year.
who died before she could establish herself as an artist, Many of the courses take place in the surrounding Cornish coastline with
as well as many by her friends and peers in Lamorna. courses such as Abstract Landscape with Gareth Edwards, Watercolour
Among them are works by Harold and Laura Knight, Painting with Maggie OBrien and Expressive Painting with Paul Wadsworth all
who also play a significant role in the story. Spirited including outdoor work. A number of these courses actually take place in
Laura adored AJ and the pair frequently went out into Lamorna Cove, which is featured in Summer in February.
the elements to paint together on the Cornish cliffs >

summer in february
MurrAy CLose; NAtioNAL PortrAit GALLery. reProDuCeD with PerMissioN of the estAte of DAMe LAurA KNiGht DBe rA 2013. ALL riGhts reserveD.
right Mamma Mia! star
Dominic Cooper paints in
character as Alfred Munnings
below Laura Knight, Self-
Portrait (aka The Model),
1913, oil on canvas,
152.4x127.6cm
they loved. Meanwhile, like many others, the quieter

Harold was captivated by Florences Botticellian beauty
and his Portrait of Florence is one of a number of
likenesses of the artist to be included in the show.
The star of these is sure to be Sir Alfreds The Morning
Ride, which appears on the cover of the Summer in
February novel and once held such mystery for David.
Alison is equally excited about the loan of works such as
Laura Knights Self-Portrait that, while playing no direct
role in the story, illustrates the talent of those painting
in Lamorna at the time. While the love triangle takes
centre stage in the book and the film, Alison says the
vivid way in which the atmosphere of the colony is
portrayed is just as thrilling for art lovers. And she
hopes the exhibition will add another dimension to that
experience. You can see paintings by the same artists
anywhere in the world, in many of the great cities, she
says. But only here can you see them and then walk
down the road to where the artists stood to paint it.
Far from being a distant legend, memories of the
vibrant Lamorna colony still resonate in the community
today. The niece of Charles and Ella Naper, who were
good friends of the Knights, now lives in their cottage.
And the grandson of Lamorna Birch, a leading figure in
the colony, also remains in the village.
And despite her untimely death, Florence herself has
not been forgotten. Alison recently visited the artists
grave in the nearby village of Sancreed. There she found
a little bunch of fresh flowers, proof that for many the
story remains very much alive.
The Summer in February film is in cinemas from 14 June.
The exhibition runs from 16 March to 8 June at Penlee
House Gallery, Penzance. www.summerinfebruary.com

The Morning Ride, c.1912, by Alfred Munnings, Private Collection, c/o Christies Images Limited (2000)
The Artists Estate/DACS

Summer in
February
Art in Lamorna 1910-1914
An exhibition of paintings
and ephemera
linked to the book & film
16 March 8 June 2013

PENLEE HOUSE GALLERY & MUSEUM
Morrab Road, Penzance TR18 4HE
Tel. 01736 363625

www.penleehouse.org.uk

Open Monday to Saturday (closed Sundays) Hours:

until Good Friday 10.30am to 4.30pm
from Easter Saturday 10.00am to 5.00pm last
admission half an hour before closing
Admission 4.50 full price, 3 concessions, under 18s FREE
Penlee House is owned and operated by Penzance Town Council

with partial funding from Cornwall Council


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maltese crossing
WHIS TLE -
STOP
TOUR
The Yorkshire
Sculpture Tr ia n
h
gle
o th
p
e
ro
r,
m
b
is
u t
es four world-c
can they all be
lass
seen
c
30 miles of ea a car to find o
ut
venues within e r h o p p e d in
ha Alexand
in a day? Mart NEIL HALL
PHOTOS :
A
s a Yorkshire lass, my pocket of West Yorkshire a must-see on at the plan. It is definitely technically
interest piqued when I the international art map. possible, although I began to question
read that four art spaces Confusingly, the four venues are whether such a tight time frame will
in the county were collectively known as the Yorkshire render the experience too stressful to
making a bid to become Sculpture Triangle (the Henry Moore fully enjoy the work. There was only
known as the unofficial sculpture Institute and Leeds Art Gallery are one way to find out.
capital of Europe. Birthplace of two of adjacent to one another). The website With Neil the photographer in tow,
the last centurys most important CLOCKWISE FROM for the Triangle highlights the we left London at the crack of dawn in
sculptors Barbara Hepworth and TOP LEFT Sir possibility of Big Sculpture Weekends order to arrive at YSP when it opened
Henry Moore the UKs largest county Anthony Caros that take in all four sites. at 10am. It was pouring with rain in
already boasts extraordinary sculptural Promenade and However, with all of the locations in London, which didnt bode well for an
heritage. And now, with The Hepworth Michael Lyons such close proximity, I figured they outdoor exploration of enormous rural
Wakefield, the Henry Moore Institute, Unity of Opposites could be done in a day. This is what I parkland; luckily, the further north we
Leeds Art Gallery and Yorkshire at YSP; Martha tell my editor who promptly challenges travelled, the sunnier it became.
Sculpture Park (YSP) all less than 30 consults her map me to visit each location in one day. Yorkshire Sculpture Park opened in
minutes from each other by car, there beside Jem Finers When I contact the venues to 1977, becoming steadily more popular
is a real opportunity to make this Spiegelei arrange the visit, they express surprise ever since welcoming more than

R VEN U ES B E S EE N IN A DAY?
COULD FOU OUT
THERE WAS ONE WAY TO FIND
It was lovely to be able to see less
publicised works too, such as Jem
Finers Spiegelei a shed with a dome
on top that your entire upper body
could fit inside. Talking into it created
extraordinary sonic results.
By 12.30pm we were already half an
hour behind schedule but I was
reluctant to leave the park, knowing Id
only scratched the surface.
As it turned out, leaving YSP for The
Hepworth Wakefield is hardly a
sacrifice. Before it opened in 2011, the
gallerys grey, angular David
Chipperfield design was a point of
contention for residents opposed to
change and fearful of an eyesore.
350,000 visitors in 2011. I had visions the scale of the place: aside from the However, its a rather beautiful
of hundreds of Henry Moore sculptures five indoor galleries, the parkland building and its contents if nothing
surrounded by green parkland, but his covers 500 acres. else have won people over, with the
work makes up just a fraction of the With time tight, we decided on an gallery heaving for a Friday afternoon.
permanent collection. edited tour of key pieces. The highlight The Hepworth Wakefield is the UKs
To prove the point, we began our was the Deer Shelter Skyspace by James largest new purpose-built gallery since
tour in the indoor gallery spaces where Turrell, created within the parks Londons Hayward Gallery opened in
Mark Hearlds Birds & Beasts display 18th-century grade II listed deer shelter. 1968. Named after Barbara Hepworth,
was coming to an end. We admired From the outside theres little indication the collection displays include a
from afar the Underground Gallery, TOP The Hepworth of what lies beneath: a deep chamber selection of the late sculptors tools, as
which is currently preparing to show Wakefield building with a perfect square cut into the roof well as more than 40 of her works
HEPWORTH PHOTOS: IWAN BAAN
the UKs largest ever exhibition of work ABOVE Martha through which the light is captured. mainly prototypes for bronze and
by Yinka Shonibare. inspects Barbara Access is through arched doorways at aluminum sculptures, gifted to the
Once outside, ready to explore the Hepworths Single the front, which cut into the landscape gallery by Hepworths family. Other
park itself, the true enormity of the Form (Chn Quoit) and were part of the original shelter. pieces by Henry Moore, Paul Nash and
task hit home. It wasnt until I had a ABOVE RIGHT The Once inside, visitors can contemplate William Nicholson are also part of the
map in my hands that I truly registered gallerys collection the Yorkshire sky from below. permanent collection.

maltese crossing
The spaces are airy and bright, with than the last two venues. There was
floor to ceiling windows letting in just time to see Antony Gormleys
shafts of light. From one such window, Moment and a beautiful Rodin bronze,
you can see the citys Chantry Chapel, before taking in Liberty and Anarchy, a
which was a popular subject for JMW temporary show by Australian artist
Turner and that juxtaposition of old Nike Savvas. She specialises in textile
and new is the essence of what this and graphic work that is a kind of
gallery is all about. love-it-or-hate-it concoction of colour
We managed to take in the work and shape.
from the temporary shows in just over The Henry Moore Institute is so
an hour, although the dining rooms close to Leeds Art Gallery that they are
delicious cakes did prove a distraction. connected by a corridor-cum-footbridge.
With a quick stop for lunch, I was All of the works here are on loan for
back on my feet and running across the temporary shows, so anyone who
footbridge to the car park. It was now assumes that theyll be surrounded by
2.45pm and there wasnt much time wall-to-wall Henry Moores is likely to CLOCKWISE FROM books, periodicals, journals and even
left for us to find our way to Leeds and be disappointed but only briefly. ABOVE Umberto press cuttings on sculpture.
visit two galleries. I did begin to panic This is a centre for the study of Boccionis We didnt have time to see it all.
especially as our next destination, sculpture and part of the Henry Moore Development of a 5.30pm had come and the Institute
Leeds Art Gallery, closes at 5pm. Foundation, which was set up by the Bottle in Space at was closing. I was absolutely worn out:
We got there easily and parked sculptor himself to encourage future the Henry Moore my brain couldnt take in any more
outside. Careering up the steps, I generations. The library here is a big Institute; Antonio information and I was absolutely
realised the gallery was at least smaller draw: it holds a fantastic amount of Canovas Venus saturated with culture. That said there
and Nike Savvas was also a sad sense of not having
Sliding Ladder at made the best of my time in each place
Leeds Art Gallery; thanks to clock watching.
A speedy exit! So is it possible to conquer the
Yorkshire Sculpture Triangle in one
day? Yes, but it sure wont be relaxing.
The purpose of art is to be able to
contemplate what you see in an
unrushed manner, allowing yourself
time to explore and think. The sheer
scale of YSP alone means that it
THERE WASNT MUCH requires the lions share of your time.

However, each venue deserves much
TIME FOR LEEDS more attention than a whistle-stop tour

like ours. Next time Ill be making a
I BEGAN TO PANIC ! weekend of it.

www.ysculpture.co.uk
FOUR TO SEE
Yinka Shonibare MBE: FABRIC-ATION
2 March to 1 September 2013,
Yorkshire Sculpture Park
Moore Rodin
29 March to 27 October 2013,
Henry Moore Foundation
Post-War British Sculpture

and Painting
Until 3 November 2013,
Hepworth Wakefield
Polychromies: Surface,
Light and Colour
Until 1 May 2014, Leeds Art Gallery

Maltese Crossing
On the eve of an exhibition of new paintings of Malta, the Royal Watercolour Societys
Jenny Wheatley gives an inside account of the groups latest trip to the island
M
alta has been a
huge influence on
members of the
Royal Watercolour
Society (RWS) for
many years. We first made a trip as a
Society in 1992 when we made a
cultural visit to paint for the 50th
anniversary of the awarding of the
George Cross to Malta. With Her
Majesty the Queen as our patron, we
wanted to mark the 70th anniversary
in the Diamond Jubilee year and so
several members made a journey to the
island to paint, sharing company and
ideas before we scuttled back to our
respective studios.
We each approach our work so
differently. Some of the Maltese
paintings you will be able to see in our
forthcoming show at Bankside Gallery
were produced on the spot, a direct
response to the environment at the
time. Some will be working drawings,
and then there will be watercolours
either tweaked in the studio (Dennis made us very welcome. Both the Malta is such a surprising island. At
Roxby-Bott is a great one for this) or government and the tourist board first it seems overwhelmed by tourism
created entirely from drawings, CLOCKWISE made venues otherwise inaccessible to and hotel complexes, with the ancient
photographic reference and memory. FROM TOP LEFT the public available to us. We were fed, and Templar architecture playing
These are much more of a distillation David Paskett transported and entertained as only the second fiddle, but soon the quiet and
of the way the artist would like to PPRWS paints Maltese know how, and most magisterial history takes over and one
remember the subject and tend to be at Marsaxlokk; importantly for us we were able to starts to see below the superficialities.
more about formal elements of painting. Jenny Wheatleys paint alongside our peers and share The sheer scale of the blocks of stone
On this particular adventure, as with Girgenti; Peter ideas in an occupation that so often used to construct the magnificent
our first trip 20 years ago, the Maltese Quinns Ta Pawlina is an isolated activity. buildings all taken from local

maltese crossing
quarries is at odds with the tiny scale showed such calm and control and CLOCKWISE FROM TOP It is wonderful that the RWS can
of the island and adds to the fairytale they glowed from the paper. Mike Chaplin and also follow in the footsteps of so many
majesty of the place. Angus McEwan joined the trip full of George Devlin; the painters of Malta including JMW
The spectacular architecture of the energy and enthusiasm that bursts RWS group cross Turner and Edward Lear. The light, the
Valletta, Mdina and the Three Cities from his work. He was up and out the Grand Harbour; architecture and the sheer joy of the
shines through, and the ancient cart walking, drawing and painting at all The Harbour at peoples of the island shine out
tracks of Dingli show us footprints of hours: I enjoyed the fact that Malta Vittoriosa by Denis everywhere, and it is an island where,
an ancient and tantalising past. We oozes history and yet manages the fine Roxby-Bott; George the longer one lingers, the further it
were immensely fortunate to be able to balance between being interesting to Devlin sets up in buries itself into the heart.
paint in the grounds of government tourists and continuing to be a living, the Presidential Royal Watercolour Society in Malta runs
buildings such as the Girgenti Palace breathing modern island with character. Palace courtyard 7-14 March at Bankside Gallery, London
and Villa Francia, as well as enjoying David Paskett was still president of SE1. www.royalwatercoloursociety.co.uk
the harbours of Marsaxlokk and the the society at the time of our visit and
backstreets of Rabat. he brought knowledge and gravitas to
As a group, our reactions to the our party, along with his good humour
imagery we found there reflect how and his fascination with the Maltese
varied the eyes of different painters can buses that have since been taken out of
be. For Dennis Roxby-Bott, the service. Orange and yellow, animal-
Mediterranean island was the furthest like, with friendly grills and rounded
south he had ever travelled. To me edges, they had a Thomas the Tank
this showed most in the way the light Engine charm, he said. I would take
behaved, he said. It is so different back seats to draw passengers and
from what I am used to here [in the interiors with corresponding
UK]. In the old fishing village of shuddering line that bounced and
Marsaxlokk, there is a riot of colour stabbed the paper of my pad.
with the green-blue of the sea next to Others in our party included Michael
the blue, red, green and yellow boats, Chaplin, Richard Bawden, George
forcing one to use paint in a very Devlin and, of course, myself the
different way and to open tubes of only member of the party lucky enough
paint one has rarely unscrewed before! to have gone on the societys first trip
His gentle and exquisite watercolours to Malta 20 years ago.
Malta is su ch a surprising island.

At first it seems overwh elm ed by
tourism bu t soon th e qu iet,
magisterial h istory takes over

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th e s tu d io
n
I with Josie spencer
Words & Photos: steve pill
THe ArTisT THe sTUDio

Born in New York to a Scottish father If an artist is dealing in life-size
and American mother, Josie Spencer figurative sculptures and 12.5kg sacks
was raised upstate near to the of pottery clay, the last place you
Connecticut border. Her love affair expect to find their studio is the third
with sculpture began aged 18, when floor attic of a house, accessible only
she visited Florence to study with via a winding staircase.
Antonio Berti at the Academia del Its bonkers, absolutely bonkers, but
Sculptura. From here she travelled all thats where the space was, says Josie.
over the Middle East, Europe, India If you want to try to hire a space thats
and the former USSR, absorbing a vast on a ground floor with skylights, its
range of influences. really quite difficult and I like working
On returning to the US, Josie joined under natural light.
the board of the New York Studio The studio is part of Josies West
School and began to exhibit in a London home, which previously
number of solo and group shows in belonged to the classical composer
various Manhattan galleries. She Giles Swayne, who kept his piano in
moved to the UK 30 years ago, settling the same attic room. She has reinforced
in West London, where she has the floor with big, high beams to help
continued to exhibit and complete deal with the added load.
private commissions.
Josie is married to Sir Stephen
Waley-Cohen, a theatre producer
whose credits include Mousetrap,
the worlds longest running play.

THE MATERIALS THE INSPIRATION THE PROCESS
Unlike a painter who will often Josies new exhibition is called Low Her figurative sculptures often start
establish a favourite paint brand early Entropy: The Archaeology of Our Time with life drawing. Josie will work with
on, Josie still continues to work with a and the title was inspired in part by a a model for several weeks, making
variety of different clays. They each senior archaeologists observation that sketches from all angles. My drawings
present different problems, she when societies are in decline, they are rubbish, she says. They are for me
explains. The dark brown one is make oversized images of themselves. as a way of having a point of reference
difficult in winter. It has very little By contrast, Josie has concentrated to what I saw.
elasticity its a potters clay really. I solely on life-sized figures. With a shape in mind, she will then
wanted to try it for the colour but you Asked the reason behind her construct an armature a metal
can come in the next day and it just continuing fascination with the human framework around which the clay is
doesnt hold together. figure, she pauses to consider her built. The sculpture will often be built
When it comes to manipulating the answer. I think we have a very direct on a giant wheel, which she can use to
clay, Josie has created a special tool for and visceral understanding and rotate the piece towards the light. She
using on the top surface. Its basically connection to it. In some ways it is works quickly, keeping the clay quite
a putty knife thats curved. I bent it possibly the most important subject thin at all points. You dont want the
and it changes shape with time. and every other artist is going to figures too thick because when you fire
scream at that idea but it speaks to them you risk blowing them up.
people if it is done well. Once Josie is happy with the figure
The other side of this, of course, and it has dried out, it will either be
is that viewers will quickly spot taken away to the foundry to create a
inaccuracies in the human form: cast, or if it is too large, the foundry
If it is not done well, people really staff will visit the studio to help create Low Entropy:
dont go for it. a mould for the bronze. The Archaeology of
When we visited, there was still Our Time runs from
plenty of work to be done for the show. 6-23 March at
As you can see, she says, gesturing at Arch 402 Gallery,
the many works in progress, Ive got a London E2.
lot of decisions to make for the show. josiespencer.com

PORTFOLIO A themed selection of the most creative artworks made by our readers on PortfolioPLUS
PortfolioPLUS
This months theme: LIGHT
Portfolio Portfolio
PLUS PLUS

picture
of the
month
JULIA GOODSWEN
Enjoying the Sunshine,
acrylic on paper, 22x30cm
The late winter sun streaming into
my bedroom one morning created
intriguing patterns of light and shade
on the walls and on our black cat, who
was enjoying the warmth, sitting on the
unmade bed. I took some photos and
painted this picture in acrylics on
paper, using the photos as the main
reference. However, every morning
when the sun came out and was in the
same position, I looked for elements
that were missing from the photos
such as the colours within the shadows
and added these to my painting.
www.artistsandillustrators.co.uk/
juliagoodswen

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account for as little as 2.49
clockwise from above Upload your artwork and become
lubna aabbouz Yellow Flower part of our expanding community
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Email the link of your artwork to
shaun newsome Birthday Wish
www.artistsandillustrators.co.uk/shaunnewsome portfolio@artistsandillustrators.co.uk
julie cross First Light at Lake Naivasha
www.artistsandillustrators.co.uk/juliecross Next months theme: Reflections
caroline bletsis Dawns Early Light Send us your paintings featuring shiny
www.artistsandillustrators.co.uk/caroline-bletsis surfaces or contemplative moods

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YOUR BUMPER
PRACTICAL
art guide
TIP OF THE MONTH
Pay close attention to the tinting strength of the
pigments you use. Colours with a high tinting strength
will be more dominant in a mix so should be used
sparingly. Artists quality paints will have a higher tinting
strength than student colour, but colours of a same
brand can vary: Phthalo Blue is often a stronger colour
in the mix, while Burnt Sienna is usually weaker
check your paint manufacturers website if youre unsure.
PHOTO: GARETH IWAN JONES
46 Sophie Knight talks techniques 50 Mastering hard and soft edges 54 Golden rules of watercolour
59 Circular paintings 64 Paint like George Bellows 68 How to create harmonic shadows
talking techniques
TALKING TECHNIQUES with
Sophie Knight
Elected to the Royal Watercolour Society at the age of 24,
London-based artist Sophie Knight has developed an intuitive
and individual approach to the medium. Steve Pill visited her
studio to nd out how she does it. Photos: Andy Smith
U
sing tightly stretched sheets of heavyweight without prep drawings and applies colour straight from
paper and neat washes of dilute colour are good the tube, in order to create a very instinctive response
practice for an aspiring watercolour painter, but to her surroundings.
OPPOSITE PAGE Indigo Storm, it is refreshing to remember that this is not the only Born in 1965, Sophie started out as a very gestural
Lynmouth Bay, watercolour option. South London artist Sophie Knight was elected oil painter but turned to watercolour during her time at
and body colour on paper, to the Royal Watercolour Society at the age of just 24 art college. She had found oils too messy to use on
149x112cm thanks to her very intuitive approach to the medium, location. I was making my station paintings and I got
BELOW Grass Structure 4, which she developed during her postgraduate diploma paint everywhere. It got stuck to my foot and I trod
mixed media on paper, at the Royal Academy Schools in the late 1980s. blue through St Pancras.
90x122cm Working on lightweight, unstretched paper, she works In contrast, watercolour allowed her to work with
more immediacy. During one summer holiday, she took
off on a painting trip up north and came back with 35
giant watercolour landscapes, each painted in little
over 90 minutes. Nevertheless, she was the only
person in her year to use the medium. It definitely
wasnt discouraged but, like in all art schools, there
wasnt so much of a focus on technique and learning
your craft it was more focused on the conceptual
side of things. Right from the beginning nobody taught
me watercolour so I had to invent how I was going to
use it myself.
Sophie viewed the time as three years to just
indulge my creativity and she developed her
techniques in a very natural and personal manner,
using the materials in any way possible that would give
her the desired effect. What I found was that I
wanted to get the paint on to the paper really quickly
because that just suited my nature. I wanted that
strength of colour that you can see in the blues of a
painting like Autumn.
To achieve this, she starts with an unstretched
piece of lightweight Arches paper, cut from a roll that
she buys from the London Graphic Centre. I dont use
a heavy paper, she explains. The reason for that is
the paper needs to be a little bit absorbent [when
applying undiluted colour from the tube]. The
lightweight paper works quite well for that, whereas
some of the heavier papers are more resistant.
Sophie will use a garden centre spray bottle to
evenly dampen the whole paper. Doing so makes it
easier for her to mix neat watercolour quickly on the
page when she squeezes it out directly from the tube.

talking techniques
MATERIALS TECHNIQUES INFLUENCES

Sophie favours cheap and cheerful Her watercolour is often applied directly from Sophies tastes vary and recently she has been
products so that she is less reluctant to the tube, so as to cover the page as quickly as looking at Baroque painting, German abstract
experiment with them. She opts for possible. On top of this, she will add marks with art and the work of William Scott. I also keep
lightweight Arches paper and Winsor & thin brushes or pencils dipped in paint, as well my eye on contemporary work, she says. I like
Newton Cotman watercolour tubes. as developing colours in gouache and acrylic. to see what Kurt Jackson is up to in Cornwall.

talking techniques
below Autumn, watercolour You can quickly turn it into a large wash and then It doesnt really matter what
youre away: youve then got a lot of colour already on
on paper, 76x56cm
bottom right Early Summer, in the first five or ten minutes. It gives you something
medium Im painting with
Cow Parsley, watercolour and to get going on and keeps it fresh, which I like. Id paint with toothpaste if it
body colour, 176x156cm Soaking a lightweight paper in this way does cause
it to buckle, but Sophie makes a feature of this by did what I wanted it to
framing her finished paintings in shallow box frames.
The alternative, of course, would be to stretch the When it comes to choosing materials, Sophie
paper but she isnt convinced. It just seemed to me actually avoids artists quality paint and opts for
like too much of a faff, she says, matter-of-factly. It is Winsor & Newtons cheaper Cotman range instead.
already a bit terrifying that you are going to waste the Its not to save money, I actually prefer them, she
paper because its expensive, so the whole idea of explains. The reason is because of the way that I
making the painting more precious by stretching the squeeze the colour on. I was finding that because
paper seemed wrong. I want to totally get away from artists quality paints are so incredibly intense,
any preciousness. sometimes one colour just wont sit down or settle
Needless to say, she doesnt draw on the paper first with the others. If you did squeeze on artists quality
or often even sketch out her compositions at all. I Cadmium Red, for example, youd be lucky to get that
work in an organic way actually. I wouldnt like to think to blend in because it would be so dominant.
I was stuck to an original thought, especially as a With the basic colours down quickly, Sophies
scene could change when I work outside. Anything paintings largely go in one of two directions. Her
could happen. If the ground went into a deep shadow, smaller paintings (this is relative they are often
I would change the whole composition because of it. I larger than a sheet of A2 paper!) are often made on
like the paintings to have their own energy and not be location and will act as ethereal impressions of a
confined by the pencil at all. particular location and time, with little overworking.
Meanwhile, her larger paintings have more recently
developed into complex webs of marks and textures.
Many artists might avoid trying to paint fields of cow
parsley, stony beaches or bramble thickets, but
Sophie appears to relish the challenge. In some areas
you dont know how it is made and that does actually
appeal to me just to make something a little bit
visually interesting and make people ask, Well, how
was that done? I think that is quite attractive.
In fact, Sophie will continue to spray her surface to
keep it moist as she adds areas of colour. Masking
fluid is added not to pick out highlights but rather to

talking techniques
develop the structure of a painting. In one new the most conventional painter, she offers eight-week
work-in-progress, the branches of a tree were marked courses and ongoing classes at her studio in New
out in masking fluid, while more layers of colour were Cross, South London. Although mine is a personal
added on top. She will allow her painting to dry technique, you can encourage someone to work much
naturally toward the end, so that details can be added faster, to get it down quicker or to be bolder and,
with rigger brushes, pastels or even pencils dipped in however they work, generally speaking they appreciate
paint. If Im trying really hard to describe something, this. Its not all about a technique, is it? Its about the
I feel like it is my own handwriting. I come up with my results as well.
own marks that are my way of getting there. And when it comes to results, Sophie is on a roll.
Sophie adds extra variety to the surface by As she begins to start work for a solo exhibition in the
incorporating splashes of acrylic, gouache and even a autumn, theres a real confidence to her new
mixture of watercolour and wallpaper paste. Its also approach. That first few years after college I was in an
transparent and so it is just like thickening up absolute dump of a studio in East London. There was
watercolour. It makes the paint slippery so you can a lot of angst at that time but I really enjoy it now.
scratch into it and do other things to it. Like the Americans say, Im in a really good place,
Unsurprisingly, given her individual take on the she adds. Ive gone past the point of no return: that
medium, Sophie draws on diverse influences and she unstable point when you just dont know whether you
doesnt just look at other watercolourists for can afford to continue. Now I know that I will be
inspiration. The main reason is because I consider painting until I drop, which is a really nice feeling.
myself a painter first and foremost. It doesnt really Sophies work will feature in the Royal Watercolour Society
matter what medium Im using Id paint with Spring Exhibition, which runs from 25 March to 20 April at above For her larger
toothpaste if it did what I wanted it to. Bankside Gallery, London SE1. Her next solo exhibition paintings, Sophie often
Sophie brings that single-minded and resourceful runs from 25 September to 9 October at Bircham Gallery, works flat on the floor of
approach to her own teaching, too. Despite not being Norfolk. www.sophieknight.co.uk her South London studio

masterclass
Masterclass: Hard and soft edges

The more variety you bring to a painting, the more you will engage the viewer. Watercolour
master Fbio Cembranelli shows how to vary edges to guide the eye around an composition
W
hen we talk about hard and soft I apply water or lift out some paint (or colour)
(or lost and found) edges in with a thirsty brush (or some kind of
watercolour we are really sponge or tissue) so I can restore the white
considering the power of suggestion, as the of the paper.
play between them stimulates the viewers Creating lost and found edges requires
Tools imagination and creativity.

If all your edges are hard, your painting
intuition and a lot of practice: it depends on
the subject, the kind of approach you take
of the could become boring and whether you
PAINTS
Cadmium Yellow
trade or flat. Likewise, if
your edges are too
soft maybe we might
Learning when and how
to apply soft and hard
want to portray your
subject in a looser
style or not. It also
Light, Quinacridone
Gold, Transparent Orange, Perylene Maroon, Raw miss the paintings edges correctly can add depends on your
Sienna, Burnt Sienna, Sepia, Vermillion, Opera focal point. Learning choice of materials
Rose, Alizarin Crimson, Cobalt Blue, Ultramarine when and how to depth to your painting and the weather
Violet, Sap Green, Green Gold and Paynes Grey, apply soft and hard conditions, too (if its
all artists quality watercolours from Winsor & edges correctly can add depth to your too hot, paper will dry too quickly so we will
Newton and Maimeri Blu painting and allow the viewers eye to move have more hard edges, for example).
BRUSHES behind or around the subject, back and forth Before deciding if a particular shape should
Round (No. 10), round mop (No. 10 and 14), flat between foreground and background, or have a hard or soft edge, try to ask to yourself
(3/4) and rigger (No. 2), all Fbio Cembranelli positive and negative elements. a few questions: how much attention do you
signature brushes from Escoda Most of the hard edges in my paintings are want the viewer to pay here? Is it part of
PAPER placed next to the untouched white of the foreground or background? Wheres my focal
Arches Fin (cold-pressed or NOT) 300gsm paper or close to the focal point and theyre point? Know the answers to these questions
watercolour paper, 58x41cm made with a loaded brush on dry (or almost and youre half the way there.
dry) paper. If I want to soften some edges, www.fcembranelli.blogspot.com

masterclass
TOP TIP
APPLYING A LAYER OF
WATER TO YOUR PAGE WILL
HELP YOU BLEND IN YOUR
INITIAL COLOUR
1 SELECT YOUR MATERIALS

I work with watercolours in tubes, poured into a folding
plastic palette with anti-bacterial surface to keep my colours
fresh. My colour choices are constantly changing but in general I
prefer to paint with pigments from tubes as I use high volumes of
2 WET THE PAGE
After making a light pencil drawing on
my stretched watercolour paper, I wet the
WASHES
paper with a flat brush. After a few seconds I began working on the
background with a light value mixture of Cobalt Blue, Ultramarine
colour and strong washes of pigments. I use round and flat brushes Blue and Quinacridone Gold. I used a 3/4 flat brush for this and, as
with sharp points made by synthetic fibers, as well as one smaller I was working with background and subject at the same, the colours
rigger brush for making those final touch-ups. started blending together. This means I will be able to fade out
some edges from the beginning of my painting process.
3 WORK WET-IN-WET
Once the paint is applied to wet paper, I only have a couple
of minutes to play with it, so after applying the first overall
wash I started working with a No. 10 round mop brush, darkening
the background of my composition so the main white flowers will
4 DARKEN THE BACKGROUND
Here, I kept on darkening the background with a mixture of
Cobalt Blue, Sepia and Burnt Sienna. Note how I worked
with the No. 10 round mop brush, just defining a few hard edges in
my composition. Its important to start painting the darkest areas
appear from the background work. I dont need to outline the main while the first washes applied to the background are still wet. Im
flowers for this; I simply need to make a value change between still aiming for soft edges here, although these hard edges are
flower and background. In order to darken my background, I mixed going to play a very vital role in the composition, as they are going
Burnt Sienna, Transparent Orange and Ultramarine Blue. to enhance and support the main subject or the focal point of
my composition. >

masterclass
5 MIX COLOUR ON THE PAPER

With the same round mop brush, I used a mix of Cobalt
Blue, Spia and Translucent Orange to paint both some
flowers and background at the same time. Its like Im bringing the
background colour to the flower and the flower colour to the
6 MAINTAIN A BALANCE
By this stage, I had applied the first washes and were
beginning to see some distinct dark areas, as well as other
areas where we can see the white of the paper. At this stage, I
looked closely at my painting and paid particular attention to the
background. I mix the colours on the paper rather than combining overall balance so I could decide which darks are missing. I will add
them on the palette so we can have a softer, more fluid look and a few dark touches, and most of these touches are going to become
also lose some edges. hard edges as the paint is going to be applied to dry paper.
TOP TIP
7 SOFTEN THE EDGES
I kept painting the background here with a mix of Paynes
Grey, Sepia and Ultramarine Blue, using the No. 10 round
mop brush to define some hard edges. Softening edges can direct
the viewers eye to see what I want them to see. If you define the
8 VARY THE PRESSURE
After adding some dark touches to
define the white flowers, I began
working on the background again, adding
some textures and shapes with the same
APPLYING MORE OR LESS
PRESSURE WITH A BRUSH
CAN HELP YOU TO VARY
THE HARDNESS OF
YOUR EDGES
edge of a shape, you can encourage people to look at that area round mop brush. I used a mix of Cobalt Blue,
first. Remember that you shouldnt outline every element in the Burnt Sienna and Sepia and didnt put so much
whole composition, as the subject and background must work pressure on the bristles as I wanted to soften the appearance of my
together some edges should be lost and some should be found. painting here. The pressure applied to the brush is very important
when you are defining hard or soft edges.

masterclass
9 Lift out some coLour

Now I started lifting out some of the paint using a 3/4 flat
brush that has been wet thoroughly and then squeezed with
a paper towel to remove most of the water. At the moment this
brush touches some wet paint, it should lift out some of the colour.
10 connect the comPosition
Now its time to start adding a few background
shadows that will connect all elements of the
composition together. I used the 3/4 flat brush and mixed Cobalt
Blue, Turquoise Blue and Transparent Orange its a light colour
This technique is very important in my work as I use it to restore mixing that will enhance the whole composition. Once more, I
some white areas, creating interesting effects and softening some worked from the background to the flowers, breaking borders,
edges. A thirsty brush helps to create soft or lost edges. softening or fading out edges of my coloured areas, linking
background and subject. Here I am bringing colour from
background to the flowers and from flowers to the background.
11 PuLL the focus

I started adding some transparent shapes and
elements to my composition, as shapes with soft and
lost edges are necessary to build depth in my paintings. I used a
No. 10 round brush with a transparent mix of Ultramarine Blue,
12 finishing touches
I finished my painting by adding thin lines to the
composition using a No. 2 rigger brush and mixing
Ultramarine blue, Burnt Sienna and Sepia together. These lines or
calligraphic elements are going to create a sense of distance and
Paynes Grey and Burnt Sienna. I aimed to create what I call soft action, and they will define a few more hard edges in the right
transparency effects or rhythmic accents. I save the most places to create a path for the viewers eyes to follow.
defined edges for the area where I intend the eye to land first:
the focal point.

The five golden
rules of
waTercolour
n to breAk them!
And whe
Following guidelines is an important part of developing as an artist, but martha Alexander
speaks to six leading watercolourists to find out why all rules are meant to be broken
rule no. 1:
leave whiTe PaPer
showing Through
Many believe that a true watercolour
painting should contain patches of the white
paper showing through, demonstrating an
artists level of control and negating the
need for white paint. These areas can either
be kept crisp and clean by careful brushwork
or else using masking fluid or tape.
when to breAk it
Watercolourist and demonstrator Rob Dudley
has one foot placed firmly on the side of the
purists for whom the only white is the white
of the paper. However, on occasion I will
turn to white gouache or acrylic, as it is the
best option for the effect that I want to
create, he says. Nothing depicts the
suggestion of falling snow better than
opaque white gouache and I will often use it
if depicting a winter scene. I will also turn to
it when painting distant masts on boats,
even occasionally using it to show distant
sails in seascape.
However, Rob does offer a word of
caution: Too heavy a reliance on a painted
white could result in you turning the
wonderfully translucent qualities of
watercolour into a sludgy opaque mess.

golden rules of watercolour
RULE NO. 2:
WORK LIGHT TO DARK
Given that watercolour is a transparent medium, common
sense dictates that you should begin a painting with lighter
colours and tones, before building on top of them with darker
shades. Attempting to apply lighter colours on top can cause
you to muddy the paint surface.
When to break it
I respond to whatever the painting needs, says Royal
Institute of Painter in Water Colours (RI) member David Parfitt.
As a consequence it may be more appropriate to establish
dark areas first rather than work light to dark. Ill do this by
laying in a fairly dry dark wash, which is almost scrubbed onto
the paper. Importantly, Ill do this once and then pretty much
leave the dark area alone so that its not overworked or the
surface destroyed.
This enables David to establish the composition and work
out the tonal balance of a painting at an early stage. He will
then work lighter colours into the darker areas while they are
still damp in order to create soft or broken edges.
One of his recent paintings, River Reflections [which features
in the RIs 201st Open Exhibition at Mall Galleries from 5-18
April], is a good example of how dark areas can be painted in
first. The three trees on the river bank specifically established
the composition from the outset. I then worked into and
around these areas to define the background and riverbank
and then painted the dark reflections. Finally I wiped out some
of the highlights using a damp brush.
RULE NO. 3:
NEVER USE BLACK PAINT
Many artists avoid using black paint because it can deaden a
painting, causing it to appear flat or lifeless. In fact, many of the
colours we think of as black will actually include traces of other
colours, so many tutors will encourage you to create darker shades
using a combination of blues, purples, reds or browns.
When to break it
Royal Institute of Painters in Water Colours (RI) member and
long-time rule-breaker Shirley Trevena admits that artists who want
to use a black pigment in their paintings are likely to be derided by
their peers. However, using Ivory Black has always worked for her
and she chooses it as a matter of personal style. Black may have a
bad reputation with watercolourists but I love its mystery, glamour
and the wonderful way it can surround a colour and make it glow,
she says. Think of stained glass windows: the black lead showing
off the sparkling colour of the glass.
Shirley does acknowledge that using black paint requires a bit of
confidence. As such, she suggests that artists try a simple test
rather than ploughing straight in with black paint. Try taking a half
worked-on painting and cut out some pieces of black paper, she
advises. Place a piece on the work and see how it affects all the
other colours. In Iris & Orchid (above), I couldnt resolve the colour
behind the irises and as soon as I placed black paper in the corner,
I knew that was the colour to make them sing out.

golden rules of watercolour
RULE NO. 4:
ALWAYS MIX YOUR
OWN GREENS
Most landscape artists will tell you that it is
cheating to use a green paint straight from
the tube. The colours of nature are too
complex, they say, and need to be created
with a mix of blues, yellows and more instead.
When to break it
Ah, poor green! says artist and tutor
Sin Dudley, who admits that this rule is a
personal bugbear. Why, of all the secondary
colours, is unfortunate green singled out for
this treatment? No one thinks twice about
picking up a tube of orange or purple, yet
the taboo on ready-made green
continues unabated.
Nevertheless, greens are notoriously
difficult to create: balancing yellow and blue
is something many painters find hard to
master and actually many shades of green
will require a touch of a third colour, like red,
to make them work. Sin concedes that it is
entirely possible to mix some delicious
greens, but having the correct shades of
blue and yellow in the right quantities to
create your vision of a perfect green is
difficult. You could spend the rest of your
life trying to mix it, never achieving it, she RULE NO. 5:
says. Life is too short, and budgets too ALWAYS PAINT QUICKLY
tight! As flippant as that may sound the
principles hold. Manufacturers put a lot of Watercolour paint dries quickly so tutors will often encourage a sense of urgency and
effort into producing good quality paint spontaneity among students. Likewise, plein air painters are told to work at speed,
colours and these days many ready-made given that natural light is always changing the appearance of a landscape.
When to break it
greens are fantastic. Dont assume they are
simply ready mixed, either: Viridian, that
stalwart of a basic palette, mixer The situations outlined above require you to paint at speed, but this isnt always the
extraordinaire, is made from a unique case. Sometimes a more thoughtful and studied approach can be rewarding if you
pigment, not mixed from blues and yellows. are making a painting in the studio from a series of drawings, says Wendy Jacob, the
Meanwhile, landscape painter Joe Dowden senior vice president of the Royal Watercolour Society. In this situation you can edit
believes the longstanding problem with the painting to improve the composition or manage the colour to evoke an atmosphere
green paint is to do with the vast number of and enhance the subject.
shades of the colour. There are at least Wendy cites 20th-century painter Edward Burra as someone who created excellent
750,000 visible to the human eye, he says. examples of more thoughtful, studio-based watercolours. She also encourages artists
Three quarters of all colours perceived are to slow down and consider their creativity, rather than just a record of the places you
described as green. However, only a narrow have been and the things you have seen. A still life can also give you time to think
band fit near the perfect secondary colour about the painting you are working on, and ensure you are making a work of art,
green on the colour wheel. Therefore, she explains. You are in control and changes can be made as you have more insight
colours we perceive as being green almost into the subject.
always have to be mixed. Wendy suggests that the way artists can start to work in a more considered way is
That said, he agrees that effective greens simply by making a conscious decision to stop and take a complete break from a
often come in tubes and the key to using painting, returning later with a clear head. You will be seeing the painting with new
them is making sure they balance with all of eyes, and anything that doesnt work will leap out at you, she says. You may find the
the other values in the painting, so they painting is going in a direction you didnt intend which may be worth following. You are
dont jar against the colour of the paper giving yourself time to make decisions.
as he did with Tilly Mud, pictured opposite. Lastly, she recommends having a few separate paintings on the go at the same time:
This makes it easier to put a painting aside for some thinking time, because you have
another to be getting on with. A&I

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why not try
Why not try

Circular Paintings
Swedish painter Alexander Klingspor reveals the joy of painting in the round
F
or the round paintings Ive done so far, Ive had
the canvases made for me, simply because it
was the most time efficient way to start.
Stretching a round canvas isnt so different from
stretching a rectangular one though. I might
order the stretcher bar and stretch the next
canvas myself if I do a larger format.
The Angry Sea (right) would not have
worked as well in a square format,
simply because the composition was
created accordingly to the round
shape. Had I painted on a
rectangular canvas, I would have
had to adjust the composition
accordingly to that geometrical
shape. Water has a very fluid
shape that fits the organic
geometry of a circle.
Round is difficult for many
reasons. Human beings tend
to put things in boxes and
squares as much as they can.
Our way of separating ourselves
from nature is to grid up our
environment and straighten
everything out, whereas nature is
wiggly we dont create so many
round houses, for instance. But the
round shape of a painting has a beauty
to it, since it contrasts everything else
around it. Im planning on larger multi-
figurative paintings in circular format, but
they demand special compositions to work
in a round format.
Light source and studies of nature are
essential to my work. I try to study
anatomy as much as I can. It is the
key to understanding how light
will hit a form and how
shadows will fall.
www.alexanderklingspor.com The Angry Sea would not have
worked as well in a square
format Water has a very fluid
shape that fits the organic
TOP RIGHT The Angry Sea,
geometry of a circle
oil on linen, 40x40cm
RIGHT Ocean Study,
oil on linen, 40x40cm

W Quick Sketches
hen I find myself struggling to settle
down in the studio to get started, or
when I dont have a specific idea in
for
mind to paint, I often walk around the
outside of my studio and simply look around.
Sometimes my eye is caught by potted
flowers or the landscape around my house
Fresh Ideas
or the lemons on my Meyer lemon trees.
Something about the freshness of the colour
of the lemons and the dark green around
them always excites me. I look for a leaf
formation and lemons that I think will make
an interesting study and then I begin. My goal If youre struggling to come up with an idea for your next
is simply to have fun and enjoy the process.
Its not always easy to decide how to
painting, speedy sketching is a great way to get the creative
begin, so I often do quick preliminary colour juices flowing, as pastel artist Stephanie Birdsall explains
sketches. These can be just a few strokes or
a treatment of a possible composition.
These colour studies set the stage for the
more involved painting that follows.
One of the reasons this helps break the
block is its simply so much fun to work
loosely. Theres nothing tight about these
sketches. Its simply the joy of the strokes,
knowing I can make a mess and get out of it
if I need to. After Ive worked through a few
sketches, I find the direction I want to go for
1
the final painting.
The InITIal SkeTch

Look for something simple to start with
such as this single lemon. Working on
13x18cm white pastel paper mounted on
foam board, sketch the subject loosely and
block in darks and lights with Yellow Ochre
and a dark purple, along with a little Burnt
Sienna on the leaves. Brush over the shapes
2
with rubbing alcohol to set the sketch.
add colour To The SkeTch

Once the underpainting is dry (it will
take only a few minutes), continue
with those same colours plus a dark green
and a lighter green for the leaves. Add a little
grey-blue to the lighter side of the leaves to
complete the sketch.
While this is a simple way to get started,
the resulting composition is awkward
because the lemon is in the middle of the
leaves and the leaves are evenly balanced
on each side of it. It would be more pleasing
to have the lemon off centre with an odd
3
number of leaves.
Try anoTher SkeTch

Using the same process and
materials, try another sketch, this time
grouping several lemons. Its better, but the
space between the three lemons is almost
the same, making it less interesting to look at.
It also has a feeling of being centred again.

quick sketches for fresh ideas
4 Improve the ComposItIon

Set up a new grouping of lemons.
Take a reference photo to preserve
the lighting in case it changes while
5
youre working.
BegIn AgAIn
Beginning on a new piece of pastel
paper, sketch the composition. Block
in the basic colours of the underpainting and
brush the shapes with alcohol. Because
these are young lemons, the skin has a
greenish cast, so use a light green and
gently layer it on the lemon shapes. Next add
a very pale Yellow Ochre to bring some of the
background light into the painting. Add a
dark green to the leaves to start to give
6
them depth.
Develop the shADows

Keep the strokes loose and keep
having fun. As you work, consider
where you want distinct, crisp edges and
where you want them to be softer or lost.
Look more closely at the shadows and
background for colour. The lemons are
obvious as to being in the yellow family, but
the background is much more subtle. Ask
yourself how you can bring colour into the
whites. It often works to pick up colour from
some of the other colours in the painting. For
example, there is a lot of reflection on the
white cloth from the lemons and leaves, so
you can use Yellow Ochre, greens, blues and
purples in a lighter value in the cloth.
Add a soft warm green to the areas around
the leaves in the background as part of the
leaf colour reflection in the background.
Note there is a little Ultramarine Blue in the
shadows, so add it. Also, add purple in the
leaves for contrast and a lighter shade in the
background. Use a very light stroke to layer
the pastel, and dont blend the pastels other
7
than through layering.
FInAl DetAIls
Start to become more specific, looking
for details such as highlights. Use the
dark green and Burnt Sienna soft pastels to
deepen the shadows. Squint at the subject
often to simplify the values. Paint the
highlights on the lemons with a cooler,
lighter lemon yellow colour. Step back to see
if there is anything youve missed. When you
cannot see anything else to do that would
make it any better, the painting is finished.
This is an extract from Maggie Prices Creative

Freedom, published by North Light Books (RRP
17.99). Turn to page 62 to see our review of
the book. www.fwmedia.com

REVIEWS Our verdict on the latest
practical art books and materials
DRAWING MEDIA
Derwent XL Charcoal and Graphite

3.49 each or 19.99 for tin of six, Derwent
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ired of fumbling around in a box of
snapped sticks of charcoal, getting
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piece large enough to draw with?
If so, Derwents new range of XL
Charcoal and Graphite might be just what
youve been waiting for. Measuring a
rather sturdy 6cm long and 2cm wide,
youd need to apply Herculean levels of
pressure to snap these chunky sticks.
The two ranges come in six colours
each, including a Sanguine and Ochre
charcoal for Old Master style drawings.
And like Derwents traditional charcoal
range, the XLs are watersoluble, allowing
you to blend your drawings or work on a
damp paper for a really smooth finish.
The only real downside is that the larger
surface area to each stick means they get
dirty quickly. The Olive Green graphite in
particular looked a different colour after
repeated use, so we were forced to rub a
clean corner every time we wanted to use
it again. In general though, it is a small
price to pay for a top quality finish.
BOOK BOOK
Creative Freedom Watercolor Painting

Maggie Price Tom Hoffmann
17.99, North Light Books 22.99, Watson-Guptill
Designed to help you overcome a Confession time. We should have reviewed this book sooner but
creative block, the 52 exercises so in depth are the various topics here that it took us until now to
included here act as useful prompts really work through them all. A tutor at Seattles Gage Academy of
to try new techniques or approach Art, Tom Hoffmann brings
paintings from a different angle. a clear and organised
Utilising acrylic, watercolour, collage, structure to his learning
oil and pastel, methods. Like many
there should be American tutors,
something for Hoffmann prefers a bolder
everyone here style of watercolour, but
and you can the techniques he explains
decide for from knowing what not to
yourself with paint, to learning to see a
our extract on subject in layers are
page 60! useful for all comers.

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Packing
PICK AN UNUSUAL SUBJECT
Born in the summer of 1882, George Bellows quit his
art degree at Ohio State University prior to graduation
in order to study with Robert Henri at the New York
a Punch
School of Art. Henri encouraged his charges to break
with traditions and embrace the skyscraping city as a
subject in itself.
For George Bellows, this involved painting wide
THE CLEvELAND MUSEUM OF ART, HINMAN B. HURLBUT
vistas of the immigrant neighbourhoods on

COLLECTION. THE CLEvELAND MUSEUM OF ART
Manhattans Lower East Side and most famously

making several iconic paintings of dimly-lit amateur
Despite dying at a young age, American painter George boxing clubs. I think Stag at Sharkeys and Club Night
Bellows made a huge impact on the 20th century art were like the Francis Bacons of his day, says Ann
Dumas, coordinating curator of the new George
world with his boxing portraits and bucolic landscapes. Bellows: Modern American Life exhibition at the
Steve Pill examines his methods Royal Academy of Arts. They had such an impact
when they were painted.

george bellows
FIND A GOLDEN RECTANGLE Even in his most bleak mid-winter landscapes

Rather than just composing a scene at random,
George Bellows was deeply interested in the new
or grey urban scenes, George Bellows was
theories that were being discussed in the early 20th always a master at picking out telling details
century American art academies and groups. He was
particularly interested in the teachings of Jay in high-key colours
Hambidge, a Canadian-born artist who wrote several
books on dynamic symmetry, a system of measuring
proportions based upon mathematical ratios that
occur both naturally and in classical
Greek architecture.
Bellows started attending lectures by Hambidge
in 1917, says Dumas. He had a lot of conversations
with him and studied them quite seriously. He
definitely used these geometric principles in lots of
his compositions, both for paintings and lithographs.
One of the main principles involves the application
of the golden ratio, in which the longer side of a
rectangle should be approximately 1.618 times the
size of the shorter side. Hambidge explains that this
ratio occurs in nature and the theory is that if you can
incorporate those dimensions into a composition it
will be more aesthetically pleasing.
LET THE BRUSHWORK FLOW

Robert Henri spent a lot of time in Paris in the late
19th century and back in New York he would share
his love of Impressionism and in particular the work
of Edouard Manet with his students. He admired
Manets impastos, the way the French artist could put
paint on in quite a thick way but also quite opaquely so
you get a creamy quality to his work, says Dumas.
Bellows applied this same sumptuous impasto
technique to his own early cityscapes, though perhaps
the most impressive use of the technique comes in above Love of Winter, ELECTRIFY YOUR PALETTE
that early boxing painting, Stag at Sharkeys. It was 1914, 82.6x102.9cm Even in his most bleak mid-winter landscapes or grey
painted with thick paint and slashing brushstrokes below Men of the Docks, urban scenes, Bellows was always a master at picking
which I think was meant to convey the energy and 1912, 114.3x161.3cm out telling details in high-key colours. 1914s Love of
brutality of the scene, says Dumas. Varying your opposite Stag at Sharkeys, Winter is a fine example of this, as bright clothes stand
brushstrokes to echo your subject is a great way 1909, 92x112.6cm. out against the snowy backdrop. In the few years prior
to add dynamism to a scene. All pictures oil on canvas. to his unexpected early death in 1924, Bellows
developed this idea much further in his landscapes.
He was looking at a lot of Old Master painting during
that time, particularly El Greco, explains Dumas.
You know how El Greco uses those slightly electric
colours: heightened lime greens and purples? Thats
very much Bellows palette in his later work.
While these bright, unexpected highlight colours are
useful for creating visual interest for viewers anyway,
THE ART INsTITuTE OF CHICAGO, FRIENDs OF AMERICAN ART COllECTION
PHOTOGRAPHY THE ART INsTITuTE OF CHICAGO; RANDOlPH COllEGE
Bellows also used it for other reasons. He uses this

very heightened palette to create this rather unreal
mood, almost like fantasy landscapes.
Careful use of false or exaggerated colours can be
used to similar effect in almost any subject, especially
if the tonal value remains accurate be bold and try a
bright green in your next portrait or an unlikely purple
added to a landscape and see for yourself what effect
it can have on the overall image.
George Bellows: Modern American Life runs from 16 March
to 9 June at the Royal Academy of Arts, London W1.
www.royalacademy.org.uk

LEARN SOMETHING NEW
Varying textures
A variety of techniques were used
to apply the paint and create differing
textural qualities. In some places, Jeremy
has poured the paint or used a trowel to lay it
on thick. In others, he has sanded it back to the
raw plywood, which is more absorbent.
Clay Sculpture
Discover a new technique in just ve minutes
Diane Coates, Director, The Sculpture School:

Many painters and artists have a desire to
express their talents in 3D but have no idea
where to start. The thought of sculpting in clay
reminds many of us of primary school lessons
making tiles or coil pots, which has nothing to do
with actually sculpting a person or animal so
how do we begin to transfer our talents into three
dimensions and sculpt a figure?
One needs to start with a solid foundation and
it is essential to make an armature to support the
clay. Think of it as your canvas: you are preparing
the ground for your painting in clay. The metal
armature is secured onto a baseboard, and
standing figures must have a back iron to
prevent the sculpture collapsing under the weight.
The desire to race ahead without an armature
can be overwhelming, but honestly its not worth
the pain of watching hours of work keel over!
Once the armature is finished, its time to get
creative. Small dexterous movements of the
finger or sculpture tool can create subtle details
and gestures, developing character and
movement. At The Sculpture School, we always
advise our students to build their sculpture up by
using small sausages of clay, keeping the
application loose and dynamic.
Absolutely vital for creating a beautiful figure is
a knowledge and understanding of how the body Natural forms
works. No matter how abstract you intend your Jeremys quest for unusual shapes extends to the support itself. I dont draw
sculpture to be, that profound knowledge will inform the shape by hand, he explains. What that would do is get you in the habit
your work and allow you to express your creativity of repeating yourself with the shape of the indentations. Instead, he cast a
with minimum effort and maximum effect. thin sheet of plaster on a baking tray, broke it up and placed it on an overhead
ISTOCKPHOTO
www.thesculptureschool.co.uk projector. The plaster silhouette was projected onto a sheet of plywood
tracing around this provided the suitably natural shape you see here.

HOW I MADE
Clavell Tower, Kimmeridge
Acrylic and jesmonite on panel, 60x90cm
Jeremy Gardiner explains how fossils and boat builders inspired his techniques
I
ve always had an interest in the geology of
landscape and how its formed by the forces of
nature. What Im trying to do more and more is
employ lots of new technologies to look at the
landscape. My monograph is called Unfolding
Landscape and I like to think that I am unfolding
the landscape for the viewer to give them a
glimpse of their own transient relationship with
the physical world.
Im always walking the coast and this particular
location was the subject of a Paul Nash Shell
poster in 1935. I was standing on Swyre Head
its the highest point in the Isle of Purbeck. I set
my half-easel up there with a plywood panel.
I always start making a picture, work on it for
maybe half a day, then Ill go somewhere else
with another panel and so on. Ill take it home,
work on it in the studio and then bring it back a
few months later maybe its a slightly different
position or different atmosphere. What Im trying
to do is build up that multiplicity of memories of
this place, so you see all these other paintings
in the picture.
I laminated the acrylic between layers of
jesmonite, which is a casting medium its what
the guys in the Natural History Museum use to
cast their fossils. Its really tough stuff. I put it on
like Im plastering a wall. When I come to the
process of sanding, abrading or erasing
information, it holds the acrylic because
otherwise, if you put acrylic layers on top of
each other, they will flake and come apart.
I then routed out shapes in the acrylic layers,
using a router. I also applied a thin sheet of
aeroply to the panel. All that activity in the studio
and on site enables me to slowly build up this
image of this particular place. But it also, I hope,
gives the viewer a sense of passing time.
The Art of Jeremy Gardiner: Unfolding Landscape
monograph is published by Lund Humphries. The
Shipyard inspiration exhibition, Unfolding Landscape, runs from 8 March
Jeremys process of routing and sanding was inspired by watching to 26 April at Kings Place Gallery, London and 24
workmen in the boatyards at Cobbs Quay in Poole. Its like being May to 5 July at University Gallery Newcastle.
in a gallery you have all these boats up on blocks. The colour of www.jeremygardiner.co.uk
the patina is incredible because theyve been in the salt water.
Im watching the guys at work and thinking about how I can use
those processes in the studio.

harmonic shadows
Harmonic shadows
Giving form and depth to a painting is always a challenge. sandrine Maugy reveals a simple
new way of separating colour and tone with impressively three-dimensional results
T
he works of Leonardo da Vinci have shadow colour, using a yellow, blue and red selecting the three primaries. Texture also
always fascinated me. I have always that I can see when I look at the subject. plays a part. For example, French Ultramarine
loved his cryptic, sepia sketchbooks, Most subjects will suggest obvious will give a granulating effect suitable for
full of beautiful drawings, inventions and primaries in their colour scheme, but the textured subjects, while Phthalo Blue Red
theories. Seeing the Mona Lisas subtle colour is not always the only criteria when Shade (also a red-biased blue, like French
shadows, painted by a brush held in Ultramarine) will give a smoother finish.
Leonardos own hand, I understood what the Sometimes the correct hues are not
fuss was about. When I decided to obvious but the texture of the subject will
investigate his work further, I discovered his dictate which combination to select. The
method of using grisaille, which consists of resulting grey must be completely neutral.
painting shadows and light in monochrome Do not be tempted to give it a bias that will
as an underpainting before applying top reflect the local colour. The same neutral
layers of colour to his subjects. grey must be used over all the parts of the
I thought separating tone and colour into picture, creating an underlying link that will
two different processes was inspired. bring all the parts of the picture together.
However, using black and white watercolour Separating tone and colour will help you to
is far from ideal. see the form and your pictures will look more
The other potential problem was that too three-dimensional as a result. As long as the
strong a grey might interfere with the local grey shadow mix is made of the same
colours too much, spoiling the glowing colours used locally, the tone will not clash
transparency of watercolours. However, with with the top washes and the final painting
further experimentation, I came up with a will look bright and harmonious.
method I call harmonic shadows.
TesTing The Theory
The ConCepT These baby aubergines were painted using
Separating tone from colour helps one see the harmonic shadows technique. In the
form more clearly, as the eye is trained to picture on the left, the subject was painted
identify light and shade separately from the with a grey mix to render the form and
hue. Black and white paints are too heavy for capture the areas of light and shade. I used
watercolour painting. Blacks are usually this as an underpainting and let it show
transparent but dusty; all whites are opaque, through the subsequent colour washes to
turning mixes to thick, grey mud. Using grey render the rounded form of the fruit. The
is not an option either, as grey watercolour blue was Phthalo Blue Red Shade, a
paints contain a black pigment even red-biased blue that makes a good purple
Neutral Tint is a mixture of violet and black. but always stays smooth ideal for the
It is better then to mix black from glossy finish of the aubergines satin-like skin.
transparent, clean colours. The best way to a The red was Perylene Violet, a violet-
clear grey that will not spoil the vibrancy of biased red, which mixed with the Phthalo
pure watercolours is to mix the three primary Blue makes a purple close to the final
colours. The question is, which yellow, blue aubergine colour. The yellow was a
and red to choose? Transparent Lemon, which will also be used
Some artists have a homemade generic to mix the green of the stalks. On the
grey that they use for all their paintings. finished picture, the aubergines had the
Although that idea works in theory, I often same shadow wash painted wet-in-wet,
find that an all-purpose grey will not be followed by a succession of washes using
necessarily in harmony with the local colours the same colours as the grey mix in different
of a particular painting. I find it much better proportions. The same colours were used on
to select three primary colours that are the stalks, caps and bodies. Wet-in-wet
already included in the painting, thus creating technique was used throughout to keep the
the idea of harmonic shadows. As a result, washes soft and avoid hard lines between
all my paintings have a different mix for the different tonal zones.

harmonic shadows
Separating tone and colour

helps you to see the form of
a subject and your pictures
will look more three-
dimensional as a result

harmonic shadows
Balancing Yellows the right blue and red

Of all colours, yellow is the most difficult to will make a shadow mix
shade. Yellow hues are so delicate and clean enough for this
luminous that the slightest hint of brown in fragile subject.
the shadow mix will make them look muddy. When choosing a Lemon Yellow
Too many shadows will make them lose their Lemon Yellow, it is
brightness while too few will not render important to keep in
enough form. mind that not all
A good way to create sufficient tonal manufacturers use the
variations is too minimise the shadow areas, same pigment in their
keeping them deep enough in the darkest formulation. The best ones are New Gamboge
tones but omitting them altogether in the Daler-Rowney Lemon Yellow, Daniel Smith
mid-tones and highlights. This way there is Hansa Yellow Light and Schmincke Lemon
form without compromising on the Yellow. They are all transparent and the
brightness of the subject. most green-biased of all lemons.
In my sketchbook, I selected the paints For the blue, I chose Winsor Blue Green
for this simple wild daffodil. I found many Shade, a non-granulating bright blue with a Permanent Yellow
different yellow hues in the trumpet and the hint of turquoise, suitable for the daffodil
corolla, so I chose three different yellows for foliage. For the red, I chose Permanent
my painting. Lemon Yellow was the main Rose, not because of any obvious presence
yellow of the corolla, strengthened with in the subject but because it is the most
Permanent Yellow in the mid-tones. New finely ground of red pigments.
Gamboge was the main colour for the In the painting below, the flower on the left Permanent Rose
trumpet, livened up with the same shows the harmonic shadows painted wet-in-
Permanent Yellow, which is the brightest wet; the centre flower shows the shadows
yellow on my palette. For the shadow colour I with a few washes of colour added, but
picked the Lemon out of these three, as it is without any of the final details; the flower on
the most delicate pigment and mixed with the right is finished.
Winsor Blue Green Shade
Shadow Colour =
Lemon Yellow + Permanent Rose
+ Winsor Blue Green Shade
TOP TIPS FOR

HARMONIC
SHADOWS
Select your three primary colours
carefully the whole picture will be
affected by the shadow mix.
Use only transparent paints, as opaque
washes would cover the tonal layer.
Keep your grey neutral; do not be
tempted to introduce colour biases at
the grisaille stage.
If the grey looks too brown, it needs
more blue in the mix.
Use your sketchbook for a tonal study
a useful reference if the light changes.
Confine the grisaille underpainting to
the shadows. The mid-tones should be
Sandrines first book, Colours of Nature, more intense.
is published by Robert Hale, RRP 25. Paint wet-in-wet to avoid hard lines
www.sandrinemaugy.com on the edge of the shadow wash.

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a_i_advert_July-12.indd 1 18/07/2012 10:32:21
ReaderREVIEW
Every month, we ask a leading art expert to assess the portfolio of one of our readers
THIS MONTHS READER
Ailsa Lyn
Ailsa lives on the
Suffolk-Essex border,
the ideal place for
finding inspiration
from the multitude
of architectural and
scenic countryside
subjects that inspire
her. She is interested
in the exchange of
lights and shade, and
the quirky fragmented freaks of
nature that light sometimes
produces. Watercolour is her main
medium chosen for its transparent
quality and jewel-like colours.
ailsalyn-ailsalyn
THIS MONTHS EXPERT
Andy Wood RI RBA

Andy is the current
Honorary Secretary of
the Royal Institute of
Painters in Water Sproughton Mill Andy replies: I have loved painting water since I was a
Colours, whose 2013 Watercolour on paper, teenager and still havent cracked it, so this subject
exhibition runs from 35.5x26.5cm appeals to me strongly. I like the observation of colour,
5-18 April at the Mall particularly in the roofs of the buildings in the background.
Galleries, London. He Ailsa explains: The challenge in this The spattering of white body paint across the surface of
will also be exhibiting painting was to portray the reflected the water serves to soften and unify the reflections and
in a two-person show building while utilising the qualities also gives an impression of that dusty bloom so often
alongside Angela that watercolour as a medium has found on still water on a sultry, summer day.
Newberry from 8-23 June at I wanted to show depth without The idea of using warm colours on the buildings and
Marle Place Gallery, Tonbridge. losing the transparency. From a shadows in the distance also suggests a hot day but works
www.andywoodgallery.com technical viewpoint, I had to try and against the impression of depth (warm colours are usually
keep the colour in the reflections in associated with the foreground and cool colours with the
line with the buildings. Usually I avoid background), as does the fine detail in the distant
detailing too many leaves, so cannot buildings and lack of detail in the foreground. If I was Ailsa,
JOIN IN! decide as to whether the willow has I would be inclined to use this to her advantage, allowing
To be considered for a future Reader
Review, please send an email to: perhaps been overworked? both drawing and colouring to flatten the picture plane.
steve.pill@chelseamagazines.com Its an attractive subject and would be interesting done
with a link to your Portfolio Plus in a portrait format, keeping the buildings in the top third
homepage. Not a member yet? Sign up at of the paper while cropping the right-hand side of the
www.artistsandillustrators.co.uk/register picture fairly aggressively and filling the remaining two
thirds with soft and fragmented reflections.

reader review
Bluebells Glaven Valley Dandelion Hare 2

Watercolour on paper, 20x28cm Watercolour on paper, 29x21cm
Ailsa explains: What attracted me to this view was the Ailsa explains: This painting was an experiment away
pure drama of it all and so I intentionally wanted to keep from my normal landscapes and it was initially intended
the detail vague. I allowed the blues and greens on the as a gift for a friend who adores hares. I wanted to
hillside to blend indiscriminately, but with gentle coaxing achieve an almost magical quality to this subject so I
I tried to give the impression of the layers of flowers as combined jewel-like pastel colours in the background
they receded away. I dropped paint wet-into-wet to give and used silver leaf on the dandelion heads.
texture and strength of colour, as well as wet-into-dry to Composition-wise I do feel that the body is too fat, but
form the cauliflower-type effect. the density of colour behind the silver leaf does serve to
highlight it more.
Andy replies: This is a nice version of a tricky subject.
One of the perennial problems for figurative painters is Andy replies: This is my favourite of the three paintings
perceiving the difference between what they know and and is, I think, a pointer towards a style and treatment that
what they see. Ailsa has observed her subject well, using a this artist might pursue. Technically I like the delicate use
range of colours and tones together to give an impression of masking fluid, particularly in drawing the whiskers,
of the haze of colour that is so typical of a bluebell wood. applied using, of all things, a discarded clothes peg spring
She has also cleverly used the granulation of the paint an excellent example of thinking outside of the box and
in the middle and foreground to suggest the individual using tools not normally associated with painting.
plants. The thoughtful observation of colour continues in I agree with Ailsa that the drawing of the body is not the
the rendering of the trees and in the subtle, wet-into-wet best part of the painting and perhaps closer attention to
watercolour washes indicating the distant fields. this, as well as a more careful, sharper delineation of the
Ailsa has said that she wanted to keep the detail vague dandelion seeds and a darker background would have
but perhaps the painting needs some finer detail to pull it increased the dramatic impact.
together. The foliage in the trees could have been more Experimentation is the key here and using new and
carefully worked on, while a little more information in the unfamiliar colours, techniques and materials along with
foreground combined with some judicious cropping of the more considered drawing and design could well be the way
top of the picture would make the piece more dynamic. forward for Ailsa.

shifting palettes
DEMONSTRATION
Painterly Drawing
Liven up your drawing with a new technique from Leith School of Art tutor Jemma Derbyshire
P
ainterly drawing is a means of taking
otherwise dry materials and working
with them in such a way as to make an
image that looks like a painting. This process
not only allows you to create dynamic,
multi-layered pieces of work in your studio,
but also opens the possibility of creating
paintings out on location, without all the
equipment that this would traditionally
require. This is particularly handy for working
out in the landscape as it dramatically cuts
down on the amount of things you need to
carry it also dries almost immediately,
making carrying work home much easier!
A painterly drawing can be made with a
variety of materials but for the purposes of
this demonstration, I will use oil pastel and
Zest-It. Zest-It is a less harmful, less toxic
and less potent form of brush cleaner or
paint thinner, used as an alternative to white
spirit or turps. It is made from the zest of
citrus fruit and has a much more pleasant
smell than traditional solvents. Zest-It is
readily available in most good art shops, and
is a worthwhile investment if you are
regularly exposed to brush cleaning solvents.
I would also recommend some good quality
oil pastels as this will lead to a more
powerful finished piece due to the higher
oil and pigment content.
1 2 3

painterly drawing
The Post-Impressionist artist Paul Gauguin

was famed for his use of strong experimental
colour, which was inuential in the French
6
avant-garde. Gauguins use of colour is the
inspiration behind this Painterly Drawing
demonstration and it is this intensity of
palette and expression we shall look to
convey. Through using bold, condent colour,
this process opens up the possibilities of
drawing materials, and gives you ways to
manipulate them to create exciting, highly
coloured pieces of work.
Jemmas Painterly Drawing workshop takes
place on 1 June at Leith School of Art,
Edinburgh. www.jemmakderbyshire.com
Materials
Good quality oil pastels
Zest-It (or another form of paint thinner)
A sheet of good quality cartridge paper
A paint brush
A soft graphite pencil (4B or softer)
Masking tape
1 Mark out a border in masking tape on

your cartridge paper. Within this border,
use a single colour oil pastel to plot out the
rough placement of your image. Starting with
a strong composition is important, so spend
a bit of time thinking about this before you
begin. If you are working from drawings in
your sketchbook, you might want to explore a
few possibilities in there rst.
dont have the colour you need, then mix the
colours on the paper: as you build them up
together they will start to blend.
4 Once you have a good level of colour
built up, you can then start to apply the
Zest-It. Begin with a little on your brush and
start working over the oil pastel so that it
2 Build up your colour, layering the oil

pastel and exploring the possibilities of
heightened or exaggerated colour. Oil pastel
3 The more oil pastel you build up, the
bolder and more painterly your nal
image will become, so dont be afraid of
starts to dissolve. You should then be able to
move the colour around freely. Be sure to
keep cleaning your brush in the Zest-It and
mixes very well, especially when you have a laying it on thick. Keep your marks energetic wiping it on a rag to prevent the colours
lot of pigment on the paper surface. If you and free, as they may still show through later. becoming muddy.
4 5 5 Now work back into your surface again to

bring back a little denition and also to
allow a complex layering of colour to begin.
At this point you can scrape back into your
image with a sharp point or add more Zest-It
to create more painterly marks. If the colour
has dulled at all, now is the time to intensify
it and bring it back.
6 Finally, use a soft pencil to draw back

into your image to pull out any detail you
may want. Graphite also responds to the
Zest-It so you could effectively paint with
that too. You could also try experimenting
with soft chalk pastel and water. It will
produce a slightly different end result, but
will still be very painterly in quality. When the
painting is nished, carefully pull away the
masking tape to leave you with a nice crisp
edge to your piece.

WINNING WAYS
Discover the techniques of award-winning artworks
ruthS tipS
Make your own paint.
I get my pigments from AP
Fitzpatrick or L.Cornelissen &
ruth Stage Son. I choose ones that can
The Isabella Plantation, egg tempera, 100x120cm grind down easily it makes
Winner, Lynn Painter-Stainers Prize 2013 things a little bit easier.
I
went down to the plantation in Richmond Park but the real painting starts in my studio. Between Use a brush that carries
on an autumn weekend: it was a really bright, being on site and back in my studio, the painting plenty of paint. I use sign-
sunny day and so the painting is about does change: it will start to tell its own story. makers brushes with long
silhouettes. On stormy or bleak days I tend to I work in egg tempera and Ive always made handles and a long filbert.
make the sky flat. On this day, it was about the my own paint from scratch. I have pots and pots They hold a lot of paint and so
plants being illuminated from behind the sun of colour to choose from, lined up on the dresser I can make a long line with
made halos behind the heads of the plants. It in my studio. I have a massive palette, which is them great for painting trees.
made it look like the foliage was animated. actually an old door: there are pools of paint on For the sky, I would start with
I did a few sketches on site, but I also took it. Colour is really important its a major part of a much thicker brush.
photographs because I work back in the studio the story. I used blatant complementary colours Experiment with colours that
on huge boards massive heavy things that I of blue and orange. The colours I use depends complement each other. For
couldnt possibly take outside! I have developed on the subject matter but when I want a painting bright or dramatic works this
a way of making sketches and studies when Im to be really lovely and bright then using will always work, says Ruth.
out and about, as well as having photographs, complementary colours really works.

OPEN STUDIO DIRECTORY
Suffolk Open Studios Surrey Artists
Every weekend in June from 11am to 5pm, Open Studios
participating artists will be opening their studios to
visitors. For a fantastic range of paintings, Summer Event
sculpture, glass work, jewellery, ceramics, 8-23 June 2013
photography and much more besides, Suffolk Venues: various artists studios in Surrey
Open Studios have it all. Specific artist opening and on its borders
times and locations are shown on our website. Annual summer event to meet artists, view
For a taste of what can be found in our ateliers, demonstrations, buy artwork, take part in
why not drop in to our Showcase workshops, view taster exhibitions and enter our
Exhibition held at Blackthorpe prize draw. The website offers an excellent search
Barn, Rougham from 18-27 May facility with interactive map, useful links and a
2013. Entry is free and further Find A Surrey Artist feature.
details are available on our website.
saosandopenstudios@yahoo.co.uk
www.suffolkopenstudios.co.uk www.surreyopenstudios.org.uk
info@artactiv.co.uk (01483) 519285
York Open
Studios 2013
Fri 12 (6-9pm)
Sat 13 (10am-6pm)
Sun 14 April (11am-5pm)
Sat 20 (10am-6pm)
Sun 21 April (11am-5pm)
Discover the work of over 50 artists, craftspeople
and designers at this years York Open Studios.
Open Studios North Fife Discover creative talent whilst wandering around
87 artists and designers open their workspaces the mediaeval streets of York in search of artists
to the public. studios. Entry is free and a free event guide is
Saturday to Monday, 4-6 May 2013. available from:
10am to 6pm each day. info@yorkopenstudios.co.uk
www.openstudiosfife.co.uk www.yorkopenstudios.co.uk
THE ART SHOP DIRECTORY

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Whats your first memory of art? I love the fact that theres a
I started painting at eight-years- connection somehow.
old. One of our neighbours was
the manager of a butchers shop When were you most inspired?
and showed my paintings to one As the official war artist in
of his customers who was the art Northern Ireland. The best
editor of the Daily Mail. The art picture I have ever painted is in
editor wrote me a personal letter the Ulster Museum and its called
that said, I think you have talent, The Ulster Crucifi xion (below).
go on doing it.
Were your family artistic at all?

Neither of my parents were
artistic. My father worked in a
factory and my mother cleaned.
The only art in my family was on
the top of biscuit tins.
What was your big break?

My biggest breakthrough was Do you still find art difficult?
being elected to the Royal Yes. The problem is that you start
Academy. I was 50 and I had the day full of hope and you
exhibited at the RA since I was 18. finish every day disappointed.
Whats the best piece of advice What single thing would make
youve been given? your work easier?
Carel Weight, my tutor at the A tube of light!
Royal College of Art, said MY LIFE IN ART
painting is just the same as You have published several
playing the piano: you have to
practise it every day.
Which artist do you turn to for

KEN HOWARD books whats the appeal?
Because, like art, a book is going
to be there forever. I like the idea
that when I drop off the perch I
A past president of the New English Art Club,
inspiration? shall leave behind a lot of
Velzquez, without a doubt. Ken held his first solo exhibition in 1955. paintings and five books.
His latest book, Ken Howards Switzerland,
The last exhibition you saw? How does writing compare
is published by the Royal Academy
Constable, Gainsborough, Turner to painting?
INTERVIEW: MARTHA ALEXANDER
and the Making of Landscape at the I dictate all of my books. My
JRG GABATHULER; ROYAL ACADEMY OF ARTS, LONDON; THE ARTIST. PHOTO: NATIONAL MUSEUMS NORTHERN IRELAND; STEVE PILL
Royal Academy. Theyre my heroes. autobiography was done in one
week laying down with a bad
have to give it all your time and Whats your biggest back, talking. I had a
effort, which is probably why I recent triumph? secretary type it all up.
have been married three times. Standing in exactly the
But Dora loves the fact I am same spot as Turner in Are you still excited by
selfish. The only thing that would Switzerland he did a having exhibitions?
upset her is if I didnt work. drawing from it and I Always. Ive sold thousands
have done a painting. of paintings now but every
Which is your favourite art shop? time I sell another I never
Where is your favourite place Green & Stone in London. cease to be excited by the
to paint? fact that somebody wants to put
I have worked in lots of exotic What is your studio like? what I do on their wall.
places Borneo, Greece, India I have three! One in Cornwall,
but London is my wife and one in Venice and one in London. What have you sacrificed for
Venice is my mistress. The London one is my favourite your art?
because Ive I always say to youngsters who
What one art product could you been there want to be artists, Are you
not live without? longest. It willing to fit life around your
A Dora. My wife does everything once belonged work, not work around your life?
other than paint the pictures. A to Sir William If your life comes first, forget it.
painter is, by nature, selfish. You Orpen. www.kenhoward.co.uk

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EN PLEIN (COLD) AIR looking forward to painting. By the time

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5065 ABTA No.W780X

the diaryAn artists guide to the month ahead

Baselitz: Women Dont Paint Very Well

what do you think of baselitzs comments? email us at info@artistsandillustrators.co.uk

Artists & Illustrators 9

COMING UP THIS MONTH...

10 Artists & Illustrators

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Painting spans so many subjects: history, philosophy, psychology and anatomy...

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Charlotte on her artist

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We gave the actors painting lessons not to learn

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EStAtE oF DAME lAurA KniGHt DBE rA 2013. All riGHtS rESErvED.

26 Artists & Illustrators