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LP01 1 Cover_Overseas&Subs copy_Layout 1 21/11/2017 08:47 Page 1
THE UK’S BEST-SELLING ART MAGAZINE
Try 5-minute
JANUARY 2018 £4.40 animal studies
WATERCOLOUR
Back to basics with
your first technique
Winter landscapes
in easy stages
HOW TO PAINT
skies and clouds
using acrylics
Portray light and
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How to depict the
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LEARN TO USE STEP-BY-STEP

a six-colour projects from
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FIRST STEPS BE INSPIRED

in painting Draw your
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January welcome_Layout 1 20/11/2017 12:23 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 52/1
ISSUE 569
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
JANUARY 2018
Editor
Ingrid Lyon
A new year with Leisure Painter
inevitably brings with it a major new
series of practical tutorials. To begin 2018
Contributing Editor
Jane Stroud I have great pleasure in introducing a year-long look at
Editorial Consultants
Diana Armfield RA, NEAC (Hon), RWS ‘watercolour basics and beyond’ with David Webb (pages 14 to 17).
David Bellamy
Tony Paul STP We begin the series this month with an introduction to materials
Advertising Sales and your first technique, the flat wash. In the next issue, David
Anna-Marie Brown 01778 392048
annamarieb@warnersgroup.co.uk covers how and when to stretch your paper, followed throughout
Advertising Copy
Sue Woodgates 01778 392062 the year by a detailed study of painting and sketching in
suewoodgates@warnersgroup.co.uk
watercolour, all aimed at building your skill set and confidence
Accounts
creditcontrol@warnersgroup.co.uk with this wonderful and unpredictable medium. As always, I hope
Events Manager
Caroline Griffiths
you have fun with your experiments, and enjoy the process of
Subscriptions & Marketing Manager learning and painting.
Wendy Gregory
Subscriptions
This issue is also packed with demonstrations, practical advice
Nicci Salmon & Liza Kitney and illustrated techniques to help you make the most of your
01580 763315/763673
subscriptions@tapc.co.uk hobby. From first steps in abstraction, making five-minute sketches
Online Editor
Dawn Farley of animals and trying new approaches to portraiture, to tutorials
Designers in popular media and subjects, we aim to fill your painting hours
Alison Renno
Sarah Poole with practical help and inspiration. If you feel we are missing a
Leisure Painter is published subject, technique or medium, please let me know.
every four weeks by:
The Artists’ Publishing Company Many congratulations to Jeannie Pakenham whose painting on
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, page 6 won this year’s Christmas Greetings competition. We will
Kent TN30 6BD
01580 763315 have great pleasure in making a donation to her chosen charity,
The Motor Neuron Disease Association. You will also find details
Publisher
Dr Sally Bulgin, Hon VPRBSA of how to enter LP’s annual Open Competition/Exhibition in
Publication of an article or inclusion of association with Patchings Art Centre and the fantastic prizes on
an advertisement does not necessarily
imply that TAPC is in agreement with
offer on pages 12 and 13 of this issue. Then pick up advice and
the views expressed, or represents
endorsement of products, materials
inspiration from the winner of the inaugural Leisure Painter Award
or techniques. TAPC does not accept and talented amateur portrait painter, Jason Carlisle, who talks
responsibility for errors, omissions
or images received in good faith about his painting practices on pages 38 and 39.
Annual subscription rates:
UK £39.99 (includes Northern Ireland);
From the team here in Tenterden we wish you all a very merry
USA $80; Canada $92; EC member
countries €67; all other countries
Christmas and a creative and happy year ahead.
(sterling rate) £50
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH INGRID LYON Editor
Newstrade distribution by
Warners Group Publications plc
(Tel: 01778 391000) FEBRUARY 2018 issue on sale 29 December
www.painters-online.co.uk JANUARY 2018 3

LP12 4-5 Contents_News 1st 20/11/2017 10:40 Page 4
Contents JANUARY 2018

45
38 4
54 5
27 Painting project
IN EVERY ISSUE Part 1 Paint a snow scene from a photograph
using traditional transparent watercolour
7 Diary 73 Books methods, by Colin Steed
Things to do this month Some of the best practical
art books are reviewed 30 Approaches to portraiture
8 Exhibitions Part 1 Tony Paul introduces the first of
Some of the best shows 75 Art clubs a two-part series on portraits. This month:
around the country News, highlights, exhibition ideas for drawing in pencil, charcoal and ink
listings and ‘best in show’ gallery
10 Letters 34 Winter in watercolour
Your tips, suggestions, 78 Online gallery Part 1 Build your watercolour confidence
ideas and questions Jane Stroud chooses a painting in this three-part seasonal landscape series,
from PaintersOnline by Colin Joyce
38 Jason Carlisle
Winner of the Leisure Painter Award in LP’s
FEATURES Open Competition 2017, Jason Carlisle talks
about his passion for painting portraits
14 Watercolour basics
and beyond 40 Landscape studies
Part 1 David Webb begins a year-long Part 1 Steve Strode discusses skies and clouds
series on watercolour techniques in the first of a four-part series on painting
with a look at the flat wash the elements of the landscape
18 Taking steps 45 Limit your colours

Follow Trudy Friend as she experiments How to unify your paintings with a six-colour
with drawing and painting techniques palette and six inspiring exercises, with
John Mitchell
On the cover
Colin Joyce Ben More from the A85,
22 Under snow
watercolour, 10x14in. (25.5x35.5cm). Focus on depicting realistic shadows 50 Five-minute studies
Painting in watercolour on pages 34 to 37 as you paint a winter scene in acrylic, Learn to make quick and lively sketches
with Charles Evans of animals, by Gary Geraths
4 JANUARY 2018 www.painters-online.co.uk

LP12 4-5 Contents_News 1st 17/11/2017 11:58 Page 5
Coming
next month
From watercolour, acrylics and oils to pastel
and drawing media, Leisure Painter has
it covered in the February issue!
8 40
ON SALE 29 DECEMBER
n Watercolour basics:
paper stretching
n Watercolour landscape
demonstrations to
follow
n Inspiration for
painting abstracts
n Explore the mysteries
of black and white
n Part one of three
articles on pastel
painting techniques
n Make the most of
4 50 your sketchbook t
Tony Paul Frank, Ready to
n How to paint en plein
64 Party, acrylic on board, 10x8in.
air with oils (25.5x20.5cm). Follow Tony’s
practical exercises for painting
OFFERS, NEWS AND COMPETITIONS n Paint water and sealife portraits next month
26 Find out the latest on reader painting holidays in acrylics and oils
in 2018 n Tips and techniques
for painting portraits LEISURE PAINTER
44 Join Lachlan Goudie as he paints in the Atlas
Mountains, Morocco in April and May n How to make five- ON-SALE DATES
minute landscape Issue On sale
48 Buy the perfect gift for a loved one this Christmas sketches February 29 December
March 26 January
n Develop your drawing
when you subscribe to Leisure Painter
April 23 February
skills
60 Your chance to win Eddie Armer’s new book,
Drawing Masterclass: Life Drawing, from Search Press AND LOTS MORE!
74 Take advantage of the latest offers on practical art
books in LP’s online bookshop at PaintersOnline
79 More fantastic offers from Search Press this month
54 Test report
Adrienne Parker experiments with Sennelier’s new Rive Gauche
Fine Oil Colours for artists
58 Journey into abstraction

Join Linda Birch as she explores abstract painting processes
61 Light and shadow

Noel Gregory introduces techniques to paint contrast in an
oil painting of a market scene in old Casablanca
64 Cottage door t
David Webb Lundy Island, watercolour, 13x20in. (33x51cm).
How to paint the texture of wood in watercolour, by Terry Harrison Join David throughout the year to develop your watercolour skills

Just want to Paint?
Enjoy a painting holiday with like minded people
who just want to paint “Without Instruction”
on the private estate of the beautiful
Chateau de la Chesnaye in the Loire Valley
• Private, luxurious suites

• Wholesome French Cuisine • Fabulous regional wines
• Painting materials & setup included • Exceptional value
Jeannie Pakenham Robin, watercolour, 16x11in. (38x29cm)

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Christmas
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& PaintersOnline
We are pleased to make a donation
of £100 to The Motor Neuron Disease
Association (www.mndassociation.org)
as the charity nominated by our winner,
Jeannie Pakenham, in this year’s Charity Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN
Christmas Greetings competition Tel 01756 792929 • Fax 01756 790909
admin@proarte.co.uk • www.proarte.co.uk
p06_lpjan18.indd 6 16/11/2017 14:24:37

LP Jan 2018 Diary p7_News 1st 20/11/2017 13:23 Page 6
Diary
THINGS TO DO THIS MONTH
Great Art
celebrations
Just over a year ago the art
William Orpen A Bloomsbury Family, 1907, oil on
t
materials supplier, Great Art, canvas, 34x34in. (86.5x86.5cm) from Reflections: Van Eyck
opened its first store in Great and the Pre-Raphaelites at the National Gallery, London,
Britain located at 41-49 Kingsland until 2 April
Road, Hackney E2. The Your Art
Superstore took over occupancy In the frame
of a striking building that was Secret language
once home to Goddard & Gibbs, Coinciding with the National Gallery,
one of the largest stained glass London’s major exhibition, Reflections: Van
studios in the UK. In celebration Eyck and the Pre-Raphaelites, until 2 April,
of the company’s long history, the the gallery will be holding an In Focus day
Shoreditch store will host an on Saturday 10 February (11am to 4pm) in
exhibition of work by seven of the Sainsbury Wing Theatre. The Secret
Goddard & Gibbs’ stained-glass Language of Pre-Raphaelite Art will look at
artists, alongside commissions, the signs and symbols in the works of Burne
history and memories of staff Jones, Holman Hunt, Millais, Rossetti and
who worked there. The exhibition others. For more information or to book, go
Paul and Mark from
t
Goddard & Gibbs working on runs until 4 January. Visit to www.nationalgallery.org.uk/whats-on or

a stained glass commission www.greatart.co.uk telephone 020 7747 2888.
NEWS
n New Tate St Ives
The Tate St Ives has reopened after a
four-year building project that has
seen the exhibition space doubled,
and the creation of new studios for
learning activities. The new gallery
opens with a major exhibition of
recent work by Rebecca Warren, until
January 7, followed by Virginia Woolf:
featuring work from 1850 to the
present inspired by the writings of
Virginia Woolf, 10 February to 29
April. Visit www.tate.org.uk for more
information and opening times.
n Wildlife artist prize
Flooded Washes (right) by Carry Akroyd
has been awarded the inaugural
£2000 Terravesta Prize at The Natural
Eye – the Society of Wildlife Artists’
annual exhibition, which took place at
the Mall Galleries in London in
October. As new sponsors of the exhibition, chairman of t
Carry Akroyd Flooded Washes, serigraph, 271⁄2x391⁄2in. (70x100cm), winner of the
Terravesta explained how the painting reflects the ethos of Terravesta Prize at the Society of Wildlife Artists’ annual exhibition, The Natural Eye
Terravesta: “We are passionate about the environment and
sustainable agriculture both here in the UK and elsewhere, n Leisure Painter & The Artist Open Art Competition
so it is a natural fit to become involved with the society.” Details for the 2018 Leisure Painter and The Artist Open Art
To find out more about the Society of Wildlife Artists, go to Competition in partnership with Patchings Art Centre have now
www.swla.co.uk been finalised. Full details can be found on pages 12 and 13.

LP Jan 2018 Exhibitions p8-9_Layout 1 16/11/2017 09:49 Page 2
Exhibitions
until 10 December. ‘Art for Youth 2017’,
13 to 15 December. ‘FBA Futures 2018’:
showcasing outstanding graduates of 2017,
9 to 20 January. ‘The Columbia
Threadneedle Prize: Figurative Art Today’,
31 January to 17 February.
JANE STROUD RECOMMENDS n National Gallery
Trafalgar Square WC2. 020 7747 2885.
‘Drawn in Colour: Degas from the Burrell’,
until April. ‘Reflections – Van Eyck & The
LONDON Pre-Raphaelites’, until 2 April.
n Bankside n Llewellyn
Gallery Alexander Gallery ‘Monochrome: Painting in Black and White’,
until 18 February.
48 Hopton Street SE1. 020 7928 7521. ‘Mini 124-126 The Cut, Waterloo SE1. 020 7620
Picture Show’: works on a small scale by 1322. ‘Christmas Exhibition’: Chris Kendrick, n National Portrait Gallery
members of the Royal Watercolour Society Nancy Petley-Jones and other gallery artists, St Martin’s Place WC2. 020 7306 0055.
and the Royal Society of Painter- until 3 January. Jenny Wheatley: The ‘Cézanne Portraits’, until 11 February.
n Royal
Printmakers, 1 December to 21 January. Journey’, oils, acrylics and watercolours Academy of Arts
n Dulwich Picture Gallery inspired by her recent trips to India, Cuba,
Piccadilly W1. 020 7300 8000. ‘Jasper Johns:
Spain and Cyprus, 9 January to 7 February.
Gallery Road SE21. 020 8693 5254. ‘Tove Something Resembling Truth’, including
Jansson 1914-2001’: paintings by one of the n Mall Galleries paintings, prints, drawings and sculpture,
most celebrated illustrators of the 20th The Mall SW1. 020 7930 6844. ‘Royal until 10 December. ‘Charles I: King and
century, until 28 January. Institute of Oil Painters’: annual exhibition, Collector’, 27 January to 15 April.
T. Allen Lawson The Watering Hole, oil on panel, 131⁄2x181⁄2in. (34.3x47cm)

t
An American vision
Born in Wyoming in the west of Returning to Wyoming in 2016 has thoughts and working methods.
America, Lawson studied drawing and inspired this exhibition of paintings that T. Allen Lawson – an American Vision:
portraiture at the American Academy explores the themes of nature and the From Wyoming to Maine, continues at
of Art in Chicago, before moving to the interaction of man and wildlife. The the Jonathan Cooper Park Walk Gallery,
East Coast of America, where he lived exhibition includes preparatory sketches 20 Park Walk, London SW10, until 16
and worked for over 15 years. and pencil studies, which reveal Lawson’s December. Telephone 0207 351 0410.

LP Jan 2018 Exhibitions p8-9_Layout 1 16/11/2017 09:49 Page 3
n Tate Britain
Millbank SW1. 020 7887 8888.
‘Impressionists in London’, until 7 May. ‘All
Too Human: Bacon, Freud and a Century of
Painting Life’, 28 February to 27 August.
n Tate Modern
Bankside SE1. 020 7887 8888. ‘Modigliani’,
until 2 April.
n William Morris Gallery
Forest Road E17. 020 8496 4390. ‘May
Morris: Art and Life’, exploring the life and
work of May Morris, the younger daughter
of William Morris, until 28 January.
REGIONAL
n Laing Art Gallery
New Bridge Street, Newcastle upon Tyne.
0191 278 1611. ‘Paul Nash’, until 14
January.
n Manchester Art Gallery
Mosley Street, Manchester. 0161 235 8888.
‘The Edwardians’: exploring the glamour
and rural nostalgia of the 1900s, until 31
December.
n Mercer Gallery
Swan Road, Harrogate. 01423 556188.
‘Katharine Holmes: In Grandmother’s
Footsteps’, landscapes painted en plein air
by Katherine Holmes, revisiting the
landscapes of her grandmother, Constance
Pearson, until 14 January.
n Millennium Gallery
Arundel Gate, Sheffield. 0114 278 2600.
‘Ravilious & Co: The Pattern of Friendship’,
exploring the influence the artist had on
visual culture in 1930s Britain, until 7
January.
n Norwich Castle Museum
& Art Gallery
Castle Hill, Norwich. 01603 495897.
‘Rembrandt: Lightening the Darkness’,
focusing on Rembrandt’s use of
printmaking, until 7 January.
n Royal Scottish Academy
The Mound, Edinburgh. 0131 624 6110.
Frederic William Burton Meeting on the Turret Stairs, 1864, watercolour and gouache on paper,
t
‘Ages of Wonder: Scotland’s Art 1540 to
Now’, 4 November to 7 January. 371⁄2x24in. (95.5x61cm)
n Scottish
National Gallery
For the love of art
of Modern Art Over 100 paintings by the 19th century Irish artist, Frederic William Burton,
(Modern Two) 75 Belford Road, Edinburgh. are currently on show at the National Gallery of Ireland. Drawn from private
0131 624 6200. ‘Scottish Avant-Garde Art:
and public collections, both nationally and internationally, the exhibition
1900-1950’, 2 December to 10 June.
explores all aspects of Burton’s career, such as time spent in London working
Tate Liverpool alongside the Pre-Raphaelites. A programme of events has been organised to
Albert Dock, Liverpool Waterfront, coincide with the exhibition, including a study morning on 13 January. For
Liverpool. 0151 702 7400. ‘John Piper’:
paintings and collages, until 18 March. full details visit www.nationalgallery.ie
Frederick William Burton: For the Love of Art continues at the National
Victoria Art Gallery Gallery of Ireland, Merrion Square West, Dublin, until 14 January.
Bridge Street, Bath. 01225 477233. ‘Howard
Hodgkin: India on Paper’, until 7 January.
Watts Gallery – Artists’ Village
Down Lane, Compton, Guildford. 01483
810235. ‘In Print: British Landscapes, All information given here is correct at the time of going to press, but you are
bringing together the work of 13 advised to check details and opening times with the galleries prior to your visit
contemporary printmakers, until 7 January. in case of unavoidable alterations to their exhibition schedules
‘Helen Allingham’, until February 18.

January letters_News 1st 20/11/2017 12:30 Page 11
Letters
difficulty or surcharges. Hotel bookings
were made through a popular website,
which offers free late cancellation.
On both trips in mid-June we had wall-
to-wall sunshine. What a joy: no phones
or other distractions, outdoors, in good
SHARE YOUR TIPS, SUGGESTIONS, IDEAS company, laughs, satisfying artwork
AND QUESTIONS WITH OTHER READERS completed – and all at a modest cost.
Possible destinations for next year are
already being discussed.
In black and white place at the left side of the work and lean I would encourage others to consider
After a serious illness and being somewhat on that. It’s not ideal, but it seems to arranging art group trips. For time spent
restricted in my movements during the work. If you are careful, it won’t smudge. dedicated to art, free of day-to-day
past few months, I became inspired to try 2 Try working with the paper upside down demands, the cost can be modest and the
working in black and white, using mainly so you are still following the step by step rewards substantial.
pencils and pens with felt tips of varying in the magazine. It’s tricky to get the hang David Fenwick
thicknesses. Having always been interested of, but it can be useful in some projects.
in pattern and shape, I began by 3 With paintings (acrylic and oil) I find it Memories
producing designs of overlapping circles, easier to follow a right-handed demo, Seeing illustrations of the old-style
triangles or rectangles. I then remembered using a mahl stick or any other useful Leisure Painter reminded me that I still
on a recent holiday seeing artwork by the arm-leaning gadget. had copies from April, May and June 1973.
Tlingit people in Vancouver, and I began 4 Painting skies upside down works well They were neat little magazines, and I
to produce other black and white designs for me. I work right to left and flip reread the articles with great pleasure.
inspired by what I had seen. canvases around, onto their sides and My favourites were on painting mice by
The next step was to try city skylines, of upside down. Watercolour washes don’t Joy Parsons, and on plaque and
which there are many examples on the work upside down, but leaning your left gravestone rubbings by Kenneth Lindley,
internet. The buildings of Paris, London elbow on a convenient block and turning not something we hear too much about
and New York provided many useful the paper so it’s on the diagonal is useful, these days!
subjects. I moved onto silhouettes of as you can still keep the same paper tilt. A painting course at an art school in
people walking, running and dancing, Just be inventive and remember there Spain, 15 days, full board and tuition, by
with shadows in a lighter shade of pencil. are a lot of famous left-handed artists. air, cost £84.
More recently I have produced mandala S Doran Many congratulations on LP’s 50
designs and especially mounted examples successful years, and your new-style
for Christmas for my four grandchildren. On tour magazine. Thank you for all the
Each design includes a motif of the I relish the prospect of attending a tutored inspiration and tuition, and now the
grandchild’s favourite topic. art course abroad. The courses seem added incentive brought to us by your
One other aspect I have explored is attractive and the venues idyllic. However, website, PaintersOnline.
doodling; once again there are many they can be quite expensive and way Sheila Brown
examples on the internet. Flowers and beyond the means of many. All need not
buildings make good subjects. I placed be lost, however, as members of the art
a number of flower heads randomly on group I attend have enjoyed two self- Send your letters to
the page and filled the spaces between organised trips to the city of Prague. Leisure Painter, 63-65 High Street,
with leaves, berries and patterns. The The first trip in 2016 was such a success Tenterden, Kent TN30 6BD.
resulting design was very effective. With that we repeated the visit last year. Alternatively, email the editor at
buildings I started with a line of buildings Although we did not have a structured, leisurepainterletters@tapc.co.uk.
of various shapes across the base of the tutored course, we all benefited from All letters published here win a set
page and worked upwards, varying in mutual support within the group and we of 24 Van Gogh Oil Pastels. Find
shape, position and angle to each other. saved a lot of money into the bargain. out more about Royal Talens art
Working in black and white has opened Some pre-preparation was necessary in materials by visiting
up a whole new way of working, and I deciding what to take, and in deciding www.royaltalens.com
hope the idea inspires others as much as from the many photographs of the city on
it has inspired and motivated me. the internet the chosen scenes to paint
Bob Cooke and draw. By doing so, we stayed together
as a group and this worked well. Flight
Left-handed artists times were Monday afternoon outbound
I read the letter from Val Rayner (LP, and late Friday evening return, giving us
November) about left-hander issues. I’m three-and-a-half days dedicated to art.
a leftie, too, and have developed a few The trips required someone to research
workarounds. As Val mentioned water- and book cheap flights (with Jet2 directly
soluble pencils, here are a few options from Newcastle in our case), airport taxi
she might like to try: transfers and hotel bookings. We booked
1 Lay a piece of crystal paper (for use with in January for June visits and saved by
pastels) over the already worked area doing so; we also secured double and twin
carefully. I’ve got a yoga block, which I rooms for single occupancy without
All inclusive art holidays at
Casa Bezzia in inspirational Italy.
Painters of all abilities and non-painting partners welcome.
• Relaxed informal tuition offered by professional tutors.

• Realize your dream, unwind & immerse yourself amidst
the beautiful scenery of the Emilia Romagna region.
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Save £2 on this
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Available to order from:

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LP_QuarterPage_January.indd 1 09/11/2017 10:23:22
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p11_lpjan18.indd 11 16/11/2017 14:32:57

LP01 12-13 OpenCompv5_Layout 1 20/11/2017 10:48 Page 12
and
Open Art Competition 2018
in partnership with Patchings Art Centre
CALL FOR ENTRIES
OVER £17,500 WORTH OF PRIZES
OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:

£5,000 £500 Caran d’Ache/ £2,600 £500 Royal Talens
Purchase Prize Jakar Awards Award Awards
Award Two prizes of £250 One prize of a showcase Two prizes of art materials
Selected by guest judge worth of art materials feature on a selected artist to the value of £250 each
Lachlan Goudie ROI www.jakar.co.uk in Leisure Painter magazine www.royaltalens.com
for a work up to the www.painters-online.co.uk
value of £5,000 £500 Clairefontaine £500 Sennelier Awards
www.painters-online.co.uk Awards £100 Two prizes of £250
Two prizes of £250 worth Highly Commended worth of Sennelier
£1,700 ’s of art products selected Award art materials
Exhibition Awards from the Clairefontaine A subscription to www.globalartsupplies.co.uk
Selected artists from the Graphic & Fine Art range Leisure Painter worth £100
2018 The Artist’s category www.clairefontaine.com www.painters-online.co.uk £600 St Cuthberts
will be awarded a mixed Mill Awards
exhibition at Patchings £850 Daler-Rowney £450 Patchings Award Three prizes of £200
in 2019, worth £1,700 A gift voucher worth £450 worth of watercolour paper
Awards to be used at Patchings Art www.stcuthbertsmill.com
www.patchingsartcentre.co.uk Five sets of materials Centre in Nottinghamshire
to the total value www.patchingsartcentre.co.uk £1,800 The Harbour
£100 of £850 Gallery Award
Highly Commended www.daler-rowney.com £600 Premium Art One year’s representation
Award Brands Awards by The Harbour Gallery,
A subscription to £500 Great Art Cornwall
The Artist worth £100 One prize of Daniel Smith
Awards watercolours worth £350 and one www.theharbourgallery.co.uk
Two prizes of £250 prize of Pan Pastels worth £250
worth of art materials www.premiumartbrands.com £400 Winston Oh
£600 Batsford Awards from Europe’s largest Award
Four prizes of Batsford art art materials’ supplier £300 Pro Arte Awards A painting course worth
books to the value of www.greatart.co.uk Two prizes of brushes to up to £400 of your choice,
£150 each the value of £150 each provided by Winston Oh
www.batsford.com www.proarte.co.uk www.winstonoh.com
JUDGES David Curtis ROI, RSMA Ingrid Lyon, editor Liz Wood, artist and
Sally Bulgin, editor Guest Judge: Leisure Painter co-owner of Patchings
(All art materials prizes are quoted at the rrp)
The Artist Lachlan Goudie ROI John Sprakes ROI, RBA, MAFA Art Centre
How to enter & conditions 1 The entry fee of £18 covers up to THREE through the links entitled The Artist MUST be available for exhibition if
The competition is open to artists entries of two-dimensional works in & Leisure Painter/Patchings 2018 selected.
any media; only ONE work per entrant Competition. The closing date for 5 Successful entrants will be notified in
worldwide. Only original work will be accepted for exhibition in the entries is 12 noon on Friday, April mid-May about delivering their work
completed within the last two years Leisure Painter category. 13, 2018. between June 15 and July 1, 2018 to
will be considered and paintings 2 No entry should be larger than 4 Entries will be judged after April 13, Patchings Art Centre, Nottinghamshire.
based on reference photographs 120x150cm WHEN FRAMED (canvases 2018 and selected works called for 6 All care will be taken with entries but
must have been taken by the artist do not need to be framed). exhibition. These must be framed no responsibility can be accepted for
or used with the permission of the 3 To enter, upload digital files of your (canvases excepted) ready for loss or damage in transit, incoming or
photographer. Photography, except image(s) and pay your entry fee using exhibition from July 12 to August 12, outgoing, whilst on the competition
where incorporated into collage, our secure server via our website at 2018 at Patchings Art Centre, premises or during the exhibition.
is not acceptable. www.painters-online.co.uk, clicking Nottinghamshire. ALL works entered Originals selected and submitted for
LP01 12-13 OpenCompv5_Layout 1 20/11/2017 12:04 Page 13
t
2017 Winston Oh Award Amanda Wragge
t
2017 Harriet, oil on canvas, 12x16in. (30x40cm)
Patchings
Award
Brenda
Mawditt
Waiting,
watercolour,
1612⁄ x1212⁄ in.
(42x32cm)
2017 Pro
t
Arte Award
Mayumi Taguchi
Tomatoes,
watercolour,
20x14in.
t
2017 Batsford Books Awards Graham Lockett
(51x36cm) Black Rock Sands Gull, oil, 20x16in. (51x41cm)
WITH THANKS TO THIS YEAR’S AWARD SPONSORS:
Winston Oh
ALL ENTRANTS WILL RECEIVE A COMPLIMENTARY ONE-DAY ENTRY TICKET

TO THE PATCHINGS FESTIVAL OF ART, CRAFT & PHOTOGRAPHY, WORTH £10
final exhibition must be fully insured but not limited to magazines,

by the artist. promotion materials, websites, TIPS FOR PHOTOGRAPHING YOUR ARTWORK
7 Original works must be left with the databases and as part of
organisers throughout the exhibition. downloadable digital products. l Set your camera to the highest quality available
8 All entries must be original. 9 Commission of 25% plus VAT l Take your picture of your painting square on
Submission of entry in this will be charged on sales of works and fill the frame as far as possible
competition automatically constitutes accepted and hung in the final l If possible use a tripod to ensure a crisp image
acceptance of all the competition rules exhibitions at Patchings Art
and agreement to allow The Artist Centre l Turn off the date!
and/or Leisure Painter to publish, 10 By entering the competition, l Make sure that no easel clamps or clips intrude and
republish and repurpose entries in entrants agree to be bound by that frames don’t cast shadows across the artwork
print and digital formats, including the conditions of entry
LP01 Webb_Layout 1 17/11/2017 12:35 Page 14
Back to basics
Watercolour basics
and beyond
Part 1 David Webb begins his year-long series on watercolour
painting with a look at the basic materials you can choose,
before introducing your first essential technique – the flat wash
LEARNING OBJECTIVES
n Understand the materials you
need for watercolour painting
n Practise your first technique:
the flat wash
n How to paint glass objects
I ’ve tried several media over

the years, but I always return
to watercolour. I love the
transparency of the medium, and
how you can create atmospheric
and moody paintings with just a
jar of water, a few tubes of colour,
a decent brush and a good sheet
of paper.
Although it can be occasionally
frustrating to use, the feeling you
have when a beautiful, clean wash
appears before your eyes is well
worth the effort. Watercolour is the
medium I picked up first and it still
holds the magic for me today.
An introduction
In this year-long series of articles
I would like to explain the basic
techniques you may want to try as
you explore watercolour painting,
and cover some of the problems
associated with this exciting,
unpredictable medium that may
occur along the way.
First, I will explain briefly some
of the tools necessary to create
paintings in watercolour. One of
the great advantages of the medium
is that the materials required are
relatively few. The items I describe
(opposite) are all you will need to
start. Don’t buy lots of unnecessary
equipment, but look for just a few
items and buy the best quality
you can.
Nasturtium, watercolour on
t
Arches watercolour paper, 13x912⁄ in.

(33x24cm). The 240gsm Arches paper
was lovely to work on. Although the
paper is a little thin for washes, it was
fine once I stretched it onto a board.
I cover stretching paper in the
February issue.

Back to basics
MATERIALS
Paints
Paper Available in both Student grade
Three surface types are available: and Artists’ quality, it is always
hot-pressed (smooth), NOT (medium best to use paints from established
texture) and Rough. Hot-pressed is good manufacturers. Artists’ quality are
for detailed work and the dry-brush best but, of course, more expensive.
technique. It is also more suited to pen Most manufacturers grade their
and wash, as a nib will glide easily Artists’ colours in Series, from one
across the surface. For more traditional to four, four being the most costly
techniques, where washes are applied, to produce, and one being the least.
NOT and Rough are easier to work with. Student colours contain less
Papers are made in a variety of expensive ingredients and all colours
weights. Lightweight papers require tend to be priced the same. As a t
Watercolour paints are available in
stretching if a lot of water is likely result, Student grades tend to be less soft form in tubes (left) and semi-solid
to be used. Heavier weights, from vibrant and intense. More paint is blocks of colour, known as pans (right)
300gsm (140lb) upwards, are less usually needed to make a wash than
prone to buckling. the more concentrated artist colour.
Colours are available in both tubes
and pans or half pans. The quality
of each is the same, but tube colour
is softer and quicker to work with,
especially if a large wash is required
say, to capture a fleeting sky effect.
There is a range of mixing palettes
available, some with hinged lids,
which can be used in conjunction
with tubes.
Pans are cakes of semi-solid colour,
which are contained in a small plastic
case. These are then slotted into
a palette, which may be plastic or
metal. The mixing area is usually t
A hinged plastic palette containing
contained within the lid. Being 12 small slots for tube colour and 5
compact, small sets make pans larger mixing wells. The smaller enamel
t
Examples of watercolour paper surfaces, ideal for travelling and sketching. palette contains 12 half pans.
from top: hot-pressed, NOT and Rough
Brushes How to dilute your paint

Before attempting to paint a wash, first,
most expensive! A good sable consider how large the area is that you
brush, if looked after, will last wish to cover. It’s important to make
years. However, modern enough for a specific area or you may run
synthetic varieties are available out of wash before you finish. You may
with similar properties. Like think that you can mix up more, but, in
sables, they spring back to their reality, this doesn’t work, as it’s virtually
original shape if you flick them. impossible to create exactly the same
Synthetics tend not to hold as tone. Even if you could, the wash you’ve
much water as natural fibres already painted will have dried by the
but if you buy from established time you apply the new wash, creating
companies, they are of good a tidemark where the old wash meets the
quality and can rival their more new. Experience will tell you just how
expensive sable counterparts. much you need, but it’s wise to make
Another popular brush is the up a little more than you require.
squirrel mop. Much favoured by Begin by adding water to a mixing
t
Three varieties of watercolour the late Edward Wesson, the mop is well. The amount will depend on whether
brush, from top: synthetic, sable unrivalled in its water-holding capacity. you’re painting a small area or a large
and squirrel mop. It comes into its own when painting one. Add a little pigment to the water and
large areas of wet-into-wet colour. mix it in with your brush. Try a little of
The variety of brushes available to the They are considerably less expensive the wash on a piece of scrap paper. Is it
watercolour painter can be quite than sables, but they have one major too weak? If so, add more pigment until
daunting, as the shapes are many and difference: they are quite floppy and you reach the desired strength. If it’s
varied. The most useful shape is the will not return to their original shape too strong, add a little water. LP
traditional Round, which is cylindrical the way that sable and synthetics do.
with a tapering point. It can be used Many painters, myself included, love
to paint both large washes and areas squirrel mops. Other painters just do
of smaller detail. Flats are also useful not get on with them at all. It really
TIP Do not squeeze pigment into the
corner of the mixing well and add water.
as the full shape can be used to comes down to personal preference
It is wasteful of paint and difficult to
create a broad stroke and, used on and your particular way of painting.
achieve consistency with your wash. You
the edge, can produce a thin line. To begin, you only really need one
also run the risk of having small, undiluted
Sable brushes are generally accepted large brush for painting washes, and
particles of paint suddenly appear on the
to be the best. They are certainly the a smaller one for more detailed work.
paper, creating streaks like shooting stars.
t

Back to basics
TECHNIQUE
The flat wash PROBLEM SOLVER
Ideally, your paper should be secured t 2 Now, repeat the brushstroke just There are stripes in
to a board before you start, either underneath the first one, and just my flat wash!
stretched (see next month) or attached touching the base so that it then flows This is a common fault, which is caused
with masking tape around all four edges. downwards into your second brushstroke by not having enough paint on the brush.
Ensure that your board is propped up at to create a new bead at the base. It is tempting to keep on going, thinking
the top end so that it slopes down Continue this process until you have that there is enough. After all, it’s still
towards you; a slope of about 20 degrees painted the desired area. Once you have making a mark on the paper, isn’t it?
is ideal. This gentle slope allows the paint finished, use a slightly damp brush to However, if you find that the bead is
to form a bead at the base of each soak up the remaining bead. If you disappearing, quickly reload your brush
brushstroke, which is important. If your leave it, a ‘cauliflower’ shape will and carry on. Remember: don’t lose
board is flat, the paint tends to pool form at the base. the bead!
in places and does not dry evenly.
t 1 Dip your brush into the diluted wash and
paint a horizontal brushstroke. With your board
set at an angle, you’ll notice that the paint
flows gently downwards and creates a bead
along the lower edge. This is a good thing!
t
Here I used a squirrel mop to apply a flat t
The finished flat wash. The speckled
t
This image illustrates what I call
wash. Notice how important it is to keep the effect is known as granulation, which is not the Venetian-blind effect. This occurs
wash fluid in order to maintain the bead a fault, but a property of some colours, as a result of the brush being too dry.
at the base of each brushstroke. particularly cobalt blue and ultramarine.
Demonstration Still life using a flat wash

For this simple demonstration, I chose to paint
a glass jar. I first attached a sheet of Bockingford
NOT paper to a board with masking tape. You will need
n Surface n Watercolour
l Bockingford NOT l Burnt sienna
watercolour paper l Raw sienna
425gsm (200lb) l Cobalt blue
Step 1
t
Draw the outline with a soft 4B pencil.

Begin with the ellipses at the top of
the jar, which is always the trickiest
bit. The best way is to use your whole
arm to draw quite freely and not rest
your wrist on the paper. Lightly draw
a few ellipses and, once you’re happy
with the shape, increase the weight
of the line to make it clearer.
Step 2
t
Begin this painting with a flat wash of

burnt sienna, starting at the top of the
paper and working downward. Skip
around the highlights, leaving them
as white paper.

Step 3
t
Once the first wash is completely dry, use a wash of raw

sienna mixed with cobalt blue to paint the green glass areas.
Again, begin at the top and work downwards, leaving the
highlights untouched. Continue painting below the jar
to create the shadow.
t Step 4
Wait for the previous wash to dry then create more form and
depth to the jar using the same two-colour wash as before.
This time use a slightly darker mix with less water.
Step 5
t
Finally, use even less water in the same wash to create the
darkest darks. Use these marks sparingly to create the darks
around the rim and shoulders of the jar.
David Webb
Find out about David’s work and workshops by
visiting www.davidwebbart.co.uk. Save money when
you buy his latest book from our online bookshop at
www.painters-online.co.uk. See page 74 for details. t
The finished study Still Life, watercolour, 10x7in. (25.5x18cm)

LP01 18-21 Friend_Layout 1 17/11/2017 13:00 Page 18
Inspiration
Taking steps
Follow Trudy Friend step-by-step as she experiments with the drawing and painting
of rural steps, from techniques to apply texture in pencil to underpainting and washes
Figure 2
t
LEARNING OBJECTIVES Further ideas
n How to look at a subject’s
negative shapes
A correction
n How to create monotonal pen removed
underpaintings the edge line
n Build drawing skills and of the oval on
confidence this photocopy
M arks made on paper, either

by using strokes made with a
pencil, or brush and watercolour,
can look very similar and I have taken
the subject of garden steps to demonstrate
how you can experiment and have fun
with both. We will be working in
various stages from one to the other,
altering format or content as the A foreground
exercise progresses. container was
added
t Figure 1 First drawing
Leaves seen as
tiny silhouette
shapes
1 First drawing
I began with an oval format for
the initial drawing on Derwent
sketchbook paper 110gsm, using a
Tiny negative Caran d’Ache 3B pencil, and built the
shape drawing, looking at many of the small
negative shapes I could see (Figure 1,
left). Combining these with cast
shadow shapes to emphasise the light,
positive images, my aim was to create
strong contrasts of tone and form.
Within this subject a variety of
textures – a tiled roof, stonework and
foliage – also provided interest and
opportunity to use directional strokes
to full effect.
2 Playing with the idea

I like to play with ideas and decided
Cast shadow to change the format by making
a photocopy of the study, masking
the edge line of the oval with a
correction pen and continuing
outwards into a portrait format using
a soft pencil (Figure 2, above).

Inspiration
3 Adjusting the elements

There was not much extra to draw,
only filling the four corners. However, complete drawing of the subject (on time to think my way into the content
my initial choice of container in the copier paper) using my light box and just and reinforce the techniques that can
lower right-hand corner did not appeal, changing that area. Repeating images of then be transferred into paint.
which prompted me to make another the same subject like this provides 4 Finished pieces
Figure 3 Unevenly applied zigzag Dark leaves against light For distant trees short strokes
t
Adjusting the strokes form the basis of background are seen as are pushed up to create
elements massed leaves silhouette shapes interesting silhouette edge
Shadow Structure lines are

recess shape pulled down
Tiled roof effect starts

with a simple varied
pressure line
Randomly placed long

strokes form the basis
for larger leaves
Tiny negatives
Cast shadows
Stones start with a

shadow side shape
Tone added behind light

side
t
t
Final drawing from which a painting could be developed

Inspiration
Whether working with a small brush – blue becoming too obvious. the monochrome directional brushstrokes
a No. 4 was used for the smaller study Creating a monochrome underpainting were applied on the left-hand side
(Figure 4, below) – or a much larger like this will help you to concentrate on before I added translucent colour overlays.
one – No. 12 Pro Arte (Figure 5, right), tonal values and the all-important Monochrome underpainting holds
the method was the same. The small negative shapes. Simple dark silhouette everything together, making the application
study was completed as a vignette and shapes against a light background and of colour more spontaneous. I hope you
the larger example remains incomplete, dark or light negative spaces between enjoy following this technique yourself. LP
as a demonstration painting, showing forms combine to create representational
the stages of its development. artwork.
Both studies were made initially in Cast shadows also play an important
monochrome, as an underpainting using part and were applied swiftly and TIP Try to keep monochrome washes
a mix of Winsor & Newton sepia and directionally to follow the form over fluid then, if you feel you have made
French ultramarine – remembering all the which they fell, first as a pale wash and a mistake, you can quickly blot it out
time to continue mixing the two colours subsequently reinforced, wet over dry. while the paint is still wet.
as I worked to prevent separation and the You will see in Figure 5 how loosely
t Colours used
Hooker’s
green
Viridian
French
ultramarine
Sepia
Cadmium
red
Yellow
ochre
Lemon
yellow
t
Figure 4 Vignette Study, watercolour on Saunders Waterford NOT watercolour paper, 8x6in. (20x15cm)

Inspiration
Retaining expanses of Strong contrasts of light

untouched (white) paper is against dark and dark
important to receive the against light create
colour overlays drama in our artwork
Monochrome tones
overlaid form the
basis for overpainting
colours
Trudy Friend
Find out more about Trudy and her work
by visiting www.trudyfriend.co.uk. Save
money when you buy her latest book
from our online bookshop. See page 74
for details.
t
Figure 5 Taking Steps, watercolour on Bockingford 140lb, 1612⁄ x12in. (42x30cm)

LP01 Evans_Layout 1 17/11/2017 13:05 Page 22
Acrylic
Under snow
Focus on painting realistic shadows as you follow
Charles Evans’ demonstration painting of a winter scene
LEARNING OBJECTIVES You will need

n Paint texture in acrylic n Surface n Winsor & Newton Galeria acrylics n Cotman brushes
l Winsor & Newton l Raw umber l Alizarin crimson l Flat 3⁄4in.
n How to paint snow, shadows 140lb Rough l Raw sienna l Titanium white l Round No. 8
and the effect of light watercolour l Payne’s grey l Hooker’s green l Rigger No. 3
n
paper, 21x30in. l Cobalt blue
Add the effect of stonework nCobalt blue
without the detail (53x76cm)
watercolour
t
Step 1 t
Step 2
Make an outline drawing. Start on the left-hand side 1 To paint a very simple sky wash, use the flat brush to
with the large foreground building and the more pre-wet the entire sky area. From the top add fairly strong
distant buildings then fill in between. cobalt blue watercolour using broad strokes. Allow the wash
to become weaker as the strokes
come further down the paper.
2 Wash and squeeze out the
brush and suck out the clouds.
Importantly, let this dry before
starting on the buildings. The
rest of this painting is now
completed using acrylics.
Step 3
t
1 Pre-wet all the distant buildings

using the Round brush then drop
in raw sienna and let it spread
into the pre-wet areas.
2 Drop in well-watered raw umber
especially to the left-hand side of
these buildings and let the colours
merge. Be aware that light is
coming from the right.

Step 4
t
1 Use the same process and colours for the other two buildings
on the right-hand side, but this time drop in a few strokes of
burnt sienna onto the roof of the building on the extreme
right-hand side of the painting.
2 Change to the Rigger and a mixture of raw umber with a
touch of Payne’s grey to paint inside the windows and inside
some of the doorways of all the buildings.
3 Add a touch more raw umber into the same mix and, with
the Round brush, paint the impression of stonework on
all the buildings. These are just a few random strokes;
don’t start painting individual stones.
Step 5
t
1 To finish the area, paint the wall in front of the buildings
using the Round brush and a mixture of raw umber with
burnt sienna. There isn’t too much of this wall as there
will be a lot of snow on it soon.
2 Fill in the windows of the building to the extreme right
with Payne’s grey.
3 Add snow to the tops of the buildings and the top of the
wall using mixes of titanium white and cobalt blue.
4 Now it’s time for the first shadows. Make up a mix of Payne’s
grey with a tiny amount of alizarin crimson. Look carefully at
the building and it’s easy to see where the shadows have been
added. Keep the mix fairly strong for within the windows
and doorways then underneath the roof overhangs.
5 With more water in the same mix glaze over the
left-hand sides of the buildings.
Step 6
t
1 For the odd building in the middle distance,

begin with a weak wash of raw sienna then add
a touch of titanium white to lighten it even more
to paint the right-hand side. Paint raw umber with
a touch of titanium white on the left-hand side.
2 Add a few strokes of burnt sienna onto the roof.
Let it dry before using raw umber to paint the
beams of the building and a few strokes of
stonework on the building. Add Payne’s grey
within the window and doorway.
3 Whilst this is drying, add the snow to the roof,
again using mixtures of titanium white and
titanium white with cobalt blue.
4 Finally add the same shadow mix underneath
the overhangs within the windows and the
doorway and on the left-hand side of some of
the beams.
5 At this stage drop in the first set of far distant
trees to the right-hand side by stippling fairly
weak Payne’s grey with the split ¾in. flat brush.
TIP Lay a piece of paper on top of the sharp

edges of the building before you stipple and you
will be able to stipple with impunity, as the colour
will come up to the building but not over it.
Step 7
t
To paint the large building in the foreground pre-wet the

whole building apart from the window and drop in mixtures
of raw sienna and raw umber. Make sure that these are
going in while it’s still wet to help them merge. Use the same
process and colour for the trees to the left-hand side as you
did earlier.
t

Acrylic
Demonstration continued
Step 8
t
1 To give the impression of stonework

on the main building use raw umber, the
Round brush and a few random strokes.
Don’t go crazy with these. Remember:
you are not building it, you’re painting it.
Use the same colour to paint the
mullioned windows.
2 For the ruin on the left add a touch
of burnt sienna to your raw umber and
paint a very simple block.
3 To add the effect of snow, use the usual
mixes of titanium white and titanium
white with cobalt blue.
Step 9
t
1 Turn back to the shadow
mix and the Round brush. This
makes such a difference to this
large building. Look at the
overhang down the right-hand
side of the building, which
casts a strong shadow.
2 Now look at the inside of the
ruined area, and how a strong
shadow cast from the tower in
front makes the inside more
defined.
3 Finally put more water into
the shadow mix and glaze the
left-hand side of the building.
Step 10
t
With the flat brush

paint the wall in the
foreground using the
usual mixes of raw
sienna and raw
umber. Once dry, add
the snow behind the
wall and on top of
the wall. By adding
more cobalt blue into
the titanium white
and painting this on
the snow behind the
wall, you will make
the snow on the
wall stand further
forward.

Step 11
t
1 Finally in this area, use the shadow

mix to add a cast shadow of the large
building on to the snow in front of it
and onto the wall as it turns into the
dark side.
2 Drop a little snow into the middle
distance and paint the figures using
a Round brush. Use any colour you
want for the figures, as they are
mainly just clothing. The colours
used here were cobalt blue, Hooker’s
green, alizarin crimson, and raw
sienna mixed with titanium white.
Step 12 t
1 To finish, use the flat brush to add big snow just to give the feeling of mucky
bold strokes of titanium white and snow. For darker areas you could even add
titanium white mixed with cobalt blue a touch of Payne’s grey to your cobalt blue
Charles Evans
to give a rough base to the wall in the and titanium white mix. Find out more about Charles, his
foreground. 3 Finally with the Round brush paint work and workshops by visiting
2 Here and there, especially to the right, footprints using Payne’s grey and touches www.charlesevansart.com
add a few touches of raw umber into the of shadow cast by the people.
t
The finished painting Midhurst, watercolour, 21x30in. (53x76cm)

LP11 Holiday_All_Layout 1 16/11/2017 09:43 Page 1
READER HOLIDAYS
2018 PAINTING HOLIDAYS

with well-known artists
Tutorial watercolour painting holidays
Ideal for intermediate & confident beginner students
Monemvasia,
t
The Pelopennese,
Greece with
Hazel Soan
3–13 May
£3,795
African Wildlife
Painting, Kenya
with Hazel Soan
t
2–13 September
£9,795
‘Free-style’ painting holidays

Ideal for intermediate and advanced students working in mixed media
The Atlas
t
Mountains,
Morocco with
Lachlan Goudie ROI
27 April–5 May
£3,295
L’lle de Ré, France

with Haidee-Jo
Summers ROI Isola di Ponza, Italy
t
t
8–16 June with Richard Pikesley PNEAC

£3,295 9–19 September £3,295
‘Work alongside’ oil and pastel artists’ holidays

Ideal for advanced students and experienced painters
‘Our Man
t
in Havana’,
Cuba with
Peter Brown
NEAC ROI
19 February–
2 March
£4,795
Udaipur & Jodhpur, India
t
Venice with Ken Howard OBE RA
t
with Patrick Cullen NEAC PS
1–8 September £3,595 14–28 November £4,995
For full details contact 01825 714310

art@spencerscott.co.uk www.spencerscotttravel.com
Leisure Painter & The Artist magazines have been offering overseas painting holidays since 1990 with renowned artists.
These holidays are organised by fully licensed operator Spencer Scott Travel Services CAA ATOL 3471
LP01 45-47 Steedv3_Layout 1 17/11/2017 13:08 Page 27
Paint along with LP
Painting project
Part 1 Paint white on white paper using traditional
transparent watercolour methods, with Colin Steed
t
The photograph of this month’s project: the racecourse on Galleywood Common, Essex
shy away from any subject even if our grey tones that give the feeling of
LEARNING OBJECTIVES chosen medium is watercolour. With the distance there are also some warm
n Practise lifting off and side- correct approach and using the right oranges and yellows. The same colours
brush techniques techniques we should be able to achieve can be seen in the distance behind the
a good impression of any subject. foreground trees on the left. The light is
n How to paint snow in coming from behind the left-hand trees
watercolour The subject so most of the middle and foreground
n
From colour to contrast – that’s the areas are in shadow, but where the sun
How to paint successfully from way I see that magical moment in our shines through on the snow we can see
a photograph seasons when a blanket of white changes a warm orange-yellow. Even the blue
the landscape. This photograph of the shadows covering the trees and
T he first fall of snow is always an

exciting time for the artist. We go to
bed after seeing greens and browns
in the landscape and wake up to a blanket
of white. An artist’s initial excitement can
old racecourse on Galleywood Common
in Essex (above) is a good example.
It shows a ride through a wooded
landscape with large trees on either side.
The snow initially gives the impression
foreground have a hint of red.
Preparation study
Before you tackle this scene, I would
suggest you paint the study (pages 28
be very quickly quelled by the daunting that there’s very little colour at all. and 29), which incorporate most of the
prospect of putting that lovely snow scene The very dark colour on the left sides colour mixes and techniques required to
on to watercolour paper. How do we paint of the trees is easily spotted, but the paint a snow scene with lots of shadow.
white snow onto white paper without the longer you look the more colour you I hope you have the confidence to
use of white paint? If there are buildings see. The sky is very light but not paint this scene of the old racecourse
and trees in the scene and the snowfall is completely white. The top of the sky on Galleywood common after the
quite light, there will be a good amount of is a very weak blue but the closer the practise piece then why not post them
warm colour to contrast against the white sky is to the distant land, the warmer on PaintersOnline by emailing
snow. But when we have a heavy fall with the colour. dawn@tapc.co.uk for us all to enjoy.
strong winds the buildings and trees can In the distance, the racecourse turns Next month I will be painting my
be plastered with white. The effect on to the left and we can see the far distant version of the scene above using
t
nature is spectacular and we should not wood. Although there are some blue- these techniques. LP

Paint along with LP
Demonstration Simple snow scene
You will need

n Surface n Watercolour
l Canson Vidalon 140lb l Cobalt blue
watercolour paper, l Ultramarine blue
8x11in. (20x28cm) l Burnt umber
l Alizarin crimson
n Brushes
l Indian red
l Pro Arte Rounds,
l Cadmium yellow
Nos. 6, 8 and 12
n 3B pencil
t
Step 1
Draw a tree with hedges either side and a line for the distant field
with a 3B pencil. Using the No. 12 Round brush dampen the complete
paper allowing a short time for the paper to absorb the water.
t
Lifting off colour technique
t
Step 2
1 While still damp paint the weak blue sky hedges and foreground snow. Keep colour running into the distant field,
at the top. Work your way down, introducing all washes weak in colour and tone. lift it off using the damp No. 12 Round
alizarin crimson and cadmium yellow. 2 The distant trees should be painted before (see above). This will help the drying
Now mix crimson with the yellow to achieve the sky dries. This creates a soft edge that time in this area. Allow the paper to
an orange-red colour and paint over the will help the feeling of depth. To stop the dry completely.
Step 3
t
Mix together a medium to

weak mix of cobalt blue and
Indian red and using the No. 6
Round paint the tree, hedges
and foreground shadow.
Paint the tree trunk first,
followed by the smaller
branches tapering their
thickness as you go. The
foreground shadow is painted
one tone darker than the
hedge and tree leaving some
of the original colour
unpainted in the foreground.
The snow is now in shadow.

Paint along with LP
t
Step 4 Side-of-
t
Using the side of the No. 12 brush and the same the-brush
mix paint the impression of clusters of small twigs technique
and branches. The brush should be loaded with
colour, but only damp, not wet. The hairs of the
brush will open and create texture on the paper.
Step 5
t
1 The final stage is to paint any areas that are covered by the small twig areas.
are not covered with snow. Use the No. 6 3 The hedge is the same mix but use less burnt
Round for this. Paint the left-hand side of the
tree first leaving the centre and right side
umber to create a warm brown colour. Use the
side-of-the-brush technique (above right) to
Colin Steed
Find out more about Colin, his
unpainted. I used ultramarine blue mixed give the effect of snow on the tops and down work and workshops by visiting
with burnt umber. A dark brown colour, but the side of both hedge areas leaving plenty www.colinsteedart.magix.net
not too black, would be the ideal mix. of white snow. This technique is also used
2 Use the point of the brush for the small to create an impression of the odd patch of
branches, leaving gaps where the branches autumn leaves yet to fall from the tree.
t
The finished study, watercolour, 8x11in. (20x28cm)

LP01 Paul_Layout 1 17/11/2017 13:15 Page 30
Drawing
t
Jim, pencil on cartridge paper, 8x8in. (20x20cm) t
Cruiser, pencil on cartridge paper, 6x6in. (15x15cm)
Approaches
to portraiture
Part 1 Be inspired by Tony Paul as he offers techniques
and ideas for drawing and painting portraits in a variety of media
LEARNING OBJECTIVES month (painting) will help you move the underside of the nose and chin.
n First steps in portraiture forward with your own portraiture. Other lines of the profile are lighter,
Let’s start with the basics. almost disappearing in places.
n Work with surface texture to find Shading was done again by the use
a variety of effects 1 GRAPHITE PENCIL of lines, following the direction of
n Practise with new media and We all have to start somewhere the various forms.
and this is usually pencil on cartridge 20-minute exercise The sketch of a
techniques
paper – with the safety net of a cruiser (above) relaxing in one of the
rubber! First portraits are usually lounges of a ship also has the variety
M any leisure painters are

terrified of trying portraiture,
thinking it to be a
tremendously serious and difficult
subject, and the province of highly
done as a line drawing.
Ten-minute exercise The drawing
of Jim (above left) took ten minutes
to complete using just the point of
a 2B pencil. You will notice that
of line of the first example and
similar linear shading, which gives
the figure a distinctly solid look.
20-minute exercise The surface
texture of the paper can help give
trained, professional painters. But the outline of the profile is not of a character to a drawing. Ronnie
this really isn’t the case. Portraits uniform width. At art school we were (above right) was drawn on Ingres
are great fun to paint and needn’t taught to ‘feel’ a line, varying the paper, a ‘laid’ texture with a
be taken too seriously. They are, pressure of the pencil on the paper. horizontal linear grain. In this case,
however, an excellent way of This gives a sense of light and a hint I laid the pencil on to its side to
improving your drawing skills. of modelling of the forms, as seen by shade, allowing the texture of the
I hope the following ideas and tips the firmer lines of the undercut of the paper to give a grainy texture.
over this month (drawing) and next eyebrow to the bridge of the nose, This saved a lot of time.

Drawing
t
Ronnie, pencil on Ingres paper, 8x6in. (20x15cm)
t
Ayoade, coloured pencil on buff Canson
Mi-Teintes pastel paper, 10x8in. (25x20cm)
2 COLOURED PENCIL
The logical extension of the graphite
pencil is to use coloured pencils.
Three colours Using an Old Master
technique, called tri-crayon, of just
three colours – black, white and
burnt sienna pastel pencils – I made
this small drawing of Ayoade (above).
In smaller work I use the reverse side
of Canson Mi-Teintes pastel paper, as
I find the ‘golf-ball’ texture of the
right side too coarse and insistent.
The background tint (buff) of the
paper added a fourth tone to the
drawing.
Hatching Girl with Pony Tail (left)
was drawn on cartridge paper. The
Derwent Studio coloured pencils
were laid largely by hatching one
colour over the other, to build up
the pigment loading. Using a good
‘toothy’ paper is recommended
otherwise your coloured pencil
drawings will look feeble. Contrary
to expectations, you will find that
using coloured pencils effectively
is hard work!
Girl with Pony Tail, coloured pencil on

t
cartridge paper, 1112⁄ x814⁄ in. (29.5x21cm)

t

3 CHARCOAL
I first came across charcoal when I went
to art college. I hated using it, feeling
that it was messy and imprecise. When
I re-discovered it some 30 years later
I found it to be a wonderfully flexible
and expressive drawing medium.
Drawing with charcoal Hoa (left) was
drawn on 1000-grade lining paper –
a toothy paper available from your local
DIY store in rolls approximately 22in.
wide. As it is so cheap, it is ideal for
those attending life classes, with lots of
paper-gobbling short poses, or practise
work. It is usually a creamy white, but is
not acid-free so will darken and become
brittle as it ages. In this portrait, the
modelling of the face was completed by
lightly drawing lines with the charcoal
stick then softening them with a finger
until the right tone was achieved.
Charcoal gives a good textural quality,
but it is prone to smudging. This can be
prevented using fixative during or after
the drawing is complete.
Drawing into a mid-tone I used another
charcoal technique to draw Frank
(below left). To do this, first lay down
a mid-tone by applying a broad stick
over the entire paper and rubbing it in
with kitchen roll. If it is still too light a
second application will darken it further.
The drawing can then be made in
outline, the lights pulled out with a putty
rubber, and darker tones added by
blending in additional layers of charcoal.
Hoa, charcoal on 1000-grade lining

t
paper, 22x16in. (56x40.5cm)
t
The Rastafarian Cyclist, 0.1 Uni Pin pen and watercolour
t
Frank, charcoal on 1000-grade lining paper, on HP watercolour paper, 7x7in. (18x18cm).
22x16in. (56x40.5)

t
Heads at Grantley Adams Airport, Uni Pin 0.1mm black pen on cartridge, sketchbook size 1112⁄ x814⁄ in. (29.5x21cm)
4 PEN
Disposable pens, such as Uni Pin likeness, and the looser sketch of him. At home I drew what I could
Fine Line, are fibre-tip pens made the lady beneath him. remember and invented the rest. As
in various widths, with ‘water and Pen & wash Sometimes I see the pen is waterproof, the watercolour
fade-proof pigment ink’. These are something that makes me want to went over the drawing without it
great for making quick sketches, such reach for my sketchbook, or at least bleeding and muddying the colour.
as the heads I sketched in an airport, my camera, but my circumstances are This image was made into a greetings
while waiting to board a flight. such that doing anything is impossible. card and is one of my best sellers. LP
Small, quick studies These small This was the case when I saw The
studies (above) are useful in pushing Rastafarian Cyclist (left). I was sitting
your boundaries by trying new in a window seat of a packed minibus, Tony Paul
techniques, or for simply enjoying unable to move as we passed the
yourself and messing about. cyclist so I just looked at him for the Find more of Tony’s articles
I particularly enjoyed drawing the couple of seconds and closed my eyes on www.painters-online.co.uk
top right head, which was a good to remember as much as I could about

LP01 Joyce_Layout 1 17/11/2017 13:27 Page 34
Watercolour
t
Ben More from the A85, watercolour, 10x14in. (25.5x35.5cm)
Winter in watercolour
Part 1 Using a limited palette and classic watercolour techniques, Colin Joyce
begins a three-part seasonal landscape series to build your watercolour confidence
LEARNING OBJECTIVES Now, whilst I love painting outdoors, photographs, and the painting
and do so all year around, I appreciate (above) as well as the following
n Look for simple subjects and that not everyone wants to stand demonstration painting came about
avoid complex arrangements outside, painting in the cold for hours. as a result. I always work from my
n Use a limited palette, but you Often I will work in the studio from own photographs when not painting
still need colour photographs and quick sketches, on the spot. It’s important to my
which I make outdoors. I create all work that I experienced the scene
n Put plenty of contrast in your the reference material by the roadside first hand.
paintings so venturing off into the wilds to I encourage you to venture out there
paint isn’t a requirement. with your camera and sketchbook this
Not everything about winter is winter and produce some wonderful
I just love winter as it transforms the

landscape into something wonderful.
A whole new range of painting
subjects arise, which can’t happen any
other time of year. Over the next three
white snow and it’s important to
include colour and shadow in your
work so what is white will stand out.
The reference material

winter watercolours. Don’t forget to
layer up though, as staying warm is
important, even if your intention is
just to take photographs.
Next month I’m painting a scene you
months I’m going to share my approach After a fall of snow last winter, I had could easily find in your local park
to using watercolour to capture the a day out with my artist friend, Ken, or rambling country path, which has
essence of this season. in the Perthshire countryside. We took been transformed by winter light. LP

Watercolour
Demonstration Snow Clouds Approaching

I was really taken by the huge cloud you have in your mind. up to quarter sheet size rather than stretch
approaching, surrounded by brilliant blue sky I started by taping my paper to a piece of my paper. For most of the painting I kept the
and casting a deep shadow onto the hillside. plywood using masking tape. I tend to do this board at an angle of around 30 degrees.
The lines of stone walls and the trees gave
a sense of scale to the scene. I purposely
kept the winter tree in the foreground of
my photograph. I could decide later whether
or not to include it in my painting.
Remember, the photograph is a reference
and you can choose to alter elements, change
the colours and mood to create the painting
You will need

n Surface
l Saunders Waterford High White
300gsm watercolour paper,
10x14in. (25.5x35.5cm)
n Artists’ watercolour
l Cobalt blue (or ultramarine blue)
l Burnt sienna
l Alizarin crimson
n Brushes
l Large wash brush (squirrel hair or
synthetic)
l Escoda Perla Rounds Nos. 16 and 12
l Rigger or sword liner brush
t
The reference photograph for this demonstration painting: Perthshire countryside
Step 1
t
As the scene is fairly simple I decided not to draw, but instead

visualised the shape of the cloud and went straight in with the sky
wash, pure cobalt blue. Before this had time to dry I used a moist
Round brush to soften the edges of the clouds then left it to dry.
t
Step 2
I mixed cobalt blue with just a touch of TIP Don’t forget
burnt sienna and, glancing at the reference watercolour tends
photo, began creating the shadow areas of to dry lighter so
the hill using a No. 16 Round brush. I also keep your shadow
used the smaller Round brush moistened mix stronger than
with water to soften the lower edges. I was you might think
careful to leave areas of white paper
Step 3
t
I continued working my way down the hillside with the shadow mix,
having added just a little water to reduce the tone, leaving highlights
here and there. The mix was diluted with a touch more water as I
t
worked to the left side, weakening the tone even further. I left it to dry.

Watercolour
t
Step 4
At this point I realised the top of the hill wasn’t
quite right so I loaded my large Round brush
with more dark shadow colour and reshaped it
until I was happy. I took the opportunity to
add more shadow to the right-hand side.
Step 5
t
1 I wanted to go back to working on the
clouds. This was about using dark against light
to define the shape of the hill. I mixed cobalt
blue with a hint of alizarin crimson for the
cloud shadow and used the large Round brush.
2 Beginning at the left-hand side I shaped this
part of the hill and softened it off towards the
top with the smaller Round brush, again
moistened with water. You may want to turn
your painting upside down to do this.
3 I did the same on the right side of the
clouds and, as the moistened brush now picked
up a bit of colour, I used this to add detail
in the rest of the cloud. I left it to dry.
Step 6
t
It was then time to

revisit the shadows on
the hill and add to these
where needed. I also
added a touch of
alizarin crimson to
the mix, warming it up
a touch for the lower
hillside. I applied this
rapidly using a fairly
dry brush so it broke
up here and there.

Watercolour
Colin Joyce
Colin paints and teaches in both oils and
watercolour. He lives in Fife, Scotland where
he has his own studio. He regularly carries out
demonstrations and workshops for art groups.
In 2018 he will be tutoring workshops in
Umbria (June) and Venice (September) for Arte
Umbria, as well as exhibiting at Patchings Art,
Craft & Photography Festival in July. To find
out more visit www.colinjoyceart.com
t
Step 7 Step 8t
1 A dark colour was required for the trees After allowing the painting to dry, and
and the walls so, using more pigment and having a break, I looked at it again and
less water, I mixed cobalt blue and burnt decided I wanted to add the foreground
sienna in equal parts. I used my small tree, creeping in on the left. For this
Round brush, which has an excellent I used a sword liner brush, which holds
point, to add the walls and trees. more paint than a Rigger. I used the same
2 Notice how the walls were painted in a hit paint mix as the walls, just watered down.
and miss way rather than one continuous The best way to paint this is with a wobbly
line. Trees and outcrops of rock were then hand and let the brush dance around to
added. A few more shadows went in here some extent. I took a bit more care in
and there to almost complete the scene. adding the thicker branches however.
t
The finished painting Snow Clouds Approaching, watercolour, 10x14in. (25.5x35.5cm)

LP01 38-39 Carlisle_Layout 1 20/11/2017 08:51 Page 38
t
Muna, oil on canvas, 55x3512⁄ in. (140x90cm) t
Painted Lady, oil on canvas, 55x3914⁄ in. (140x100cm) winner of the
Leisure Painter Award 2017
Jason Carlisle
Winner of the Leisure Painter Award in LP’s open competition 2017,
Jason Carlisle shares his passion for portrait painting with Leisure Painter
J ason loved art at school. Like many

of us, he wasn’t able to pursue his
passion for practical reasons, but
the change came in 2009 when he
moved from shift work to a regular
Jason says. ‘The tutor suggested
I took a fine art degree at Grimsby
School of Art. I was able to go full
time in the final two years of the
degree, as my work was flexible
interesting to me. I used to paint
close-ups of faces, as I found hair
was difficult to paint, but now I am
working towards incorporating the
full torso into my portraits. I have
eight-to-five job, which meant his and they were happy as long as become more and more confident
evenings were suddenly free. In the I worked my hours. I applied as I have put in the hours.
same week, he came across a self- myself and graduated with a first ‘I’m usually tired after work so
portrait by Lucian Freud in a Sunday class honours degree in 2016. I paint one or two evenings a week
newspaper. I’m 50 now.’ and at weekends, with a few hours
‘The portrait blew me away,’ he on Saturday and the entire day on
remembers of a seminal moment in Something different Sunday. I’m single and I made my
his life. ‘I wondered if I could achieve Jason is a maintenance coordinator front room into my studio. It means
something like that. It was the for hotels and similar properties, and I don’t tidy up after every painting
challenge that caught me.’ he leaves painting for any free time session – I doubt I would be so
Later the same week Jason found he has. ‘Fine art painting is not obsessive if I had to tidy everything
a leaflet advertising an evening class how people perceive me – friends away. I have stacks of attempts. I have
in figure and portrait painting. He were shocked when I told them kept most of them, but I am now
says he learned a lot from the tutor I painted portraits. At the beginning painting over some of the earlier
throughout the course and he sold I was afraid of ridicule, as everyone pictures. There’s no point in keeping
his final piece of the year to the mother around me thought it was a rather paintings you’re embarrassed by.’
of the model. She then asked him to lady-like hobby, but now I don’t
paint her other daughter. mind about the teasing. Winning work
‘The money from the two paintings ‘I am obsessed with painting, Jason’s award-winning portrait,
paid for a year of attending life classes,’ and people and portraits are most Painted Lady (above), was a real

LP01 38-39 Carlisle_Layout 1 20/11/2017 08:52 Page 39
Inspiration
t
Max by the Fridge, oil on canvas, 4714⁄ x4714⁄ in. (120x120cm) t
Katy, oil on board, 4114⁄ x3112⁄ in. (105x80cm)
standout painting in the 2017 out about the person. As I paint

exhibition at Patchings Art Centre. them, even from the photographs, JASON’S TOP TIPS FOR
It was the culmination of many years I’m thinking about them. It took PORTRAIT PAINTING
of practice, study and observation. more than 50 hours to complete 1 Work larger I have worked one metre
The portrait, he says, was a study Painted Lady. I just kept going until square canvases and filled them with
in perspective, where the hands, I was happy with it.’ just a face. It helps a lot to focus on the
Jason says he is always thinking detail. I have noticed how many
‘Winning the Leisure Painter about his next project and his dream students assume what they are looking
is to become a professional artist at rather than giving the subject close
Award has been such a boost – when, he says, ‘I know painting
the work in the exhibition was inspection. I spend a little time looking
could fill my days.’ at the canvas and a lot more time
so good.’ Finally, he offers advice to fellow looking at my subject.
amateur painters who want to 2 Start with the eye If you have the
nails and tattoos were exaggerated. succeed in exhibitions. ‘Don’t be eyes and nose correct, you can be fairly
He goes on to describe his painting offended by rejection and don’t be confident that you will recognise the
process for this and many other of put off by perceived failure. Some likeness. I begin with one eye and make
his portraits. work is accepted, but there are many a rough sketch to plan the composition.
‘I began with a massive full-body reasons why work doesn’t get into The eye is used as a measurement for
charcoal sketch to figure out an exhibition. everything else. The size of the eye
the best position. I also took ‘You spend a lot of time on one helps me to check everything is in the
photographs and moved my subject piece and, of course, you want it to right place, but there are different ways
about. I then took out various be good. When it doesn’t work, it’s of tackling each problem and you will
objects, including a lamp and plug frustrating. I just keep going, and find the right way that works for you.
sockets, to balance the composition. I go to shows to find out what type There simply isn’t one eye shape.
Although I made more sketches, the of work is accepted.’ LP Look and think what shape it is.
majority of work was done from 3 Observe and replicate exactly what
photographs. There were two sittings you see in front of you. It’s all about
at the end to work on the face, but observation.
there was no way I could paint 4 Find your style There are so many
those tattoos, jewellery or nails from Jason Carlisle brilliant styles – you shouldn’t be
life on my schedule. I prefer painting Find out more about Jason at afraid – just attack it. And don’t expect
from life, but it has to fit in with the www.jasoncarlisle.co.uk. Turn to pages to create a masterpiece from day one;
time I have available to paint. 12 and 13 for details of the prizes and it takes a lot of practice.
‘When I’m painting someone how to enter Leisure Painter’s Open 5 Join a group of people to paint.
I begin my asking them to visit the Competition 2018, and find out more on Enjoy the social aspect as well as
studio on a Sunday morning. We chat our website, www.painters-online.co.uk the learning and painting.
for a couple of hours so I can find

LP01 40-43 Strode_Layout 1 17/11/2017 15:05 Page 40
Acrylic
Landscape studies
Part 1 Practise producing cloud and sky studies as Steve Strode
begins a four-part series on painting elements of the landscape
LEARNING OBJECTIVES
n How to paint skies and clouds
in acrylics
n Four-point checklist to learn
n How to depict aerial perspective
N eed to paint a sky with

clouds? This much-neglected
background is often dashed off
in the rush to focus on the juicer bits
of the landscape, but before you
reach for the blue and white paint,
stop and think.
John Constable believed that
painting the sky was crucial and t
Sketch, charcoal in sketchbook, measuring 4x4in. (10x10cm). Make a habit of carrying
that landscape painters who didn’t a sketchbook for tonal studies and notes.
think the same were missing a trick.
‘It will be difficult to name a class
of landscape in which the sky is not knowledge base and understanding skill need not be daunting. It simply
the key,’ he wrote. Constable had will grow, but that knowledge is not requires the right kind of practice,
a sound knowledge of cloud essential when you’re starting out. tackled in a focused way with clear
formations, and no doubt the Believable skies and clouds are goals. One of those goals, and
more you practise, the more your within your grasp. After all, you a major step in development, is
don’t have to be finding good role models. ‘Deliberate
a mechanic to paint practice is informed and guided by
convincing cars, the best performers’ accomplishments
but we can start and by an understanding of what
improving those these expert performers do to excel,’
painting skills they say in the book.
before we even So search out role models and look
pick up a brush. to other painters for understanding
and inspiration. John Constable, JMW
Role models Turner, Julies Olsson, Edward Seago
In their excellent and Fred Cuming are a few of my
book, Peak: How All favourites, but find painters that say
Of Us Can Achieve something to you. Seeing how other
Extraordinary artists interpret a subject can inspire
Things (Vintage you to tackle it for yourself.
Publishing, 2017), We can also observe with purpose.
Anders Ericsson and Skying, as Constable called these
Robert Pool explain observations, is easily done even
that learning any when you’re not painting, so spend
a little time cloud gazing. Use every
opportunity when you’re out and
about to look up and observe what’s
there, and ask how you’d tackle it
After John
t
with paint. Look at the colours in

Constable, acrylic the sky, they’re rarely one colour or
on paper, 512⁄ x4in.
(14x10cm). Look at shade of blue. There are many blues
the work of other that darken in tone the further we
painters and try to move up from the horizon, but are
delve inside their there only blues?
heads by replicating Conditioned by looking and not
their interpretations. really seeing, or viewing second-hand
Put what you have images like photographs, using
learned into practice blue paint for sky and white for the
by trying one of clouds can become a subconscious
your own. shorthand. Painting skies, and

Acrylic
t
Having looked at Constable’s oil
sketches, I focused on working quickly
for plein air painting, working on two
studies each time. Ericsson and Pool
believe that each study should be a
challenge that pushes you, but not too
much. It should push you out of your
comfort zone. ‘This is perhaps the most
important part of purposeful practice,
if you never push yourself beyond
what you know, you will never
improve,’ they say.
especially clouds, from your

imagination can leave them looking
like one-dimensional cut-outs.
So don’t paint what you think,
paint what you see from life and
observation. This, and looking at
the work of other painters, will
more than prepare you for the
practical work ahead.
First steps
When it’s time to paint, focus on
specifics by breaking the task down
into manageable chunks. With over
30 years of study going into their
book, Peak, Ericsson and Pool
found that ‘over time this step-by- t
Study 1, acrylic on paper, 8x11in. (20x28cm). If you include the ground in your
step improvement will eventually studies, don’t allow it to compete with your main objective of the sky. And remember,
lead to expert performance’. Target fast-drying times when working outdoors with acrylics may force you to work quickly,
t
your practice and define what you’re but quick does not mean slapdash and unthinking.

Acrylic
Painting a landscape involves a

variety of challenges, but focusing
on more manageable sections is far
more beneficial to your learning in
the long run. When painting the sky
and clouds there’s more than enough
to tackle with form and edges,
perspective, value and colour, without
worrying about everything else too,
so make time for deliberate practice.
Your sky checklist

Focus on just form and edges The form
of a cloud may show some parts that
are thin veils of vapour, revealing the
sky behind, and others so dense as
to blot it out. Studying its edges may
show changes from hard and crisp
to soft and lost.
Focus on value Try painting mono-
colour tonal studies to begin and
eliminate the pressure to make the
colours right while you look more
closely at your main objective of
tonal relationships.
Focus on scale Start small so you can
concentrate on your learning without
being overwhelmed by the subject.
You’ll be able to complete numerous
small studies in a fraction of the time
it takes to work up a larger canvas.
As you progress, your speed of
execution will improve and scale
won’t be so much of a problem.
Focus on different skies The type of
sky will depend on the position of
the sun and the amount of cloud,
and this in turn will determine the
colours, which is rarely just blue.
For instance, an overcast day can
often have blue-grey, violet or
yellow in its makeup.
Focus on colour Different skies will
present different challenges, but if
the time comes when you’re drawn
to paint a sunset – and many painters
are – you may have to finish off by
using photographs.
Focus on perspective Once you
progress from looking straight up
and begin to include a strip of land,
it usually means you have a greater
expanse of sky to deal with so the
basic rules of perspective will apply.
Both linear and aerial perspective
will give your paintings more depth.
In linear perspective, rows of
objects of a similar size become
smaller and closer together as they
recede into the distance, but clouds
t
Study 2, acrylic on paper, 9x5in. (22x12cm). Work small and concentrate on painting won’t always be so obliging. Be
the tone and form rather than attempting to capture every detail. aware that distant clouds may be
much bigger than those in the
foreground so observation is key.
trying to accomplish. These bite-sized For all your life studies, lay out If they do behave and follow the
chunks of practice not only accelerate more paint than you think you’ll rules, they usually become smaller
our learning, but knowledge is better need and have everything prepared; and closer together, and can result in
understood if we’re not overwhelmed clouds have the annoying habit of a thick bank of cloud on the horizon.
by too much information at once. moving on and not waiting for you Although there won’t be a huge leap
Once you are outdoors painting, to lay out or mix paints. They can in value and colour, aerial perspective
you’ll soon come to realise that also move quickly so don’t go will see those nearer colours slightly
clouds are seldom just white. They chasing shape and form, stick with stronger, and becoming weaker,
can reflect all around them, and your initial idea; in fact one cloud lighter and cooler as they recede.
depending on the direction of the can often become a combination Definition will also be lost and
light can also have a shadowed side. of several. edges will appear softer.

Acrylic
t
Study 3, acrylic on paper, 5x12in.
(12.5x30.5cm). No need to travel, pop
outdoors at dusk and run off a couple
of studies. Working quick and loose,
try using your fingers or a rag, and
spray on some water to blend. Painting
or drawing from observation will put
you in a better place if you have to
finish work off using photographs.
Look back
After a few dozen sky and cloud
studies, take a look at some of your
old paintings and ask yourself if they
are believable in light of what you
now know. Chances are they can
be improved.
Painting a sky is one of the few
subjects that isn’t exclusive to one
postcode so look up – and practise.
Take charge of your learning and
tackle one aspect at a time and
fast track your progress. The more
studies you make, the sounder your
knowledge base will become. So
if you ever need to work from
photographs, your work will come
from a position of knowledge and
experience that takes the guesswork
out of painting believable skies.
Next month I will look at how
to paint water in the landscape. LP
Liverpool Painting 110, Ogden’s

t
Tobacco Factory, acrylic on card,

712⁄ x512⁄ in. (19x14cm). This is an
example of putting the theory
into practice.
Steve Strode
Steve welcomes comments and
questions about his articles through
his website: www.stevestrode.com

LP11 HolGoudie2_Layout 1 16/11/2017 10:10 Page 1
READER HOLIDAY
April 27
Paint landscapes to May 5,

2018
in the Atlas Mountains, Morocco

with Lachlan Goudie ROI
Photograph: your accommodation

at Kasbah du Toubkal
Lachlan Goudie
T he Atlas Mountains are the Alps of

North Africa and Mt Toubkal, the
highest peak (4167m), provides
a dramatic skyline. Kasbahs perch on
magnificent views of Mt Toubkal
from sunrise to sunset. The next five
days will be spent painting from its
terraces and tower, in the mountain
ridges and Berber villages cling to the village and along the trekking
hillsides and nestle in the valleys. Spring routes. Mules will transport you
brings out the cherry and apple blossom and your equipment in both
and the snows begin to melt, filling valleys, so you can paint different
the streams and bringing a freshness to views and hamlets. t
Moorish Architecture by Lachlan Goudie
the juniper forests. The rich red-brown Lachlan Goudie’s work has
soil provides a fabulous contrast. The evolved from the figurative The painting programme
Berbers have a rich culture and life in the tradition of Scottish painting and The Atlas Mountains will provide exciting and
mountains has changed little over the incorporates portraiture, still life and varied subject matter. Lachlan will encourage
past century. Many people still adorn the landscape, with drama and colour you to paint from sunrise to sunset each day.
traditional brown-hooded jellabah and underpinning his work. He has won He will assist students with an organic
mules are the only form of transport. numerous accolades including the approach to techniques, and is very happy to
Your first night is in a traditional riad in RSP prize at the Royal Glasgow show individuals how to resolve problems and
Marrakech’s medina, close to the lively Institute of Fine Arts, the Norman where appropriate he will do a demonstration,
D’Jemaa el Fna square. The following MacFarlane prize at the Royal although there will no group demonstrations
morning it’s off to the Scottish Academy or critiques. Lachlan will be sketching and
foothills of the Atlas and the ROI Oil working in gouache and watercolour but
Mountains for three days’ Painters Award for all media are welcome. This painting holiday
painting in the Ouirgane young artists. He is ideal for intermediate and more experienced
Valley (1400m). You’ll stay regularly exhibits students wishing to return with a colourful and
in a small mountain inn in major exhibitions exciting portfolio.
that has a pretty rose in London, Scotland
garden and distant views and New York. Travel and hotel arrangements
of the mountains. Then Lachlan is a Flights are from London Gatwick to Marrakech.
you’ll move to the captivating TV Accommodation is in a traditional Riad and
neighbouring Ourika presenter and one Kasbah, and simple mountain inn. All meals
Valley, which leads up of the most positive are included. An accompanying travel escort
to Mt Toubkal. You’ll stay and encouraging will look after your interests and take care
in a real Kasbah (1800m), artists with whom of all the practical arrangements.
formerly the summer to paint.
residence of the local Price per person: £3,295
ruler, for a truly unique Andalucia Evening Single-room supplement: £700
t
experience and the most by Lachlan Goudie Number of students: 6 to 10
For full details contact 01825 714310

art@spencerscott.co.uk www.spencerscotttravel.com
The Artist magazine has been offering overseas painting holidays since 1990 with renowned artists.
These holidays are organised by fully licensed operator Spencer Scott Travel Services CAA ATOL 3471.
Also in 2018 – Havana, Cuba with Peter Brown NEAC, ROI, Ile de Ré with Haidee-Jo Summers ROI, Venice with Ken Howard OBE, RA,
India with Patrick Cullen NEAC, PS, Isola di Ponza with Richard Pikesley NEAC, RWS, and The Peloponnese and African Wildlife with Hazel Soan
LP01 45-47 Mitchell_Layout 1 17/11/2017 15:16 Page 45
Colour
t
Landscape, pen and wash, 734⁄ x1134⁄ in. (20x30cm). A restricted palette was used in this landscape painting: alizarin crimson, cadmium yellow
and ultramarine blue. Even so, a lovely light and colourful feeling were created with simple means. I started wet into wet and allowed the
washes to dry before the finishing touches were added.
Limit your colours

How to unify your paintings with a six-colour palette
and by following these simple exercises, with John Mitchell
LEARNING OBJECTIVES and skies resonate with saturated colour.

Matisse was another master well worth
n Try six exercises to develop looking at for his brilliant use of colours.
colour skills Although we can look and admire the
n Colour-mixing ideas for greys use of colour by masters of the past,
and greens when it comes down to our own colour
use, problems can arise. You might think
n How to work with a six-colour of colours as a class of unruly school
palette children; they have to be kept under
control. One way of doing this is to restrict
O f all the formal elements in

painting, colour is perhaps the
most expressive. It can create joy,
sadness, light, harmony or discord. It can
be intense or muted. In his book, Towards
the number of pigments in our palettes.
What then constitutes a practical
restricted palette? I would suggest:
cadmium red, alizarin crimson, cadmium
yellow, lemon yellow, cerulean blue
the Spiritual in Art, Kandinsky ascribed and ultramarine blue.
qualities to different colours: yellow he With these six colours you can produce t
Pomegranates, oil, 7x9in.
described as being warm, cheeky and an enormous range of mixtures. Red and (18x23cm). A simple still life like
exciting; and blue he described as deep yellow will create orange, but lemon this allows you to experiment with
and heavenly. Perhaps you could come yellow will create a different effect from restricted colour combinations.
up with your own colour associations. cadmium yellow. Notice also the effect of reflected
Look at the way Van Gogh used strong Everyone knows that red and blue mixed colour where the pomegranate colour
intersects with its surroundings.
t
colour in his later works. His cornfields will create violet or purple. But does it?

Colour
It all depends on the red and blue you

use: alizarin and ultramarine – yes, but
cadmium and ultramarine – no. Having
such a limited palette means you can
experiment with mixing these few colours
together and finding what effects are
created. Spending time doing colour
experiments will pay off. With the
addition of white and black when using
oils or acrylics, you are ready to go.
Experiment
So it’s now given that you are going
to use a restricted palette. How to start?
Well, why not try experimenting with
the following six exercises:
1 Monochrome You could try a
monochrome painting. Boring? Not
necessarily. Google monochrome
paintings and you will find 39 million
results. Admittedly many of the images
are pretty awful, but have a look at
Mark Rothko’s colour field paintings
or Yves Klein’s blue pictures.
Why not try working only in blues to
create a calm image, or reds to create
something fiery and bold? Or you could
paint a grey picture. Instead of lightening
t
Rocks, watercolour, 734⁄ x9in. (20x23cm). In this sketch, the colour was controlled by with pure white, try a light grey. White
the wet-in-wet technique, which blended the colours together and helped to produce and black make a neutral grey, but you
unexpected colour combinations in happy accidents. could use coloured greys (see below).
EXPERIMENT WITH A RESTRICTED PALETTE
Experimental colour chart using a basic

t
palette. Time spent on familiarising yourself

with your palette is never wasted.
t
Coloured greys are more exciting than
neutral ones. Try blue mixed with orange,
yellow with violet, and red with green.
Make some test pieces like this to extend
your colour knowledge.

JOHN’S TOP TIPS FOR USING

A RESTRICTED PALETTE
l Take time to try colour-mixing
exercises.
l Use a restricted palette and
become familiar with your colours.
l Try a painting only using two or
three pigments. Does this help to
bind your picture together?
l Experiment with coloured greys.
These can be very subtle and allow
you to use a wider range of colours
in the one work.
l Take a look at the work of your
favourite artist. Has he or she
produced works using a restricted
palette?
l Study Van Gogh’s sunflower series
to see a master at work with
limited means.
l Hot and cold. Try them out and
see how you get on.
l If working in acrylics or oils try
working on a toned ground. This
will help in allowing you to paint
freely and in holding different
colours together.
l If using watercolour allow the
white of the paper to create your
light tones, and create extra
colours using transparency.
l Relax and enjoy yourself.
2 Subtle greys Mixing colours opposite

each other on the colour circle will create
beautiful and subtle coloured greys: blue
and orange, red and green, and yellow
and purple. Depending on the amount
you use of each constituent colour,
you can bias the grey in any direction.
Try painting a picture where most t
Largo Law, pen and wash, 734⁄ x1134⁄ in. (20x30cm). I used a very limited colour range
of the mixtures are greys. here: cadmium yellow and cadmium red. The black pen lines hold the colour together
3 Green Certain subjects, especially and the free brushwork helps give a feeling of life to this study.
landscapes, will suggest a restricted
colour scheme. The dominant colour may colours or indeed cool colours to create mixing. Any one of these could help you
well be green, but be careful, green can harmony. Imagine a beautiful still life with your painting. One of the classics is
be dangerously strident. Try mixing lemon full of reds and crimsons, creating a lush, The Art of Colour by Johannes Itten. It is
yellow and ultramarine blue to see what luxurious, warm effect. There again, why based on a course he ran in the famous
I mean here. not consider making a light picture with German art school, Bauhaus. You should
When I began art college, one of the first just a few dark touches to give contrast be able to order it at your local library.
classes we took was plant form painting. and emphasise the light. Conversely Of course don’t forget to look up
We were encouraged to mix green using you could paint a dark picture with www.painters-online.co.uk where you
black and yellow – and it worked. You a few light spots. will find information about past articles
could, of course, produce a greyed green 6 Favourite colours Do you have a on colour from Leisure Painter.
using green with a touch of red. Have a favourite colour scheme that you like Obviously there is no right or wrong
look at your local amateur art exhibition to use in your paintings? I used to use approach to colour. However, if you feel
and you may find a few landscapes where a lot of blues although I was unaware that your colour qualities are amiss then
the green has become overpowering. of it until a criticism of an exhibition using the restricted palette approach
4 Similar colour scheme Set up a still-life appeared in a newspaper. I just hadn’t will, I am sure, help. LP
composition using items of a similar realised that I was predisposed to this
colour. Think of the Italian artist, Morandi, colour. If you do have a favourite colour
whose still lifes sometimes showed a scheme then persevere with it. Try to look
restricted colour range, particularly of at the work of other artists who perhaps
very subtle greys. Alternatively, think of share your interest and see how they John Mitchell
Van Gogh’s sunflower paintings and his deal with it. Think of Picasso’s blue and John is a member of the Royal Scottish
wonderful use of yellows with touches of pink period works, for instance. Society of Painters in Watercolours and
blue or red to provide a little bit of colour Professional Member of the Society of
contrast that brings the painting to life. Further study Scottish Artists. He has exhibited and
5 Warm and cool Another possibility There are any number of books on the lectured widely in Scotland.
might be to restrict yourself to using warm market dealing with colour and colour

LP01 Subs_Layout 1 17/11/2017 15:29 Page 48
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LP01 50-53 Animals_Layout 1 17/11/2017 15:34 Page 50
Sketching animals
Five-minute studies
Pick up a few basic materials and learn techniques to make
quick and lively sketches of animals, with Gary Geraths
LEARNING OBJECTIVES
n Practise quick sketching
techniques to draw animals
n Learn basic animal proportions
n Loosen up and enjoy your
sketching!
Looking and seeing

So, you have pencil and paper in hand;
how do you begin your journey of animal
sketching? It is worth noting that you will
be making a lot of mistakes as you work
towards producing successful sketches.
With that in mind, here are a few pre-
visualisation tips. Remember that it is
partly a mental process, coupled with
fast and furious drawing to produce
satisfying results.
t Gary Geraths Silverback Gorilla, 2014.

I painted this big male gorilla’s posture t
Gary Geraths Giraffe Couple, 2015. When you
t
Gary Geraths Resting Kangaroo, 2008. Many
to stress the animal’s shape, bulk and are drawing several creatures simultaneously, animals have extremes in large and small
strength. All of the limbs are highlighted try to spread the details throughout the body shapes. Use the negative shapes that
to show the pose and power. animals to tie the group surround the figure to get the pieces working
together visually. Here I in concert and to get the proportions right.
made sure the foreground
giraffe was clearly drawn.
J.A.W. Copper Fluffy
t
Puppy, 2016. Jessica took

a simple, fluid approach
by using the side of the
pencil to draw in a
silhouette that tells the
story of the dog’s shape
and soft textures.
such as giraffes or cows. 4 Substance before style Let your style

Looking at an animal of a drop into the background. As you step
greater size allows you to back and combine thinking and drawing
mentally compare the size together, there is a creative tide, an ebb
and shape of the larger and flow between your method and the
masses with the small sections structural matters in a dynamic drawing.
TIPS TO GET YOU STARTED of the legs and head. The impressional Wrap your brain around the simple
1 Safety in numbers Rather than choosing qualities of movement and rhythm are easier constructive framework and the animal’s
subjects that move quickly (playful dogs) to grasp as you sketch and edit. movements. When you can mentally shift
or creatures that are elusive (big cats), seek 3 Easy silhouettes It is easy to lose your gears between all of these approaches,
out an enclosure with several of the same visual organisation of the animal in multiple your style will become more informed.
animals inside, like giraffes or large, confusing parts and troublesome 5 Assigning visual qualities As you begin
slow-moving creatures such as elephants foreshortening. Find a profile view to start sketching and combining various concepts
or cattle. Often, the group of subjects will with and get rid of all those pesky details. and methods, assign names and
repeat each other’s positions and Construct the animal as simple shapes and descriptions to your subject(s). This can
movement. Then you can put together proportions. Make sure you understand it as help shape and guide your image smoothly
a single image out of the pieces of many graphically clear without visual clutter. Where and simply. These impressional qualities –
different subjects. Believe me, no one is the subject widest? Thinnest? What shape such as strength, power, subtleness, speed,
will know the difference. It is our secret! is the head, the angle of the back and so on? slimness, balance, grace and even beauty
2 Slow moving simplicity Step back and This method takes a lot of the worry out of and ugliness – can accentuate your fast
choose to observe larger, slower creatures, the process. sketches.

Implied movement
One of the most satisfying things about sketching animals is capturing
the essence of gesture and movement. All animals have various
character of action, ranging from blazingly fast to slow as treacle.
Using these ideas and techniques can flavour and guide your drawing,
leading to more dynamic images.
Sketch the line of action

through the spine.
t
Jackelyn Bautista Playful Hound, 2016. Using an iPad and a
digital sketching program, this bouncing terrier was blocked in
with a quick line drawing, after which big colour planes were
painted to build the form and action.
Using a curved line focuses the TIPS TO GET YOU STARTED

organic stretching, as energy is
passed from back legs to front. 1 Grab the action Remember that most
of an animal’s energy comes from the back
legs and is transferred to the front of the
body/legs via the spine. Sketch the line of
t
Gary Geraths Leaping Lioness, 2015. A few simple strokes and marks
action through the spine. These first fluid
can get the whole idea down with clear expression. A couple of action
lines through the body simplify the swiftness of the jump. lines combine the expressive qualities of
movement from the tip of the nose to the
tail. Over that, you can lay in the basic
structural forms. These shorthand
abbreviations will give your work a
fresh, dynamic look.
2 Lines of rhythm After laying down the
armature of supporting lines, you can start
to break them up into shorter curving lines
for the legs, the neck and so on. Drawing
those lines will give you a stand-in for the
recognisable form, as well as an overall
sense of order and clarity. A big plus is that
everything in your sketch will be organic
and changeable. This allows you to
harmonise and prioritise your decisions
while building your image.
3 Strong impressions By now you will be
moving confidently and applying repetitive
lines, so your eye will be moving around
and through the subject. You are building
on the essence of the action with ripples
of lines, describing the action like the
ripple and flow of coursing water. These
lines and tones should come in lengths
short and long, thick and thin.
4 Straight and curving marks A great
method to add to your gesture drawing
is comparing and contrasting curved
and angular lines. The idea behind this
technique is that the curving line focuses
on organic, stretching forms, while dynamic
structural support is conveyed by a
framework of straight marks. It helps
build an exciting composition.
5 Cohesive expression No matter how
much crazy action you are drawing, the
image has to be cohesive. Your sketch
should be filling up with various pieces of
action and graphic anatomical information.
This is important, no matter the creature
you are sketching. Airborne birds must
t
Gary Geraths Swaying Giraffe, 2002. t
Gary Geraths Jump the High Rail, 2013. communicate flight; swimming seals
I did this ink brush drawing in just a few I always try to remember that all that action a sleekness in water; reptiles convey
seconds, but the image tells you all you is hard to catch and keep. Suggestion and slithering over the ground and around tree
need to know. Note how the line travels impression add to the concrete forms branches. Gesture is movement and life.
t
around and over the form. of the animal in action.

Sketching animals
Basic proportions – little animals

Nothing is more enjoyable than getting up close and Gary Geraths, Hungry Tree Fur masks the
t
personal, watching and drawing little animals with Squirrel, 2017. Squirrels do not muscular
boundless amounts of energy. With all that movement hang around for long, so I drew system
and their compact bodies, it is important you tune in curving gestural and measuring
into the character and proportions to get the lines to capture the animal’s
image right. movement, volumes and proportions.
Reduce the animal into simple Gary Geraths
t
shapes, large and small Little Husky, 2016.
I built this fur ball
with three circles
and some quickly
sketched angle
sightings. These
exterior marks help
keep the proportions
correct and can be
hidden easily.
Draw through
the pieces,
connecting the
body to the
wings
Framework to keep
proportions correct
An otter may be three

times longer than
its height
Once the
body shape is
in one form,
sketch in the
skinny legs
t
Abi Savage Otter Diving, 2016. Abi drew this sea otter as a long t
Gary Geraths Barnyard Ducks, 2016. In general, bird shapes are
curving tube to anchor the action, but still managed to use the pretty rounded and the lines are fluid, so it is best to organise their
height and length measurements to get the proportions right. proportions around comparative sizes to keep the image correct.
TIPS TO GET YOU STARTED

1 Little framework Because smaller smaller animals haven’t developed turn the proportions into a ratio. A rabbit
animals tend to have a lighter skeleton muscular systems that show on the may be the same measurement, one-to-
and more body volume, that surface, not least because they are one, whereas a dachshund or ferret may
frequently means curved edges and covered in fur. be three times longer than it is high. This
circular forms. Do not miss adding 3 Forms and feet When you are sketching also works in comparing width to length.
swirling lines and overlapping convex quickly, it is important to relate all of the 5 Birds in flight When it comes to
and concave lines. Once again, this is body parts to the whole image you draw, drawing birds on the ground and in
about reducing the creatures into because small animals haven’t developed flight, be aware of the interplay between
simple shapes, large and small, and defined necks. Many small animals’ heads the body and the wings. Many birds have
comparing sizes. appear to attach directly to their bodies. a pear-shaped body with a short neck,
2 Fur and form Sketching small There is a streamlined but rounded triangular head and wings of various
animals means you have a lot more appearance. Out of those forms emerge shapes and sizes. A great strategy
variety of subjects, whether it be legs and feet, with their own character is to draw through all those pieces,
rabbits, birds, squirrels, hens, ducks, and proportion. connecting the body and wings together
cats, dogs – even hamsters! One of the 4 Quick comparisons With all of this quick in one form, and then sketch in those
best approaches to comparing and sketching of a quick animal, it is important skinny little legs with talons. These
contrasting the differences is to look to compare the height, length and width of quick shape sketches can have a sense
at the head and body size. Frequently, the small creature. Then you can easily of movement and liveliness.

Sketching animals
Basic proportions – big animals

Now we move on to drawing large TIPS TO GET YOU STARTED
animals, using proportion to achieve 1 Points in space When quickly sketching
believable artwork. When five-minute a larger animal, your eyes must scan larger
sketching, you will be observing distances between body forms to get all of
and drawing at a quickened pace, the animal’s figure pieces to work as a whole.
and so proportions can easily get Note where the skeletal framework and
out of hand. Using these tips will angles show on the animal’s surface form.
make the act of drawing a more This will give you reference points to compare
satisfying experience. your various measurements. Think of it as
connecting the dots to gauge shape and size.
Nikolai Drjuchin Grizzly Miss
t
2 Figure in the round To help judge the

Montana, 2015. Big animals can proportions of your subject, find the larger
be simplified down to shape
design. The key to getting it right t Gary Geraths Big Old Draft Horse, 2012. forms and measurements. Observe the
is to compare the smaller forms As I drew this Clydesdale I furiously blocked in distance between the tip of the nose and
with the big ones and compare the body and the measuring with vertical and the tail, then compare that to the distance
the proportions. horizontal axis lines to keep the sketch organised. between the top of the head and the toes.
Take it one step further and contrast those
measurements with the widest section of
Look for Observe the your subject. This gives you a sculptural
comparisons distance vision of the animal.
of small between 3 Silhouettes not outline One of the most
and large nose and
important points – and occasional pitfalls –
shapes or tail
masses of quickly sketching large animals is the
tendency to apply a heavy outline around
your drawing. Although this may give a solid
look, it is hard to change the proportions if
they are out of scale. It is better to sketch
over and around the subject’s form, looking
for comparisons of small and large shapes
and masses. Yes, silhouettes are important
to gauge the simplicity of your subject,
but so is drawing with a sense of form.
4 Changing shapes When you are moving
from one animal to another, the sizes
may change, for example from vertical
giraffes to horizontal Komodo dragons
to big, blocky elephants. If you apply
Note where the angles Compare height the proportions in a practical, organic
show on the animal’s form to width manner, you can see the differences
and similarities across several animal
Gary Geraths Long Neck Feeding, 2010. groupings.
t
Large animals like this stretching giraffe have unusual 5 Moving targets All this gauging of
shapes and dimensions. Pay special attention to the proportion and measuring does not have
height and width measurement as you quickly sketch. to be wooden and stiff. The aim is to
achieve a fluid method combining structure,
t Gary Geraths On the Move, 2011. Drawing elephants proportion, movement and imagination into
means using big forms, so it is best to sketch lightly and one artistic package. Using measurements
watch how all the conflicting volumes overlap, then gives a sense of reason and believability
organise them in order. to your creations. It is one aspect of
harmonising and giving a sense of order
to your work in the field.
This article was adapted from

5-Minute Sketching: Animals & Pets by
Gary Geraths (Search Press, 2017). Save
£2 when you buy from our bookshop at
PaintersOnline. Go to page 74 for details.

LP01 54-56 Parker2_Layout 1 17/11/2017 15:51 Page 54
Product report
Sennelier Rive Gauche

Adrienne Parker reports on new fine oil colours for artists –
and enjoys experimenting with colour and technique
R ive Gauche Fine Oil Colours are

named after the Left Bank of Paris,
where Sennelier was founded in
1887. The special property of these new
oil paints is that they dry to a satin finish,
and dry twice as fast as conventional oil
paint, while retaining the characteristic
buttery texture of fine oil colours. This
allows the artist to work twice as fast.
Safflower oil is used in their formula
so they are less likely to yellow.
Sennelier is proud of its cadmium
substitutes, which it promises have
the same opacity and luminosity as the
genuine cadmiums. Ninety-eight per cent
of their colours are lightfast. There are
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52 colours are opaque and six are semi-
opaque. There are two transparent and
four iridescent colours.
The prices are the same for every colour.
Jackson’s price is £3.10 for a 40ml tube
and £10.10 for a 200ml tube.
Chosen colours
A beautiful colour chart arrived and
I was very generously invited to choose
15 pigments and a white. I wanted them
all, of course! I was eager to try the new
cadmium substitutes and a good selection
of blues so I chose: titanium white
116 (opaque), primary yellow 574 (semi-
opaque), cadmium yellow medium hue
541 (opaque), yellow ochre 252 (opaque),
orange 641 (semi-opaque), cadmium red
light hue 613 (opaque), carmine red 635
(opaque), pyrrole red 685 (opaque), cobalt
blue hue 303 (opaque), cerulean blue hue
Detail from Pink Flower Girl, Rive Gauche

t
Fine Oil Colours and mixed media on wood,

32x24in. (81x61cm). Here I wanted to work
with pastel shades, and pink in particular.
It is always interesting to see what a colour
looks like when white is added. A perfect
opportunity presented itself in the shape of
this flower. The flower is part of this mixed-
media painting, which had to be painted on
wood that was primed with gesso. I included
the copper in my mixes to see what else this
iridescent colour could do. The techniques
applied to the flower were dry brush and
careful painting with premixed shades (with
a little extra linseed oil). I was able to mix
the most beautiful colours, ranging from the
deeper purple-pinks – the phthalo turquoise
really stood out here – to the warmer pinks
where yellow ochre, copper and orange
played a role. I don’t usually use such
an expansive palette, but what a great
opportunity to compare so many variations.

323 (opaque), phthalo turquoise 341

(opaque), anthraquinone blue 395
(opaque), French ultramarine blue 314
(opaque), burnt umber 202 (opaque), t
Blues and green earth shown from left
green earth 213 (opaque), and copper
t
Yellows shown from left to right:
to right: phthalo turquoise 341, cerulean primary yellow 574, cadmium
036 (opaque). All the colours shown blue hue 323, cobalt blue hue 303, French yellow medium hue 541 and yellow
in this test report are quoted as having ultramarine blue 314, anthraquinone ochre 252
‘exceptional’ lightfastness. blue 395 and green earth 213
I painted a series of small paintings,
including the demonstration study
you will find over the page, using
a selection of colour mixes to test
as many combinations and
approaches as possible.
Blues and earth green

The pastel shades (above right)
were fresh and clean. Phthalo turquoise,
cerulean blue hue and anthraquinone
blue really held their colour when
added to white. Green mixes were
fantastic, offering a wide range of
warm and cool options. Cadmium red
did take over the blues and I think
that Sennelier has powerful cadmium
substitutes. Carmine red resulted
in an exciting range of violets and
purples. Green earth is well balanced t
All yellows were mixed with:
on its own, and mixes well with titanium white, cadmium red light
other primaries. t
All blues were mixed with: titanium hue, carmine red, cerulean blue,
white, cadmium yellow medium hue, cobalt blue, French ultramarine
Yellows cadmium red light hue and carmine red and anthraquinone blue
The yellows (above right) were my
favourite pigments. They are extremely
supportive in their mixes. Clean oranges
provided a healthy cool and warm
range, and beautiful greens were
mixed with every single blue pigment.
Reds
You can observe the subtle temperature
shifts in the pastel shades especially
earthy pink 613 and ‘baby’ pink 635
(far right). All orange mixes were strong
due to the addition of cadmium yellow.
The cerulean blue gave me a stunning
t
Reds from left to right: cadmium
variation of colours, such as warm red light hue 613, carmine red 635,
turquoise, ‘cobalt’ purple, reddish pyrrole red 685 and orange 641
purple and an interesting green.
Copper
I had to try at least one iridescent
colour. The copper (right) was
beautiful. It had a wonderful texture
and mixed extremely well with the
four colours I selected. It did wonders
when added to the yellow ochre. The
shadowy tone that resulted from the
phthalo duo was stunning. The richer t
Copper was mixed with: titanium
earthy orange from the addition of white, yellow ochre, phthalo turquoise
cadmium red could add diversity and cadmium red light hue.
to many palettes. LP
My first impression was a good one. The overall consistency of the paints was buttery.
Some tubes leaked a little filler when opened initially and the burnt umber felt a little
drier than the other colours, but this is an extremely good range for every level of
painter. You can use it straight out of the tube or with oil added. It would obviously
be beneficial to use safflower oil, rather than linseed oil, to benefit completely from
the reduced yellowing over time. The cadmium substitutes are excellent, especially the
yellows. The phthalo turquoise, cerulean and anthraquinone blue pigments were
particularly strong. Sennelier’s claims are true: the paint is touch-dry in two days.
t
All reds were mixed with: titanium
Having tested them through a series of colour mixes and small oil sketches, I can say white, cerulean blue and cadmium
that they are incredible value for money. It was a pleasure to experiment with them. yellow medium hue
t

Product report
Demonstration Blue Jar and Lemon

This simple still life was an exercise in working with consistent layers and impasto strokes. Rive Gauche colours used
l Titanium white 116 l primary yellow 574
1 An acrylic underpainting was applied l
t
cadmium yellow medium hue 541
very quickly; I wanted to paint straight l yellow ochre 252 l orange 641 l pyrrole red
away. A favourite jar offered many shades 685 l cobalt blue hue 303 l cerulean blue hue
of blue and a lemon gave me the perfect 323 l anthraquinone blue 395 l French
subject to try the primary yellow and ultramarine blue 314 l burnt umber 202
cadmium yellow medium hue.
2 I always take
ttime to premix
my oil colours in
order to organise
my palette.
Cerulean and
yellow produced
beautiful cool
blue-greens and
the warmer blue
pigments (cobalt
blue and French
ultramarine)
described the
stronger tones
in the stripes.
A little orange
and pyrrole red
swayed them
towards the
shadows. I was
impressed with
anthraquinone
blue; it is well
balanced for
shadow mixes.
3 The lemon
t
was painted in
chunky strokes of
a short flat brush;
the result was
similar to that of
a palette knife.
The primary
yellow and
cadmium yellow
medium hue
were extremely
bright and rich
in pigment, and
a good sticky
consistency.
I will definitely
add these yellows
to my collection.
4 Together with burnt umber and pyrrole red, I was able

t
to achieve the depth within the jar. Even though the oil
paint can be used directly from the tube, I did add a little
linseed oil to the paint to allow it to flow. I was able to finish
my study in one sitting so the paint holds its own in the
layering process. This painting was touch-dry two days later.
Blue Jar and Lemons, Sennelier Rive Gauche Fine Oil

t
Colours on canvas, 12x10in. (30.5x25.5cm)

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LP01 Birch_Layout 1 17/11/2017 15:56 Page 58
Inspiration
Journey into abstraction

Part 1 Join Linda Birch as she explores
and develops her abstract painting processes
LEARNING OBJECTIVES process, the analogy might be helpful.

To make a stock, liquid is heated until
n How to abstract from it loses a lot of its water, leaving strong
a photograph flavourful liquor, which becomes
n First steps in abstracting line a stock used for flavouring sauces.
and shape Used in picture making, taking out
extraneous elements in a picture helps
define the most important elements.
Making an abstract is a very useful
W hat is abstraction, why is

it done and how can you
tell the difference between
good and bad? Can the difference be
discerned between good and bad?
way of defining what you want to
say in a painting. Whether you tend
towards representation or not;
abstraction is a profoundly important
part of your work as a painter.
Finally, what is the point of it? Piet Mondrian (1872-1944) made a
As a mainly representational painter fascinating series of paintings, which
I can understand in part the confusion began as an apple tree and ended as
of painters when they are concerned a geometric abstraction of the shapes
with representing three-dimensional of branches, which were the essence
objects on a two-dimensional surface. of the tree. Later Mondrian reduced
However, all art is an abstraction in not only his lines, but his colour to
its way, creating an illusion of light, the primaries of yellow, red and blue,
space and colour. together with grey, black and white
One definition of the word abstract to create geometric abstract paintings.
is to ‘take away’. This may help in the The original elements in his paintings
t
Poppies, acrylic ink, 7x912⁄ in. journey I want to make with you. If were gradually withdrawn until
(18x24cm). This was treated in the you think of the word abstract as take what was left was an essence
same way as the finished abstract away when applied to a culinary of a subject. LP
(right), this time using transparent
acrylic inks. I decided to use brighter,
more vivid colours for another EXERCISE First steps, inspired by Mondrian
painting, based on poppies. I chose
coloured inks, some of which were There are so many ways of creating abstract understand a process of abstraction that
diluted in water and the shapes work, but I want to start with a simple exercise seems logical. This will help you to enter an
defined as the previous painting, with of abstracting elements of a picture and area that may not be familiar if you are
ink lines. Because I kept the colours treating it in a similar geometric way to a representational painter. Next month, we
transparent and flat, with no shading, Mondrian’s abstract depiction of an apple tree. take another step, looking at shape, colour
the result looks like stained glass. The reason for doing this exercise is to help and how to abstract a map.
You will need

l A photograph or drawing of
a landscape, which contains
various objects, such as
buildings, trees and fences
l Tracing paper
l 2B and 4B pencils
l Technical drawing pen, relative
to the picture size. Here I used
a 0.07
l Watercolour
l Watercolour paper, drawn up
with two postcard-size
rectangles.
l A ruler
The photograph used as the subject

t
for this month’s abstraction

LP01 Birch_Layout 1 17/11/2017 15:57 Page 59
Inspiration
Step 2 bottom line of the picture across onto the

1 Simplify Put the original picture sheet of watercolour paper. Do the same with
to one side; you do not need it the left perpendicular line extending that up
again. Look at the shapes you have the side of the paper. Rule a diagonal line
in your drawing. If any look too from the left-hand corner of the drawing up
complicated, simplify them. This to the top right-hand corner and extend it
exercise is about finding good up onto the watercolour paper as far as you
shapes in the picture and creating wish the size to be. Join the lines to make
a good composition. a proportionally enlarged version of the
2 Straight lines Cover the first drawing. Then square up the small drawing,
drawing you made. Trace and and do the same number on the larger paper.
lay down the amended drawing on Copy the contents of each square onto the
the third rectangle. Start to new picture.
straighten the lines of any curves
t
Step 1 Draw in the drawing using your ruler then extend
Find a photograph or make a drawing of some of the lines as far as they will go until
something that contains various objects. This they meet another line or the edge of the
could be a landscape with buildings or you paper. This will result in a mosaic network
can follow my photograph. Trace the drawing of lines creating geometric shapes.
with a 2B pencil making the shapes as simple
as you can without losing definition. Scribble Step 3 Enlarge the image
t
over the reverse of the tracing paper with the To make a larger version of your drawing,
4B pencil. Lay this on the first rectangle right find a larger piece of watercolour paper and
side up and trace over the original lines with secure your picture in the bottom left-hand
the 2B to transfer the drawing down. corner. With a ruler and pencil continue the
t
Step 4 Paint or line t
Finished Abstract, watercolour,
1 Now either ink in the lines first with similar to the original colouring, but more 6x8in. (15x20cm)
a waterproof pen, or paint the areas within exaggerated.
the lines first, which I did. Choose three 2 Paint the shapes, paying attention to tonal
colours, making your choice based on your contrasts by diluting colour or shading some
impressions about the subject. These do of the shapes, all the time keeping an eye Linda Birch
not have to be the colours on the original on interesting tonal and colour Find out more about Linda,
image. On my picture I used oranges and relationships. If any part of the picture her work and classes by visiting
blues and a mixed brown made from the looks particularly interesting, isolate it and www.theartistlindabirch.co.uk
two colours, as I thought these were slightly trace it to make another abstract painting.

page 60_Layout 1 16/11/2017 11:36 Page 14
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LP01 60-63 Gregory_Layout 1 17/11/2017 16:07 Page 61
Oil
Light and shadow

Follow oil painter, Noel Gregory’s painting and thought
processes as he depicts an exotic market scene in old Casablanca
LEARNING OBJECTIVES
n How to work with a limited
oil palette
n Learn to draw with brush
and paint
n Know when to stop
O ne of the great joys of

travelling around the world,
teaching art on cruise ships,
are the scenes and images I see
that make great subjects for my
paintings. It is because of the
limited time the ship spends on
non-sea days, land travel is usually
too short lived and more often
than not there is not enough time
to actually paint on location. In any
case, the weather is often too hot
to stand and paint all day. However
with our digital-camera age I can
record and immediately use images
that can be painted in the comfort
of the studio or, in my case,
on board ship.
I have now painted in
practically every continent in the
world and have photographed
some spectacular images. Just
occasionally, however, one such
image stands out as being special
and this was certainly the case
when I visited Casablanca.
The composition
Tone is probably the most
important part of any painting,
often making perhaps an
uninteresting subject into something
magical. The old medina market
(right) was full of interest and
especially because the sunlight
gave this strong tonal contrast.
With all this light coming down
the street and flooding onto the
vegetables and fruits, I saw
immediately it was a subject
just waiting to be painted.
There was movement and
plenty of colour as everything
was being sold, from leather goods
to every conceivable food stock.
I will quickly mention the dead
chicken heads that seemed to
be everywhere and perhaps just
as well that I disregarded them
in the painting. I hope you
enjoy following the painting
t
demonstration over the page. LP t

Casablanca Market, oil on canvas, 51x3112⁄ in. (130x80cm)

Oil
Demonstration Casablanca Market

I do not always use Alkyd oil paints, but I wanted
a quick overnight drying time. I limited my colours
to just six: viridian green, ultramarine blue, Winsor
You will need
yellow and red, burnt umber and titanium white. n Surface
I normally have a huge number of colours arranged l Canvas 51x311⁄2in.
around the palette in some order, but this time (130x80cm)
I wanted to refresh my memory by making any
n Alkyd oil colours
colour I wanted with this small range. Brushes were
l Titanium white
also limited to three: a No. 12 Bright and a No. 6
l Lemon yellow
drawing brush, after beginning with a 1in. house
l Burnt umber
brush for the first stage (left). With these restrictions
l Burnt sienna
I was pleasantly surprised to find that so much
l Viridian green
could be done with so few colours. I knew it was
l Ultramarine blue
possible, but I had wanted to refresh my memory
l Cadmium red
after many years of not bothering.
l Violet
I was pleased with the end result and this
was the first time I painted a picture with these
dimensions. I will certainly use this format again.
Step 1
t
I chose not to cover the canvas with a single colour as usual, but quickly
put in the general areas using viridian green as a wash without too much
consideration for accuracy. Viridian is a wonderfully strong colour, but it can
be almost too violent when it comes to the subtle hues of a landscape. It does,
however, help to make an acceptable dark colour range when mixed with the
three primaries: blue, red or yellow. This placing of the major areas and
angles gave me the first opportunity to see what I could include on my canvas.
Using this method I didn’t waste time on drawing and could change anything
by either painting over or removing by rubbing off with a dry cloth.
t Step 2
The contrasting tonal areas are remarkable in this picture as half the
composition is in dark shadow and the rest in strong sunlight. It is the
contrast that most attracted me to paint the subject in the first pace
so it is now this, which has to have first consideration.
Even at the beginning I was concerned about the placement of the
foreground figure. However, because of the loose nature of the painting
start, I had not made
any real commitment,
and all could be
changed, moved or
rejected without
too much trouble.
Step 3
t
This next painting

stage is the one
I enjoy the most and
the time when most
of the decisions of
composition, colour
and tone are made.
Correcting angles and
placing colours in
position, while seeing
the picture develop
for the first time, is
very satisfying. Not all
the problems are
solved, as it was then
that I felt that the
dark standing man on
the shadow line was
competing too much
with the light areas.

Oil
Step 4
t
1 The dark standing man had an interesting and dramatic shape but tended
to split the painting in two so I put him in the foreground and removed the
large figure that had worried me in the first place. He was replaced by the
walking woman, which had the right light from the correct side. I now had
exactly what I wanted in the composition: a good centre of interest with the
umbrella and a lead in with the tonal areas of light, with the fruits and
vegetables. It seemed to work, not only with its strong impact image, but
with a great feeling of distance.
2 I now added more definition in the foreground and I enjoyed using my
few colours to create all the greens and coloured vegetables with more detail.
Adding further information in the background I still wondered what to do
with the dark area at the left top and still cannot remember what it was.
I have some recollections that it was a sunscreen with lighting units, but
should I keep such a large area of dark in the painting or paint it out. At
this stage I left it in, as I felt it gave the light areas of the background more
value. I am still not totally convinced if I will leave it in, time will tell.
Step 5
t
This is the final stage of completion and one that can

take as long as you wish with the defining of detail and
changing areas with more paint into perhaps something
more interesting. Students ask me how I know when to
stop and consider the painting is finished. The answer is
not easy for it depends on several things. It is often more
difficult to know when to stop than to know how to begin.
The general rule is that when a painting stands by itself,
with or without detail, and explains itself to the eye with
the tone and colour structure sufficient, it is time to stop.
To keep working is often to lose some of the spontaneity,
which gives a painting the individuality of the artist.
Perhaps paintings are never finished; they are only
a testament to a time and talent of the creator.
Noel Gregory
Find out more about
Noel and his work by visiting
www.artistnoelgregory.com t
Casablanca Market, oil on canvas, 51x3112⁄ in. (130x80cm)

LP01 56-59 Harrison_Layout 1 17/11/2017 16:13 Page 64
Watercolour
Cottage door
Follow this demonstration to paint wood texture in
watercolour, adapted from a book by Terry Harrison
LEARNING OBJECTIVES
TRY THIS FIRST!
n How to paint texture
How to paint wood grain effect
n Learn a step-by-step approach
to watercolour painting
D oors are a particularly good

subject. You will come across
attractive entrances to buildings
in most towns and villages both at
home and abroad. A doorway alone
is enough to evoke an image of a
favourite place or a wonderful holiday.
Wherever you find your door, you
will discover it is easy to turn into t
1 Paint a pale wash of burnt umber, t
2 Use the half-rigger to paint a knot
a painting. When you have painted using uneven brushstrokes and leaving in the wood with a darker mix of
a few different examples, you may some white showing. Allow to dry. burnt umber.
find you have a favourite that you
want to incorporate into a larger study.
3 Pick up
t
a dark mix of
ultramarine
and burnt
umber on the
wizard brush,
and paint
a streaky,
uneven brush
stroke around
the knot.
4 Continue painting the woodgrain
t
below the knot as shown
4 The finished wood grain

t

Watercolour
Demonstration Cottage Door
You will need

n Watercolour n Miscellaneous
l Raw sienna l Cadmium l 2B pencil
l Alizarin red l Masking fluid and
crimson l Ultramarine masking fluid brush
l Burnt l Sunlit green l Ruling pen
sienna l Midnight l Small detail, large detail,
l Burnt green foliage, wizard and
umber l Cadmium half-rigger Terry Harrison
l Cobalt blue yellow brushes
Step 1
t
Complete the preliminary sketch then apply masking fluid to the

flowers and foliage in the pots with a brush and a ruling pen.
Allow to dry. With a large detail brush, apply the washes to the
background. Use raw sienna with a touch of alizarin crimson for the
wall, then change to a darker mix of burnt sienna and burnt umber
with a touch of cobalt blue for the door.
Step 2
t
Add burnt
sienna with
a touch of
cobalt blue
to tone down
the brightness
on the lower
half of the
wall. Add
the colours
of the pots
with a mix of
cadmium red and raw
sienna, with a greater
proportion of raw sienna
on the centre pot. Change
to the foliage brush and,
keeping to the same
range of tones, add some
texture to the painting.
Step 3
t
With the small detail brush

and a mix of ultramarine
and burnt umber, begin to
build up some of the finer
detail in the exposed
brickwork.
Step 4
t
With the wizard brush,

drag ultramarine and burnt
umber down the dried door
to produce a woodgrain
t
effect.

Watercolour
t Step 5
Add shadows to the door and behind the pots using the large
detail brush and a mix of burnt umber and ultramarine.
t
Step 6
Begin to build up the plant foliage using sunlit green and
midnight green on the small detail brush. Allow to dry.
t
Step 7
With clean hands, remove the masking fluid from the plants
in the pots.
Step 8
t
With the small detail brush, paint in

the flowers using your chosen colours.
Touch in a small amount of cadmium
yellow to highlight the leaves of the
foliage plant. Change to the half-rigger
and midnight green, and add some
extra streaks for detail.
This was adapted from Terry

Harrison’s Complete Brush with
Watercolour (Search Press, 2017).
Save £2 when you buy from our
online shop at PaintersOnline.
Go to page 74 for details.
The finished painting
t


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p68_69_lpjan18.indd 69 17/11/2017 09:47:45

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Art Shops 16/11/2017 14:52:45
Jan 18 Holiday of the Month_Layout 1 15/11/2017 09:28 Page 3
Holidays & Courses
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could apply a clean mix. Contour lines were
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lp CLA jan_NEW.indd 72 13/02/2015 10:59:15 16/11/2017 14:52:55

LP Jan 2018 Books p71_News 1st 16/11/2017 09:54 Page 6
Acrylic
Books
WHAT TO READ THIS MONTH
know how
This new edition of
Lorena Kloosterboer’s
Complete Guide to
Acrylics, takes an in-
depth look at how to
paint with acrylics,
Visit www.painters-online.co.uk/store and click on covering every aspect
the link to books to buy the latest practical art books of the medium, from
available from LP’s online bookshop paints, brushes and
supports, to additives and colour mixing. Lorena goes on
to show you what to do with them, with inspiring step-by-
Complete guide step projects and demonstrations, as well as information
Previously published in on commissions, exhibiting and selling. This is the
hardback, this new soft- ultimate resource guide for acrylic painters.
backed edition of David Complete Guide to Acrylics by Lorena Kloosterboer. Search Press,
Webb’s Complete Guide to (s/b), £15.99.
Watercolour tells you
everything you will ever
need to know about the
medium. David is an A love of
experienced artist and Yorkshire
teacher, and his lively Popular artist, Ashley
explanations and Jackson, is inspired by
demonstrations will help the landscape of the
both experienced artists, Yorkshire Moors. Here
and those new to the he brings together a
medium, find inspiration. Opening with chapters on materials collection of works,
and techniques, the book moves on to making pictures, covering memories and emotions
composition, perspective, colour and mood. A section titled reflecting the beauty
Expressing Form & Surface, includes specific elements of subject and atmosphere of
matter, such as landscapes, texture, and figures and portraits. ‘God’s Country’. Containing paintings from the past 54 years of
The final chapter concentrates on different artists’ approaches to his life, Ashley invites you to share in his passion for the
watercolour, which provides a fascinating insight into the landscape. It’s not a ‘how to’ book, but serves as inspiration with
possibilities and variety of this beautiful medium. accompanying quotations from the artist.
Complete Guide to Watercolour by David Webb. Search Press, (s/b), £15.99. Ashley Jackson: The Yorkshire Artist. Pen & Sword Books, (h/b), £25
Sketching at speed enjoy the whole amazing

If finding time for drawing is experience,” writes Gary in his
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painting with a limited palette. get sketching. “Study your subjects, Hein. Search Press, (s/b), £8.99.
Additional chapters include focusing gather up your pencils and paints and 5-Minute Sketching: Animals & Pets by Gary
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LP_FullPage_jan18.indd 1 20/11/2017 15:42:43
LP Jan 2018 Art clubs p75_News 1st 16/11/2017 09:57 Page 3
Sidmouth Society of Artists
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
At a recent demonstration for the
Sidmouth Society of Artists, artist, Mike
Jory, demonstrated how to paint sheep in
the landscape using acrylics. Member,
Terry Crook, shares the experience with
us here.
EXHIBITIONS AND ACTIVITIES “Exeter artist, Mike Jory, started his
demonstration explaining how he adds
life to his pictures and a spontaneous
feel with an intuitive approach using a
John McCombs Road Leading into Delph,
t
oil, 13x17in. (33x43cm) layered technique. After talking a little
by well-known local artists. Founded

in 1950 by watercolourist, Ellis Shaw,
and friends the group currently
comprises 60 enthusiastic members.
New members are always welcome.
For more information telephone 01457
874093 or visit
www.saddleworthartists.co.uk
Virginia Water Art Society
Highlights Members of the Virginia Water Art
t
Artist, Mike Jory, with his demonstration
painting using Atelier Interactive Acrylics
Saddleworth Group of Artists Society are invited to take along their
The Saddleworth Group of Artists favourite painting or piece of about using acrylic paint, he started with
will be holding their popular winter artwork to the January meeting on some quick gestural brush drawing of the
exhibition at the recently Wednesday 3 January. Meetings take sheep and lamb and then added the
refurbished Saddleworth Museum, place at the Community Centre, main areas of tone. This was all done
High Street, Uppermill, Oldham OL3 Beechont Avenue, Trumps Green, using burnt umber acrylic paint and a
6HS, from Saturday 9 December until Virginia Water, from 7.30 to 9.30pm. flat 3⁄8 in. (1cm) brush on 16x23in.
Sunday 14 January. The exhibition For more information about the group visit (40.5x58.5cm) Daler-Rowney mixed-
will include approximately 50 works www.virginiawaterartsociety.blogspot.co.uk media paper, pre-coated with titanium
white acrylic.
“Next, he blocked in colours across both
CLUB EXHIBITIONS the animals and landscape, adding
n Berkhamsted Art Society Demonstrations different hues to the main regions of
Winter exhibition at Civic Centre, 161-163 Bedford Art Society light and shadow. After the intermission,
High Street, Berkhamsted, Hertfordshire Popular Polish artist, Sonia Bacchus, and with the paint fully dry, he switched
HP4 3HD, from 3 to 9 December. Open returns to the Bedford Art Society to to using Atelier Interactive Acrylics
Monday to Saturday, 9am to 5pm; demonstrate how to paint an interior explaining this gave him freedom and
2 to 4pm on Sunday. scene in mixed media, on Friday 5 more flexibility. Further details, textures
n Blackburn Artists’ Society January, at Putnoe Heights Church, and colours were added and, when wet-
Exhibition at Blackburn Museum and Art Bedford MK41 8EB (7.15 for a 7.30pm in-wet blending or the removal of paint
Gallery, Lancashire, until 27 January. start). Entry is free for members; £5 for was required, he simply sprayed water on
n Bournemouth Arts Club visitors. Visit www.bedsartsociety.co.uk the paint to re-activate it. Finally, still
Festive art and craft at the Bournemouth Brighouse Art Circle using the Interactives, some thicker
International Centre, from 2 to 28 Artist, David Starley, will give an oil highlights were added.”
December, 10am to 5pm daily. Visit painting with knives demonstration to The next demonstration for the society
www.bournemouthartsclub.co.uk will see artist, Trevor Waugh,
members at Waring Green Community
n Leicester Society of Artists Centre, Brighouse on Thursday 11 demonstrating how to paint roses in
132nd annual exhibition at the New Walk January, 7.30pm. For more information visit watercolour on 24 January, 7 to 9pm.
Museum and Art Gallery, 53 New Walk, www.brighouseartcircle@yahoo.co.uk Demonstrations take place at Kennaway
Leicester, until 16 December. Visit House, Coburg Road, Sidmouth, Devon.
www.leicestersocietyofartists.co.uk Hipperholme & Lightcliffe
Art Society Visitors are welcome. For more information
n Salisbury Group of Artists
The are two workshops to look forward to telephone Terry Crook on 01395 578108 or
Winter exhibition at Salisbury District email him at Terence.crook@btinternet.com
Hospital, Odstock Road, Salisbury SP2 8BJ, at the Hipperholme & Lightcliffe Art
until 7 January. Enquiries to 01722 743577 Society this January – Painting on Silk Tewkesbury Art Society
or visit www.salisburygroupofartists.co.uk with Lisa Shackleton on 9 January, and Artist, Colin Ross Jack will give a
n Stevenage Arts Society an experimental workshop on Animals, demonstration to the Tewkesbury Art
Winter exhibition at The Denington led by Sue Blackwell, on 23 January. Society on painting flowers in oils, at the
Galleries, Springfield House, High Street, Workshops take place at Brighouse Rest Methodish Church Hall, By The Cross,
Old Town SG1 3EJ until 9 December. Visit Centre between 7.30 and 9.30pm. Visit Barton Street, Tewkesbury, on 23 January,
www.stevenageartssociety.org.uk www.handlas.co.uk 10.30am to 1pm. Visit www.t-a-s.info

LP Jan 2018 Gallery p76-77_Layout 1 16/11/2017 10:01 Page 2
Art club gallery BEST IN SHOW PAINTINGS
If you would like to see your art group’s winning t Brampton Art & Crafts Club Kathy Arthur Beadness Dunes,
paintings reproduced here, encourage visitors to mixed media, 153⁄4x101⁄2in. (40x27cm). Running since 1970,
members of the Brampton Art & Crafts Club meet on Monday
your next exhibition to vote for their favourite work evenings (7 to 9pm) in the Wooden Hut at Brampton Community
then simply send us the details. Full information is Centre. New members are always welcome. Email
given below. admin@bramptonartandcraftsclub.com or visit
www.bramptonartandcraftsclub.com
Bothwell Art Club
t
Ann Marie Crawford

Pensive Moment
(Mandela), pastel on
Pastelmat, 153⁄4x12in.
(40x30cm). The Bothwell
Art Club meets between
September and March on
Thursdays at 7.30pm in
the Village Community
Centre, 8 Fallside Road,
Bothwell G71 8HF. New
members are always
welcome. See Bothwell Art
Club on Facebook.
t
Shefford Art Society Mike Dyer
Smooth Talker, Lulworth Cove, tinted charcoal,
93⁄4x141⁄4in. (25x36cm). Members of the
Shefford Art Society meet on Tuesdays
throughout the year from 1.30 to 3.30pm. For
more information, telephone 01234 327219.
Meirionnydd Artists Society Ken Bridges

t
Rain Clearing the Rhinogs, oil on board,

24x361⁄4in. (61x92cm). For more information
about the group visit
www.meirionnyddartistssociety.com

LP Jan 2018 Gallery p76-77_Layout 1 16/11/2017 10:01 Page 3
Cookham Arts Club Ron Damer The Owl and the
t
Pussycat, acrylic, 20x30in. (60x76cm). Ron has put
his own spin on the well-known poem by making it
bad weather. Now 87, Ron started painting in the
mid 1970s and joined Cookham Arts Club in the
1990s. Members paint every week at Cookham
Dean Village Hall and have a very lively
programme of events. For more information
contact Robert Jones, 0118 934 3363 or email
rdjforcac@aol.com
t Wrabness Art Club Terry Field After the Rain,
acrylic and collage, 173⁄4x25in. (45x63.5cm). The
Wrabness Art Club is a small self-help group
consisting of 20 members who meet once a week
to paint together. Contact Jan Truscott 01255
880517.
Llandrindod Wells Art Club

t
Heather Jones Little

How you can join in Beachcombers, oil, 191⁄2x16in.
To participate in our best in show feature, (49.5x40.5cm), Heather’s
arrange for the voting to take place at your painting of her grandson and
next club exhibition, then send Leisure pet, Harry, was voted the
Painter a photograph, transparency or public’s favourite at the
jpeg of the chosen painting. We can only summer exhibition of the
accept sharp, high-resolution (300dpi) Llandrindod Wells Art Club,
images for reproduction purposes. Attach which attracted over 1000
details of the artist, title, medium and visitors. Members of the
dimensions, along with details of the club longstanding group meet at
itself. LP also welcomes art exhibition the local Arts Centre in
listings, profiles, events, letters and news. Llandrindod Wells. Enquiries
Send to Jane Stroud, 63/65 High Street, are welcome at
Tenterden, Kent TN30 6BD; or email sweekly@outlook.com
jane@tapc.co.uk

Jan 2018 Online Gallery_News 1st 16/11/2017 10:05 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
T he painting I’ve chosen

this month explores an
interesting way of sourcing
subject matter for portrait
painters. Finding someone
willing to sit for you can be
difficult, particularly if it’s
for any length of time.
Here, Neil Rogers used an
app on his iphone to find
his subject, making sure
that, although based on
realism, the portrait still
had a painterly quality. If
you would like to see more
of Neil’s work, post a
comment or upload your
own images to our free
online gallery, visit
www.painters-online.co.uk.
This is a free service.
Neil Rogers Portrait of

t
Tesla, acrylic on board,

1334⁄ x1334⁄ in. (35x35cm)
W
orking from a small studio space want to paint full time. I’m painting I am also keen to try to keep a certain
in his house in Staffordshire, Neil more than ever, so it’s now about finding amount of looseness in the image, as can
Rogers draws and paints an audience for my work. be seen in the clothing and hair. I like
portraits, still-life groups, pet portraits “This portrait was painted in acrylic on people to know it’s a painting and not a
and, occasionally, landscapes. “Although board. I found the inspiration on the photograph. For me that is the challenge
I have painted for most of my life,” he Sktchy app for the iPhone. The app lets of portraiture: capturing a likeness but
writes, “it is only in the last year that I people upload photographs of also making an interesting painting.
have really started to take it seriously. themselves, and artists can paint from Hopefully this painting has achieved that
I work full time and have two children so them. I was drawn to this particular aim.”
it really is a case of painting whenever I image, as I wanted to try to capture the See more of Neil’s work at
can find the time. I’m in my 40s and I’m warmth of the sunlight on the model’s www.painters-online.co.uk and at
starting to think, it’s now or never if I face. Although I am interested in realism, www.neilrogersart.co.uk

essential painting books for beginners
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Demonstration Still life using a flat wash

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M arks made on paper, either

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