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April welcome ready_Layout 1 09/02/2017 11:31 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/4
ISSUE 558
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
APRIL 2017
Editor
Ingrid Lyon
A re you ready to enjoy a month of
developing new skills and artistic
confidence, and consolidating already
Contributing Editor
Jane Stroud learned techniques? We have an issue packed with practical advice,
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS creative ideas and demonstrations to help you draw and paint a
David Bellamy
Tony Paul STP
wide variety of subjects. Helen Elliott kicks off this month by
Advertising Sales answering five frequently asked questions from her students (pages
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) 14 to 17). If you are new to painting – and perhaps a little nervous
Advertising Copy because you feel you’re not ‘talented’ or ‘creative’ enough – read
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) Helen’s advice first. She quotes an oft-mentioned adage that it takes
Accounts
creditcontrol@warnersgroup.co.uk
10 years or 10,000 hours to become expert in a craft so with every
Events Manager hour you spend practising, the closer you’ll come to producing
Caroline Griffiths
successful paintings. You just have to begin today!
Subscriptions & Marketing Manager
Wendy Gregory Focusing on a specific motif rather than plunging into a full-scale
Subscriptions landscape will help to build your painting muscles. With this in
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673) mind, David Bellamy (pages 19 to 23) demonstrates drawing and
Online Editor
Dawn Farley
painting trees, both as individual subjects and in simple watercolour
Designers landscapes. Success stems from keen observation, something
Alison Renno
Sarah Poole Pamela Kay (pages 34 to 37) talks about in her article on painting
Leisure Painter is published
interiors, as she discusses the relevance of colour and how to
every four weeks by: recognise objects that will lead the eye into the painting.
The Artists’ Publishing Company
Limited (TAPC), Caxton House, If there is a focus to this month’s issue, it’s about building colour-
63-65 High Street, Tenterden,
Kent TN30 6BD mixing skills and developing a sound understanding of colour theory.
(Tel: 01580 763315)
Tony Paul (pages 31 to 33) concludes his much-appreciated 17-
Publisher
Dr Sally Bulgin, Hon VPRBSA part series, Understanding Colour, with a look at the use of black
Publication of an article or inclusion of and white as well as the cool browns in your palette. Tony celebrates
an advertisement does not necessarily 25 years of writing for LP next month and we’re featuring a special
imply that TAPC is in agreement with
the views expressed, or represents interview with him, before he begins a new series on painting with
endorsement of products, materials
or techniques. TAPC does not accept acrylics in the June issue. Learn colour-mixing skills with Paul Alcock’s
responsibility for errors, omissions
or images received in good faith five practical exercises (pages 24 to 26) and take a look at what can
Annual subscription rates: be achieved with David Webb’s limited palette (pages 39 to 43).
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member Don’t be put off if you don’t produce a masterpiece over the coming
countries €67; all other countries
(sterling rate) £50 weeks. Learning to be creative isn’t all about the end result. Just have
Foreign currency prices include fun with the process and enjoy your month of painting.
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
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Lincolnshire PE10 9PH
Newstrade distribution by INGRID LYON Editor

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(Tel: 01778 391000)
MAY 2017 issue on sale 24 March
www.painters-online.co.uk APRIL 2017 3

LP04 4-5v4 Contents_News 1st 10/02/2017 15:19 Page 4
Contents APRIL 2017

19
34
54
24 Primary issues
IN EVERY ISSUE Practise five easy-to-follow exercises to build
colour-mixing skills and learn more about
7 Diary 61 Books the theory behind painting, by Paul Alcock
Things to do this month Some of the best practical
art books are reviewed 27 Colour and depth
8 Exhibitions Follow step-by-step the painting of a koi
Some of the best shows 63 Art clubs carp in watercolour, with Alison Fennell
around the country News, exhibition listings and
‘best in show’ paintings 31 Understanding colour
10 Letters Part 17 Tony Paul completes his back-to-
Your tips, suggestions, 70 Online gallery basics colour series with a look at the cool
ideas and questions Jane Stroud chooses a dog browns, blacks and whites in your palette
portrait from PaintersOnline
34 At home
Using the chateaux of the Loire as her theme,
Pamela Kay offers insights into how to see
FEATURES and paint traditional interiors in oils
On the
cover 14 New beginnings
Rebecca de 39 Take three colours
Mendonça Challenge yourself as you take five steps David Webb discusses three of his favourite
Charlie, to becoming a more creative and prolific colours and how he exploits them to produce
Conté crayon painter, with Helen Elliott a range of effects and textures in watercolour
and pastel,
1314⁄ x11in.
(34x28cm).
18 Virtual help 44 Pastel primer
Understand the Follow Paul Bramble’s top tips on showing Part 1 Follow Rebecca de Mendonça as she
choices you can your work to a worldwide audience discusses how to work with surface textures
make with soft and colours to produce dog portraits in pastel
pastels as you 19 Trees in the landscape
paint dog
portraits on Hone your observational skills and 48 Drawing matters
pages 44 to 47 technique as you draw and paint trees Part 3 Simple tips and exercises for drawing
in watercolour, with David Bellamy with a variety of inks, by Anne Kerr

LP04 4-5v4 Contents_News 1st 10/02/2017 15:20 Page 5
Coming
next month
Develop your skills and confidence each month
with Leisure Painter. Here are just some of the
highlights to be found in the May issue
39
ON SALE 24 MARCH
n Loosen up and
bring more life
to your paintings
with Wendy Jelbert
n Try something
different: how to
use water-soluble
wax pastels by
Tim Fisher
n Learn to paint
portraits in
watercolour
n Develop pastel skills
as you render the
18 textures of dogs’
coats and features t
Anne Kerr The Ship Inn
n How to interpret (Detail), ink and watercolour,
OFFERS, HOLIDAYS & COMPETITIONS photographs for 8 2⁄ x1134⁄ in. (21.5x30cm). Develop
1
interesting and your drawing skills with line and

6 Enter April’s 50th anniversary competition and wash techniques next month
you could win a £50 voucher from GreatArt original work
12 £17,500 worth of prizes to win! Call for entries n Beginners’ steps
to the Leisure Painter Open Competition 2017 in line and wash LEISURE PAINTER
ON-SALE DATES
30 Save money when you subscribe to Leisure Painter n Acrylics for successful
Issue On sale
landscape painting May 24 March
38 Join Pamela Kay on a painting holiday of a lifetime
n Learn to paint from June 21 April
60 Take advantage of the latest offers on practical art step-by-step exercises July 19 May
books in our online bookshop at PaintersOnline Summer 16 June
and demonstrations August 14 July
62 How to win fantastic prizes and a place in this year’s n And much more! September 11 August
Art Club of the Year exhibition
69 Win new paper from St Cuthbert’s Mill in this
month’s PaintersOnline competition
71 Join Judi Whitton on a watercolour workshop
51 From photo to painting

Part 4 Elena Parashko demonstrates the painting
of a marine motif from a photograph, looking at how
to simplify a scene and tell a story
54 A painter’s guide to woodblock printing

Ready for your next challenge? Wildlife artist, Lisa Hooper,
introduces white line woodblock printing to try at home
58 60-minute study
Join Colin Joyce as he paints a study in oil in one hour
t
Tony Hogan Bodmin Moor, acrylic, 16x20in. (40.5x51cm)

April page 6_News 1st 09/02/2017 15:15 Page 11
StartArt 2017
Issue 1 available now!
Pro Arte's
2017 ISSUE 1 Learn to draw
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and paint!
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● HOW TO USE masking
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fluid and Clingfilm ● Hands and feet Tips and techniques
● PAINT simple snow ● Moving figures for drawing a still life
scenes www.painters-online.co.uk
Your 24-page beginners’ guide

to drawing and painting
Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN Order at www.painters-online.co.uk/store
Tel 01756 792929 • Fax 01756 790909
admin@proarte.co.uk • www.proarte.co.uk You’ll find StartArt under ‘Painting Supplements’
& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
APRIL’S COMPETITION PRIZES

Using David Bellamy’s tutorial on We are delighted to announce exclusive
painting trees in the landscape (pages sponsorship by GreatArt throughout
19 to 23), paint an original landscape, this year’s anniversary competitions
showing a tree or group of trees as the
focal point. Please upload your entry Each month’s winner will receive £50
by 12 noon on Thursday 19 May. worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current 4 You will be invited to send a
accepted. Only original work Painting Competition links high-resolution image of your
will be considered and paintings to Anniversary Competitions winning entry to Leisure Painter
based on reference photographs 2017. You must be registered for publication in the magazine
must have been taken by the and logged in to PaintersOnline in spring 2018.
artist or used with the permission before you can upload an image. 5 All work entered will be
of the photographer. Only one 2 Upload your April entry by featured on our website at
painting per artist each month the closing date of 19 May at www.painters-online.co.uk.
will be accepted. 12 noon. 6 The judges’ choice will be final.
1 Online digital entries must 3 Entries will be judged after 22 No correspondence will be
be sent via our website at May and the winning entrant entered into.
www.painters-online.co.uk. will be informed early in June.

LP April 2017 Diary p7_News 1st 13/02/2017 10:55 Page 6
Diary
THINGS TO DO THIS MONTH
showing and demonstrating the work of
artists and craftspeople in and around
Nidderdale in North Yorkshire, will take
place between 19 and 28 August. If you
are interested in exhibiting or hosting an
exhibition or workshop, please telephone
Lynn Cook on 01423 714865 or email
lynncook@tiscali.co.uk before 31 March.
Society of Limners
Last year marked the 30th anniversary of
Opportunities the Society of Limners – a thriving and
NEWS Portrait artist of the year friendly teaching society of miniaturists
Ron Ranson If you’re quick, there’s still time to enter and calligraphers. The society holds two
(1925-2016) Sky Arts Portrait Artist of the Year 2018. annual summer exhibitions in Chichester
It is with sadness All you need to do is send a digital and biannual residential painting
that we report on photograph of one of your self-portraits. weekends in a hotel near Guildford,
the death of Full details are available from Surrey. This year the society will be
popular artist and www.skyartsartistoftheyear.tv/portrait. holding an open exhibition in July and is
tutor, Ron Ranson. The current six-part series of Portrait inviting entries from artists. Paintings
Known for his fast and loose style of Artist of the Year 2017 started on Tuesday must be no larger than 10x8in. when
painting and his trademark hake 24 January at 8pm on Sky Arts HD. framed. Details are available from the
brushes (produced by Pro Arte and Niddart Trail society’s administrator, Richard East at
enduringly popular), he was the This year’s Niddart Trail, which sees The Society of Limners, 16 Tudor Close,
author of nearly 30 books – the first artists, artisans, photographers, Hove BN3 7NR or email
of which, Watercolour – The Ranson workshops, galleries, shops and clubs rgeast.limners@ntlworld.com
Technique, published in 1984, sold
300,000 copies, and earned him a
worldwide reputation as a tutor and
demonstrator. For many years he
shared his teaching experience with
readers of Leisure Painter through
his numerous insightful articles. In
addition to books and teaching
videos (which he was one of the first
artists to produce), he ran courses,
classes and holidays around the
world and was known for his open
approach and infectious
enthusiasm, which encouraged
thousands of students to regard him
as a friend. One of his students, Jane
Lampard, explains: “Ron had the
rare gift of being able to demystify
the process of painting making it
accessible to even the most
inexperienced and nervous of
artists, encouraging us all to release
our inner creativity by being bold
and fearless with paint. His
philosophy was to share his joy and
experience of painting with others.
By enriching the lives of so many IN THE FRAME
people all over the world, I know Hockney in Focus t
David Hockney Portrait of an Artist (Pool with
that his unique creative vision will Coinciding with the major Two Figures), 1972, acrylic on canvas, 84x102in.
(213.5x259cm)
live on.” exhibition of David Hockney’s work
Big painting challenge at Tate Britain, Millbank, London
If you aren’t already watching it, put SW1, until 29 May, join biographer, the Clore Auditorium, between 5.30
a note in your diary for 6pm on Simon Sykes and Chris Stephens, and 9pm, includes a private view of the
Sunday evenings for BBC1’s The Big head of displays and lead curator of exhibition, wine reception and a
Painting Challenge. Starting on 12 Modern British Art, for a special paperback copy of the catalogue. For
February, the series runs for six evening in celebration of the artist. more information go to
weeks. Who do you think will win? The event, which will take place in www.tate.org.uk

LP April 2017 Exhibitions p8-9_Layout 1 13/02/2017 09:47 Page 2
ExhibitionsJANE STROUD RECOMMENDS

‘Jeremy Barlow’: one-man show of recent oil
paintings from home and abroad, 14 March
to 19 April.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘The Pastel
Society’, until 4 March. ‘Lynn Painter-
Stainers Prize 2017’, 6 to 18 March. ‘London
and its River 2017’: featuring work by the
Wapping Group of Artists, 13 to 18 March.
LONDON ‘Royal Society of British Artists’, 22 March to
1 April. ‘Royal Institute of Painters in Water
n Bankside Gallery n Jonathan Cooper Park Walk Gallery Colours’: 205th exhibition, 6 to 22 April.
48 Hopton Street SE1. 020 7928 7521. 20 Park Walk SW10. 020 7351 0410. ‘Michael
‘Contemporary Watercolour Exhibition’, 3 to J. Austin: New Work’, inspired by a recent n National Gallery
15 March. ‘Water, Paper, Paint’: spring visit to the Gulf States of Oman, the United Trafalgar Square WC2. 020 7747 2885.
exhibition by the Royal Watercolour Society Arab Emirates and Bahrain as Royal Tour ‘Australia’s Impressionists’, until 26 March.
in celebration of the fundamentals of artist at the invitation of His Royal Highness n Royal Academy of Arts
watercolour painting, 24 March to 22 April. The Prince of Wales, 20 March to 13 April.
Piccadilly W1. 020 7300 8000. ‘Revolution:
n Dulwich Picture Gallery n Llewellyn Alexander Gallery Russian Art 1917-1932’, until 17 April.
Gallery Road SE21. 020 8693 5254. ‘Vanessa 124-126 The Cut, Waterloo SE1. 020 7620 ‘America After the Fall’: painting in the
Bell (1879-1961)’, until 4 June. 1322. ‘Jenny Wheatley’, until 8 March. 1930s, 25 February to 4 June.
Places of the Mind

Drawing on its rich collection of before, casting a new perspective on the British Museum, Great Russell Street,
watercolour landscapes, the British period and showing how watercolours, London WC1 from 23 February to 27
Museum in London will be exhibiting drawings and sketchbooks from the time August. For more information visit
work that focuses on ways artists continue the Great Age of British www.britishmuseum.org
interpreted the landscape between 1850 Watercolour right into the 20th century.
t George Price Boyce View on the River Teme,
and 1950. Over half of the 125 works on Places of the Mind: British Watercolour Ludlow, Shropshire, 1872-73, watercolour with
display have never been exhibited Landscapes 1850-1950 can be seen at the body colour, 111⁄2x161⁄2in. (29x42cm)

LP April 2017 Exhibitions p8-9_Layout 1 13/02/2017 09:47 Page 3
Wynford Dewhurst A Country Walk c. 1910, oil on canvas, 201⁄4x28in. (51.5x71cm). Dewhurst rarely included figures in his paintings, but when he did, they
t
were almost always members of his family. He was devoted to his wife, Antonia, and his six children. Here his wife and four of their children take a walk in the
sunshine near to their summer home at Crozant in the Creuse Valley, France.
Manchester’s Monet
Visitors to Manchester Art Gallery especially the work of Constable and Dewhurst returned to France regularly
this spring are in for a treat. Until Turner, was at the root of modern throughout his life.
23 April, the gallery will be showing French Impressionist painting – a claim Wynford Dewhurst: Manchester’s Monet
work by Manchester-born artist, that made him a controversial figure at continues at the Manchester Art Gallery,
Wynford Dewhurst. An art theorist the turn of the 20th century. The Mosley Street, Manchester until 23 April.
as well as a painter, Dewhurst’s exhibition brings together a large A range of events will accompany the
book Impressionist Painting, Its selection of Dewhurst’s paintings, from exhibition. Telephone 0161 235 8888 for
Genesis and Development suggested student days through to post World War more information or visit
that the English landscape tradition, One. Moving to Paris at the age of 27, www.manchesterartgallery.org
n Tate Britain Kingsbridge Community College, 7 to 11 n Russell-Cotes Art Gallery

Millbank SW1. 020 7887 8888. ‘Paul Nash’, March. ‘From Natural to Abstraction’: open East Cliff Promenade, Bournemouth,
until 5 March. ‘David Hockney’: exhibition of work by local artists, 25 March Dorset. 01202 451858. ‘Meeting
retrospective exhibition as the artist to 17 April. Modernism’: 20th century art in the Russell-
approaches his 80th birthday, until 29 May. n Ilminster Art Centre Cotes collection, until 24 April.
East Street, Ilminster, Somerset. 01460 n Scottish National Portrait Gallery
REGIONAL 55783. ‘Confluence’: work by ten West 1 Queen Street, Edinburgh. 0131 624 6200.
n Djanogly Art Gallery Country artists, 27 February to 25 March. ‘BP Portrait Award’, until 26 March. ‘The
Nottingham Lakeside Arts, University Park, n The John Russell Gallery Modern Portrait’: bringing together some of
Nottingham. 0115 846 7777. ‘Liberation of 4-6 Wherry Lane, Ipswich, Suffolk. 01473 the highlights from the gallery’s collection
Colour’: focusing on the paintings of 212051. Mixed-media flower paintings by of portraits from the 20th and 21st
Winifred Nicholson and her treatment of Peter McCarthy, until 11 March. centuries, until 27 October 2019.
light and colour, 4 March to 4 June.
n Harbour House
The Promenade, Kingsbridge, Devon. 01548 All information given here is correct at the time of going to press, but you are
854708. ‘Spectrum’: annual exhibition of advised to check details and opening times with the galleries prior to your visit
A-Level art and photography by students of in case of unavoidable alterations to their exhibition schedules

March letters_News 1st 13/02/2017 10:40 Page 11
Letters
YOUR TIPS, SUGGESTIONS,
IDEAS AND QUESTIONS ANSWERED
Loosening up me great satisfaction. Being a junior
The article ‘Coming in to Land’ by school, the young students seem to
Rachel McNaughton in the February appreciate my experience in the subject.
2017 issue of Leisure Painter caught my During my 45 years of teaching art
eye with its lovely fluid movement so I full-time in secondary school, I
decided to attempt the painting (right). encouraged my students to sketch
I have always been a slave to detail quickly using a Biro. My young students
and laboured for weeks over a painting now have also been introduced to Biro
to ensure each whisker, hair and feather drawing and prefer the ball-point pen
were visible, but this picture might have to the traditional pencil. The pen aids
Sally Pritlove Coming into Land, Inspired by
broken that spell. I always had in the concentration and also saves precious Rachel McNaughton, Daler-Rowney Aquafine
back of my mind my mother telling me art time in rubbing out. The secret is watercolours and Derwent Watercolour Pencils
to keep within the lines when colouring to use the pen lightly until the correct on Daler-Rowney Langton NOT watercolour paper,
141⁄4x101⁄4in. (36x26cm)
in pictures as a child, which is quite the lines have been established, in much
opposite view to my watercolour tutor’s the same way as you would use a Anne Kerr (www.annekerrartstudio.com)
advice. How many more of us were pencil. Light and dark textures and replies: When adding water to any type
encouraged to keep within the lines and shading are no different than using of paper, there is always the risk of the
follow rigid structure thus making detail a pencil. paper buckling. If you intend to use just
a difficult habit to break? Encouraging the young at an early a damp brush with your water-soluble
This was a wonderful departure from age to draw is essential and has always pencils then a heavy cartridge paper
my usual style so here’s to a 2017 with been a passion of mine. From the first would be quite sufficient. This paper
a more relaxed approach. Thank you, time my granddaughter, who is now 25 should be no lighter than 200gsm. The
Rachel! and a graphic designer, was able to hold heavier the paper the better.
Sally Pritlove a pencil, pen or crayon, I have saved If you want to use enough water to
each scribble and drawing. They fill five make a wash from your graphite drawing
Rachel McNaughton (www.artbyrachel. scrapbooks and file boxes. Naturally, lines, however, a specific watercolour
co.uk) responds: I am delighted to read she was fostered every step of the way. paper would be a better choice. Use
that Sally found my demonstration I can’t count the number of times Artists’ quality watercolour paper in either
helped her to loosen up, and her painting people, young and old, have told me hot-pressed (HP) or cold-pressed (NOT)
(above right) is delightful. I know how that they can’t draw. My answer has format. HP paper will give a smooth finish
difficult it is to change your style. I always been the same: If you can make to your work and NOT paper will help
evolved this way of painting only after a mark on a sheet of paper, you can provide a more textured look. Your
three years of trying, with countless draw. Always remember that from watercolour paper should be no lighter
sheets of watercolour paper torn up drawing, we progressed to the finest than 300gsm in weight.
and thrown away. I completely invention ever: writing! Always try to use Artists’ quality
understand when Sally talks about being There is nothing I like doing better, materials if you can. Cheaper products
encouraged to stay within the lines as a even at the age of 82, than going out will never give you the best results. Once
child. It takes a lot of persistence to break to sketch and draw people quickly with you have chosen a good brand of paper,
out of that habit. a pen at our local shopping centre. use it for everything, even if you are just
I hope readers try lots of other subjects John K Austin practising.
in the same technique. I know that
it works well with flowers, but have yet Drawing paper
to become really loose on landscapes May I ask for clarification on the type Send your letters to
myself. I keep trying! of paper needed for soluble graphite Leisure Painter, 63-65 High Street,
pencils, as mentioned in Anne Kerr’s Tenterden, Kent TN30 6BD.
Learning to draw article (LP March)? I draw a lot and have Alternatively, email the editor at
It was gratifying to read the excellent always used thin paper, but recently was leisurepainterletters@tapc.co.uk.
article on drawing by Anne Kerr in the advised that I should use cartridge All letters published here win art
February and March issues of LP. As paper, which has a tooth. Should the materials, courtesy of Daler-
an 82-year-old retired art teacher, I cartridge paper be a standard Rowney. For details of all
still teach drawing voluntarily at a watercolour paper? I assume that the Daler-Rowney products visit
local junior school. Going back to the heavier the better. www.daler-rowney.com
classroom is very enjoyable and gives Jane Owen
The Society of Limners
FREE
Free demonstration to
Art Societies by a Professional
Artist of Caran d’Ache Artists’ Materials *
Spinone Showstoppers by Gina Morton RMS SLm HS
A two hour demonstration of the wide ranges of
Call for Entries Caran d’Ache products including pencils, pastels, crayons,
15-18 Jun Marine Scenes in Watercolour
The year 2016 marked the 30th Anniversary of the Society Graphite Line, Luminance 6901 permanent colour pencils
of Limners. We are a thriving friendly teaching society of and Museum Aquarelle water-soluble pencils showing
miniaturists and calligraphers who hold annual summer the versatility and techniques of these quality
exhibitions in Chichester and biannual residential painting
weekends in a hotel near Guildford, Surrey. Swiss-made products.
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p76_lpdec15.indd 1 23/10/2015 16:31:35

Jakar_Pastels_Pastel_Pencils_A4_GB.indd 1 20/10/15 15:52
W orld renowned classical Artist and Art

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to maximise their potential and one of the
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p11_lpapr17.indd 11 10/02/2017 10:50:12

LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 54
and
open Art Competition 2017
in partnership with patchings Art Centre
CALL for eNtrIeS
£17,500 WortH of prIzeS
OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:

£5,000 £600 Canson Awards £500 great Art Awards £300 pro Arte Awards
purchase prize Three prizes of £200 worth of paper Two prizes of £250 worth of art materials Two prizes of brushes
Award www.canson.com from Europe’s largest art materials’ supplier to the value of £150 each
Selected by guest judge www.greatart.co.uk www.proarte.co.uk
Ken Howard OBE, RA for a work £500 Caran d’Ache/Jakar
up to the value of £5,000 Awards £2,600 £1,000 royal talens
www.painters-online.co.uk Two prizes of £250 worth Award Awards
of art materials One prize of a showcase feature on a Four prizes of £250 worth of art materials
£1,700 www.jakar.co.uk selected artist in Leisure Painter magazine www.royaltalens.com
exhibition Awards www.painters-online.co.uk
Selected artists from £500 Clairefontaine £100 £500 Sennelier Awards
the 2017 The Artist category Awards Highly Commended Two prizes of £250 worth
will be awarded a mixed Two prizes of £250 worth of art products Award of Sennelier art materials
exhibition at Patchings Art selected from the Clairefontaine Graphic www.globalartsupplies.co.uk
& Fine Art range A subscription to Leisure Painter worth £100
Centre in 2018, worth £1,700 www.painters-online.co.uk
www.painters-online.co.uk www.clairefontaine.com
£450 patchings Award £600 St Cuthberts Mill
£100 Highly £700 Daler-rowney of a gift voucher worth £450 to be
Awards
Commended Award Awards used at Patchings Art Centre, Notts Three prizes of £200 worth
A subscription to Five sets of materials to the www.patchingsartcentre.co.uk
of watercolour paper
The Artist worth £100 total value of ££700 www.stcuthbertsmill.com
www.painters-online.co.uk www.daler-rowney.com £600 premium Art
Brands Awards £400 Winston oh
£450 Batsford Awards £900 Derwent Awards One prize of Daniel Smith watercolours Award
Three prizes of Batsford art Three prizes of £300 worth worth £350 and one prize of Pan Pastels A painting course up to £400 of your
books to the value of £150 each of art materials worth £250 choice, sponsored by Winston Oh
www.batsford.com www.pencils.co.uk www.premiumartbrands.com 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
The Artist Ken Howard OBE, RA John Sprakes ROI, RBA, MAFA Art Centre
(All art materials prizes are quoted at the rrp)
How to enter & conditions

The competition is open to artists per entrant will be accepted for 4 BY POST colour photos or prints (no correct return postage) for the
worldwide. Only original work will exhibition in the Leisure Painter larger than A4) must be sent to the results and return of your entry.
be considered and paintings based category. address on the entry coupon (right). 6 Send your entry/ies with the non-
on reference photographs must have 2 No entry should be larger than refundable entry fee of £16, payable
been taken by the artist or used with 5 Each entry must be clearly marked
120x150cm WHEN FRAMED with your name and address and title to TAPC, to: TA&LP/ Patchings 2017
the permission of the photographer. (canvases do not need to be framed). Competition, 63/65 High Street,
Photography, except where incorporated of the work and placed in an envelope
3 ONLINE digital entries must be sent to which you must affix the entry Tenterden, Kent TN30 6BD, to arrive
into collage, is not acceptable. by the closing date of March 31, 2017.
via our website at www.painters- coupon, right. Place into a larger
1 The entry fee of £16 covers up to online.co.uk clicking through the envelope for posting, with a stamped 7 Entries will be judged after March 31,
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works in any media; only ONE work 2017 Competition. accommodate your entries (with the exhibition. These must be framed
LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 55
and
opeN Art CoMpetItIoN 2017
eNtry forM for poStAL eNtrIeS
(Online entries: please see point 3 in entry details, below left)
DEADLINE: March 31, 2017
Please accept my work for consideration for the 2017 competition.
I confirm that my entry is original. I have read and understand the rules
and agree to allow The Artist and/or Leisure Painter to publish,
republish and repurpose my work in print and digital formats
including but not limited to magazines, promotion materials, websites,
databases and as part of downloadable digital products.
Affix to envelope holding entry/ies and send with stamped
addressed envelope and payment of £16, (make cheques payable to
t
Leisure Painter Highly Commended Award 2016 Celia Brookes TAPC), to TA&LP Patchings 2017, 63/65 High Street, Tenterden, Kent
Just Picked, watercolour, 15x1712⁄ in. (38x45) TN30 6BD by the closing date of March 31, 2017. Or, please charge my
n Mastercard n Visa n Maestro

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Please indicate all sizes, when framed, in cms, vertical side first
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ALL eNtrANtS WILL reCeIve A
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$
LP04 14-17 Elliot_Layout 1 10/02/2017 11:26 Page 14
Inspiration
New beginnings
What are the biggest challenges faced by artists? Well, it’s not all about technique,
says Helen Elliott as she discusses five steps to becoming a more creative painter
LEARNING OBJECTIVES
n How to motivate yourself
n Build confidence as a painter
n Be more prolific
W hen it comes to painting,

there are a few basic
techniques that once learned
will give you a solid base from which
to grow. This practical knowledge,
however, is the tip of the iceberg and
becoming a painter requires much
more. The questions my students ask
are not necessarily about technique,
subject or colour, but about what lies
beneath being a painter – about that
which makes us creatively confident.
Here are my responses to five of the
most common dilemmas many
amateur painters face. Are any of
these issues holding you back?
1 Make time
‘I never have time to paint.’ t
Helen Elliott in her studio
If this is your block to being creative,
the answer is to prioritise. If you are 2 Be bold only a very few people who are able
passionate about painting, if painting ‘What if I fail?’ to create amazing artwork without
is what really makes you feel alive Here’s the truth; it’s not failure that years of practice. There is a saying
then you must prioritise this. Make we fear. So-called failure is, in fact, that it takes 10 years or 10,000 hours
every effort to carve out time for essential to growth. No, it’s not fear to become expert in a craft.
painting and to discipline yourself of failure that stops us; it is fear of fear Your self-doubt, therefore, is genuine;
to use that time creatively. Even if itself. Once acknowledged, looked at, you know you will need a lot of
you spend just 30 minutes a day explored, understood and put back practice before you can produce
painting, you’d still be spending 23 in its box, fear can no longer hold us something suitable to hang on a wall
hours and 30 minutes doing the things back in our creative pursuits. What so you really should not be afraid of it.
you are prioritising above painting, hold us back are our made-up ideas Be brave and begin clocking up those
each and every day. of how scary things are; we literally hours! You can learn to live with self-
If you’re questioning how important create our own fear of fear. Crazy, doubt by consciously developing for
painting is to you, take a moment to I know – being afraid of a completely yourself a self-belief and a self-efficacy.
think about why you are reading this imaginary construct. Practise simple but well-founded
article. Then consider how you would To overcome this, be brave, take a painting methods often, use good-
feel if you didn’t paint for a week, good look around your thoughts and quality paint and canvas, enjoy the
a fortnight or a month. recognise your fears about your own practice and have a good laugh at
There was a time when the demands creativity. Play, fun, laughter and yourself. What’s the worst that could
of work, children and home made it experimentation all have a place there. happen? It’s only paint and canvas
very hard for me to paint. To carve out But fear, which is your primal survival after all. The rest are just thoughts,
painting time, I gave up TV apart from instinct, is not in any way useful to ideas and beliefs: your belief about
the rare film, but I still didn’t have your creativity. what an artist is; your idea of how a
enough time. So I gave up housework painting should be; and perhaps, when
– well almost. I developed a great 3 Overcome self-doubt you come to think about it, these may
tolerance for dust and unswept floors. ‘How do I find the courage to paint?’ not be useful to you after all.
I didn’t do this because I had a dream Until my students began asking me
of fame and fortune, or because questions like this, I didn’t realise how 4 Lose the ego
I thought I could be a good painter. frightening the whole creative process ‘How do I overcome the fear that
I did this because when that streak can be. In my experience this I will create rubbish.’
of blue paint resonated against the fearfulness is just good old-fashioned Learning to trust my own intuitive
coral background my heart sang, my self-doubt, which is entirely creative process was key to my artistic
little creative world rocked and I was understandable. Many people desire development and this is how I
happy. I did it, because I recognised to be creative, but they doubt their continue to develop with each new
how important it was to me. abilities. Of course, they do. There are canvas. I’ve learned not to judge what

Inspiration
t
Lovely Llangrannog, acrylic on canvas, 3112⁄ x3912⁄ in. (80x100cm)
appears on the canvas too soon. Quite Deep at the back of this particular
often, the apparently random pursuing fear lies comparison with others.
of a creative urge, when a shape feels This is so sad, because comparing
good or a colour appears so juicy, or ourselves with others is of no use
an intense feeling you have when the whatsoever, and yet we have allowed
line is flowing and the colour is our ego to make this a huge block to
amazing, will lead to a new insight our creative path. Our egos are such
and a new depth in your painting. fragile things; they puff themselves
What massive blocks we put in up like car airbags, a protection from
place when we claim to ‘know’ that the reality that we are all small and
we’ll create ‘rubbish’ and let that vulnerable and need each other’s
thought stop us. Well, maybe you’ll help to get along. It’s our ego that
create paintings whose natural home wants us to compare ourselves and
is the recycling box – remember our paintings with others, to assure
those 10,000 hours – but that really itself that it’s the best. Of course we
does not matter. In fact, it’s an essential never will be the best, as there will
part of your creative experimentation. always be a better painting
The point is that you have created somewhere, and, of course, art is so
something and that you have beautifully subjective, one person’s
developed your creativity by doing so. Mona Lisa is another’s Duchamp’s
We all create art that we are not Urinal so comparing your art to
happy with whatever our expertise
or experience. It’s part of the job Learn the theory behind painting then
t
description so the sooner you accept it let go of the fear of producing a less-than-
t
and use it to your benefit, the better. perfect result

Inspiration
t
Newcastle Emlyn Town, acrylic on canvas, 3912⁄ x3912⁄ in. (100x100cm)
anyone else’s is a waste of precious time texture, movement and smell of the as an artist unless you are willing to take
and creativity. Does this mean that if we horse and allow myself to play with on those first steps.
can’t be the best in the world, we should those sensations in paint, well it still So, here we are, a few words to you
give up? What do you think? wouldn’t look like a perfect horse, but before you rush off to make your own
I would have had fun and immersed creative magic. Begin by using the word
5 Overcome disappointment myself for a happy hour or two in ‘yes’ more, keep paintings, keep
‘The end result doesn’t always reflect my horsiness – and you never know what experimenting, evolve, grow in self-
initial idea and I end up disappointed.’ may result. efficacy and try to be gentle with yourself.
We need to let go of our expectations. What’s the worst that could happen? l Let go of comparisons.
For example, if I had an idea to paint You end up with a canvas that you could l Let go of judgements.
a ‘perfect’ horse, much as I love horses paint white and start again. And what’s l Let go of expectations.
and know the equine form, I’d probably the best that could happen? Think of l Let go of fear.
fail. If I let go of the expectation of each painting as a stepping stone on l Then laugh out loud, especially at your
painting a ‘perfect’ horse, however, and your creative journey. You will never inability to let go of all or any of the
focus rather on the colour, sound, attain the next stage of development above. Trust me, I’m an artist. LP

Inspiration
t
Catch of the Day, acrylic on canvas, 3112⁄ x3912⁄ in. (80x100cm)
t
Experiment, play and enjoy your craft –
t
and stop comparing yourself to others!
Helen Elliott
Helen is an internationally recognised artist
and artist educator, based in Newcastle
Emlyn in west Wales. She is author of
Creative Me – The Joy of Paint (Graffeg,
2016) and runs creative workshops. Find
out more by visiting www.elliottart.net

LP04 18 Bramble_Layout 1 10/02/2017 11:30 Page 18
Digital
Virtual help
How to use social media to raise the profile of your artwork
and reach out to a worldwide audience, by Paul Bramble
LEARNING OBJECTIVES
n How to show your paintings to
a larger audience
n Set up your own presence on
social media – it’s easy and free!
t
Paul Bramble painting outside t
Friends at the Bay, watercolour on Arches 300lb Rough watercolour paper,
Voltera in Tuscany, Italy 10x13in. (25.5x33cm)
L ast year I set myself the goal to

embrace social media to promote
my artwork. I wanted to show
it to a wider audience other than my
immediate family and close circle of
my artwork and was able to link my
Facebook page to this website. This has
proved really beneficial in directing an
audience to my full complement of work.
Facebook viewers can also add a
where I painted every day. These
paintings were published to my page,
which received very positive feedback.
Success
friends. My wife, Vicki, has been a huge comment on postings along with asking I was absolutely amazed by the number
fan of Facebook for a number of years for a commission! of views my paintings received within six
and she suggested that I set up a non- I can also ‘like’ other artists’ Facebook months of setting up my Facebook page.
personal Facebook page. Facebook is pages, see their posts and enjoy being My record so far is 3,000 views for a
a popular social media site, liked and part of an art community. I find it very painting of Friends at the Bay (above).
used by people of all ages. It costs inspiring to look at other people’s I have over 200 likes on my Facebook
nothing to set up and manage. techniques and subject matter. page to date and these include followers
in Canada and the USA.
Facebook Learning outcomes I have become a real convert to
I downloaded the Facebook app on my 1 Through reading the feedback I have Facebook. It has exceeded my
computer and followed the easy-to-use found that my Facebook friends really expectations in showing my artwork
instructions to create a new non-personal like to see the different stages of my to a larger worldwide network. It is
page. I used a recent photograph of paintings, from initial pencil drawing, easy to use and manage with no cost.
myself and a recent painting for the first watercolour washes and concluding I particularly enjoy the responses that
images the page needed then populated with the finished painting. This stimulates come through following the post of one
it with a brief outline of my artwork. interest in the process. of my paintings. One word of warning
I also set up a personal Facebook page 2 It is always a good idea to take time though: Facebook is addictive! LP
to enable me to direct my family and photographing your finished painting.
friends to ‘like’ my new page. This was Be careful to place the camera square
a great starting point in encouraging
everyone they know to like my non-
onto your painting to avoid distortion
and ensure good consistent lighting.
Paul Bramble
Paul won the Premium Art Brands
personal page. So every time they ‘like’ 3 Before photographing, place a
Award in Leisure Painter’s Open
my artwork, all of their Facebook mount around your painting to give Competition 2016. Turn back to pages
friends will see my posts, which in it real impact. I keep a number of mounts 12 and 13 for details on how to enter LP’s
turn increases the number of views. of different sizes for this purpose. Open 2017. Find out more about Paul by
4 Keep your followers’ interest by sharing
visiting www.paulbramble.co.uk or follow
A new website your holiday sketches. I have recently him on Facebook and Instagram.
I also set up a new website to showcase come back from a holiday in Tuscany

LP04 19-23 Bellamy_final_Layout 1 10/02/2017 11:36 Page 19
t
The Old School, watercolour on Saunders Waterford Rough 140lb watercolour paper, 6x712⁄ in. (15x19cm). In this small watercolour the tree
details were rendered with a No. 1 Rigger brush. I used one of the sable Riggers made by Rosemary & Co, as they respond well when you need
intricate detail. Take some time to practise drawing with a Rigger, as you need to develop some skill before it is really effective, but it is well
worth cultivating. I splashed blobs of white gouache over the branches in places to suggest snow, although normally I prefer to paint
negatively around the snow in most cases.
Trees in the landscape

Follow David Bellamy as he demonstrates how to draw and paint trees in all
their glory, working with a variety of materials, techniques and your observation
matter too much where we place the grow upwards at a steep angle, or do they
LEARNING OBJECTIVES branches, or how they are attached to appear as contorted, angular branches, as
n Practise watercolour techniques the main trunk. in thorn trees? Look hard at the colours and
What concerns me as a tutor is the textures of the trunk and branches, as all
n How to handle your materials way in which many students will take these observations will add character to
a shapely tree, bristling with character, your trees. Such concentrated study with
n Think and observe like an artist and turn it into a commonplace upright continual comparisons will greatly enhance
version with branches sprouting out your vital observational skills, especially
M y drawing of trees improved

dramatically after I’d been to
life-drawing sessions for a while.
If you can render the naked body
reasonably well then trees, with their
symmetrically from the upper reaches –
often with total disregard for their true
configuration and about as visually
enthralling as a coal mine without a light.
As with all features you wish to paint,
when accompanied by quick sketches.
Summer
In summer most of the branches and
trunks may well be hidden, but to give
similar tubular, curving forms, should the key is observation. I don’t mean just the tree more shape I often add branches
present no real problem. With figure looking at the subject, but truly analysing that I can’t actually see. This becomes
work, provided we include the requisite it with a conscious effort to assess the easier with experience, and the best way
number of arms and legs, with their tree. How do the branches appear to be of studying this is to sketch trees in spring
associated attachments arranged in the joined to the trunk? How thick are the and autumn when more of the branches
appropriate manner we might achieve a branches in comparison to the trunk and are visible, but there is still a lot of foliage
memorable painting, assuming a certain each other? How do they grow? Do they on the tree.
degree of skill is involved. With trees, sweep down in a drooping fashion; do Try to keep the colours of foliage clean,
t
however, we may well feel that it doesn’t they spread out horizontally; do they especially where in sunlight, and avoid any

t
Autumn Colours, Aberedw, watercolour on Saunders Waterford NOT 140lb watercolour paper 6x9in. (15x23cm). I dabbed in a few spots
of masking fluid around the tree on the far left to create a sense of individual leaves left on the branches. When the background colours
had dried I rubbed off the masking fluid and then painted in light yellow and orange blobs over the white spots. With any summer or
autumn tree this helps to avoid too solid a mass of foliage. On the right-hand side I spattered some light red with a toothbrush to give
the impression of masses of individual leaves in the tree – this can be a particularly effective technique for enhancing winter trees.
sense of lumpiness by creating a few

speckles of the foliage colour just outside
the boundary of the foliage as shown in
the detail reproduction (shown at the end
of the demonstration painting, page 23).
Where the tops of the branches become
lost in the foliage, create a shadow area
to lose the branches gradually, otherwise
they can look as though they have been
stuck on as an afterthought.
Stepping out into nature with pencil
and sketchbook is one of my greatest
pleasures in life, as it is so rewarding and
therapeutic to both mind and body. By
all means take photographs to help your
work, but there is nothing like taking the
time to observe closely how everything
fits together, even if your sketch barely
takes two or three minutes. You can also
practise your observational skills without
any need for a sketchbook, simply by
studying your subject, and you can do this
at any time you are waiting around. LP
Beech Tree Trunk in Sunlight. I have
t
kept this watercolour study of a beech trunk

deliberately simple, retaining the white
paper on the right-hand side to suggest the
sunlight. I began with a light semi-dry
vertical wash of phthalo blue with a touch
of burnt umber, creating a ragged effect over
the centre of the trunk and leaving the right
side untouched. When this was dry I washed
clean water over the whole trunk, waited a
few moments then applied a slightly stronger
mix of phthalo blue and burnt umber with
a fine No. 4 sable to suggest a soft-edged
shadow cast by an off-picture branch.
I then painted the darker details.

Watercolour
TRY TREE SHAPES

IN WINTER
Pencil sketch. Sketching

t
trees on location not only

sharpens up your drawing
and observational skills,
but provides you with a
reservoir of tree types to
include in your paintings.
I was intrigued by some
of the beautiful twists and
turns of the branches in
these specimens, and this
attention to detail imbues
your landscapes with
a much greater sense
of authenticity.
Tall Trees. This on-the-spot drawing reveals quite different

t
branch shapes to the previous sketch. Here they hang down

and sweep outwards, another prominent characteristic that is
so vital to record if you want your trees to stand out. Note also
the counter-change on the left-hand trunk where the centre
part is light compared to the upper and lower parts.
t Birch Trunk. In winter, and especially in sunshine, the bark of

trees can reveal exciting textural forms. Where you wish to include
large foreground trees, doing studies in colour can be rewarding.
Here I used a half-inch flat brush with almost dry phthalo blue,
applied with miniscule horizontal strokes, working from left to
right and down the trunk. While this was still wet I dropped in
some cadmium orange here and there, finally painting in the dark
background to define the shape of the trunk and the branch.

Watercolour
Demonstration
River Usk at Brecon You will need
This scene is especially lovely in summer, but n Surface n Daniel Smith Extra l Cadmium yellow
the overwhelming greens need to be subdued l Saunders Waterford Fine watercolour light hue
to a degree. The background ridge rises up as an 140lb NOT l Lunar blue l Rich green apatite
almost undiluted green mass so in considering paper 7x91⁄2in l Cadmium red genuine
the composition I decided to introduce a strong (18x24cm) medium hue l Phthalo blue
atmospheric backdrop and ignore the ridge, and l Nickel titanate yellow (green shade)
retain the exciting back-lighting that occurs l Transparent l Burnt umber
around mid to late morning. yellow oxide l New gamboge
A NOTE ON THE COLOURS

If you don’t own Daniel Smith Extra Fine
watercolours, I hope the following will
be useful in choosing your own palette.
Lunar blue is quite similar to indigo with
a touch of phthalo blue. It is semi-transparent
and granulates beautifully.
Transparent yellow oxide is similar to
yellow ochre, though leaning slightly towards
a warmer colour. As the name suggests, it is
transparent.
Green apatite genuine is a deep rich green
not unlike sap green, but really there is
nothing quite like it as it granulates
spectacularly. It is semi-transparent.
Nickel titanate yellow is very similar to
the Winsor & Newton yellow titanate, and
rather like a cooler version of Naples yellow.
It is semi-transparent.
The other colours are fairly self-explanatory
as they are similar in both name and colour
to the Winsor & Newton and Daler-Rowney
varieties; the only real difference being that
t
Step 1
1 To begin, nickel titanate yellow was applied to the trees.
the Daniel Smith cadmiums are hues so don’t
2 When this was dry, I washed over a mixture of lunar blue and cadmium
quite have the same strength as real cadmium
red medium hue, using downward strokes with a large mop brush. I then
colours, though they are less toxic.
introduced nickel titanate yellow into the central light area.
3 For the pebble spit I brought in weak transparent yellow oxide.
t
Step 2 t
Step 3
1 The background trees were suggested in the same way, touching in a 1 With lunar blue and green apatite
with a mix of lunar blue and cadmium combination of lunar blue and genuine I added the shadows of the foliage
yellow light hue, while the left-hand cadmium red medium hue for the in the mid-distant and left-hand trees then
tree was painted with rich green apatite light shadow parts. rendered the trunks and branches on the
genuine mixed with cadmium yellow 3 For the tall dark tree on the left I used trees to the right. For this I created a dark
light hue, which was just the green for lunar blue and transparent yellow oxide, mix of burnt umber and lunar blue.
the grass underneath. All this I applied with the same mixture for the rocks, 2 The lighter parts of the water were
with a No. 6 sable. only dropping in touches of cadmium achieved with a pale application of phthalo
2 The right-hand trees were painted red medium hue before they dried. blue (green shade), leaving white patches.

DETAIL OF FOLIAGE IN RIVER USK

This detail shows how the speckles of light
just beyond the edge of the foliage suggest
the feeling of airy foliage, and effectively
avoids the lumpy, solid look. I did this by
working round the speckles with a fine brush,
but you can use tiny blobs of masking fluid
if you prefer. This becomes less of a problem
for watercolourists if the foliage is darker
than the background, of course.
Step 4
t
1 A shadow wash was laid across the

right-hand tree, at the same time defining
the top of the rocks and pebble spit, and
subduing the lower trunks. For this I used
a mix of lunar blue with green apatite
genuine, together with a touch of
cadmium red medium hue.
2 I then introduced the dark water,
using a strong mixture of lunar blue and
green apatite genuine, brushing in some
cadmium yellow light hue for the light
reflections, and more lunar blue for David Bellamy
the dark ones. David covers winter trees in depth in his book David Bellamy’s
3 To complete the painting I rendered the Winter Landscapes. Turn to page 60 for details on how to buy this
trunk, branches and shadows of the left- and other practical art books from our bookshop at PaintersOnline.
hand tree with lunar blue and burnt umber Visit www.davidbellamy.co.uk for details of David’s work.
then washed new gamboge over the bank.
t
The finished painting River Usk at Brecon, Daniel Smith Extra Fine watercolour on Saunders Waterford 140lb NOT paper, 7 x912⁄ in. (18x24cm)

LP04 24-26 Alcock_v2_Layout 1 10/02/2017 11:56 Page 24
Colour mixing
Primary issues
Practise five easy-to-follow exercises to build colour-mixing skills,
which will help you to paint better pictures, with Paul Alcock
the most useful to help you gain
LEARNING OBJECTIVES power over your palette, mix natural- You will need
n n n
Build your colour-mixing looking colours, and gain a good Surface Oils, acrylics,
confidence working knowledge of colour mixing l Board, paper watercolour or gouache
and how to use the colour wheel.
n Put colour theory into practice or canvas l Titanium white (not
Over the years I’ve found that
n
needed for watercolour)
n the following colours offer the Miscellaneous
Take time out to practise skills l Cadmium red
maximum range of mixes when you l Masking tape
l Alizarin crimson
are limiting your palette. With just l Brushes
l Cerulean or
l A4 plastic sleeves
T here is a bewildering choice of

colours available and it can be a
job to know which colours are the
best ones to choose when we first begin
to paint. The following five exercises
eight or nine colours in total I can
mix most of what I need when
painting. You’ll notice that they are
all bright, saturated primary colours.
I hope you enjoy following these
l Scissors
l Masking tape
l Paint charts and
photos
Prussian blue
l Ultramarine blue
l Cadmium yellow
l Lemon yellow
comprise colours, which I believe are five colour-mixing exercises. LP
EXERCISE 1 Make your own colour wheel

I was taught at school that you can mix all qualities of the colours we already have, TIP If you’re mixing a light colour,
the colours you need from three primary making sure we have at least one primary begin with the lightest colour in the
colours. Well, this may be true when for each of the segment of the colour wheel mix. If you begin too dark, you’ll
mixing coloured lights, but when it comes (below right). Go ahead now and create your add so much white to the mix, you’ll
to mixing pigments, you can achieve a lot own colour wheel using mine as an example. end up with vast amounts of colour
more if you have at least two each of the You’ll see here that I’ve listed some of the that you don’t need. The opposite
primary colours. colours that you might find in each section, principle also applies so if you’re
Each of the primary colours (see list, but they are not exclusive. If you are not mixing a dark colour, begin with
above right) has a slight bias towards one sure in which part of the colour wheel they your darkest colour.
of the secondary colours. We could then fit, you’ll soon discover their properties once
refer to a blue as being a slightly greenish you mix them together.
blue or a slightly purplish blue. The first For the time being put aside any other many colours we can mix with just the
thing we need to do then is to identify the colours you have, as we’re going to see how primaries.
Orange
Cadmium Cadmium red
yellow (orange (orange red)
yellow)
Yellow Red
Lemon Alizarin
yellow crimson
(green (purplish
yellow) red)
Green Purple
Cerulean, Prussian Ultramarine

or phthalo blue (purplish blue)
Blue
(greenish blues)
t
A basic colour wheel t
A two-primary colour wheel, showing the colours used
in this article

Colour mixing
EXERCISE 2 How to mix secondary colours

In this exercise you will discover the begin with a greenish yellow, such yellow) and cerulean blue (greenish
full range of colours achievable when as lemon yellow. Then pick up the blue) you’ve now created the
mixing two primary colours together. tiniest amount of a greenish blue, brightest range of greens you can
Try these out for yourself by creating such as cerulean blue, on your brush mix using two primary colours.
your own paint charts as I’ve done and place most of this down on the t 5 Repeat the process using an
here. palette next to the lemon yellow. orange yellow (cadmium yellow) and
1 Begin by masking off an area in What’s left on the brush will probably a purple blue (ultramarine blue) to
which to paint with a couple of strips be sufficient to create the slight contrast your first range of bright
of masking tape on your board or alteration in colour needed. Take greens with a range of duller greens.
watercolour paper. care here as it’s very easy to create a 6 If you’d like to continue exploring
2 Paint a small amount of pure colour mix that goes from one end of the the full range of green mixes, try
at either end of the strip, which will chart to the other if you use too mixing a green yellow (lemon yellow)
give you an instant visual reminder of much blue! You’ll also find that some with a purple blue (ultramarine
which colours you’ve used then label colours have a more powerful effect blue), and an orange yellow
them. on the mix than others. (cadmium yellow) with a green blue
3 To mix the brightest range of greens, 4 Using a lemon yellow (greenish (cerulean, Prussian or phthalo blue).
Lemon Cerulean
yellow blue
Cadmium Ultramarine
yellow blue
Lemon Ultramarine
yellow blue
Cadmium Cerulean
yellow blue
EXERCISE 3 Mix a full range of secondaries

This exercise can now be repeated with the other primary colours
for a full range of purples, oranges and greens.
Cadmium Cadmium Alizarin Cerulean

yellow red crimson blue
Lemon Crimson Cadmium Ultramarine

yellow red blue
Cadmium Crimson Lemon Cerulean

yellow Yellow blue
Lemon Cadmium Cadmium Ultramarine

Yellow red yellow blue
Alizarin Ultramarine Cadmium Cerulean

crimson blue yellow blue
Cadmium Cerulean Lemon Ultramarine

red blue yellow blue
t

Colour mixing
EXERCISE 4 Mix blacks, greys and neutral colours

t Here I used a mix of lemon yellow, In this exercise I encourage you to use
t
alizarin crimson and ultramarine blue your range of primary colours to mix and
to which I added titanium white. Paint a match specific secondaries, greys and neutral
small amount of the mix onto a piece of colours. Here I’ve tried mixing and matching
plastic and offer it up to the paint chart colours from a decorator’s paint chart. This
to see how close your mix is. You’ll then is a great exercise, which will test out your
need to decide what else to add to achieve abilities to mix and match specific colours.
a closer match to the colour you want. Begin by cutting up small squares of plastic
You can see here that it took me three on which to try out the mixes. I used A4
attempts to come this close. clear plastic sleeves for this purpose.
In this example I used cadmium
t
yellow and ultramarine blue and white
to create a dull green. This green was
still too intense so I added a tiny
amount of alizarin crimson to the mix.
By adding the opposite colour on the
colour wheel to the mix you will
reduce the intensity of your colours.
If you are working with watercolours

t
use small strips of watercolour paper and

paint right to the edge of the strip. Once the
colour has dried, assess how close you are
to the colour you’re trying to achieve.
EXERCISE 5 Theory into practice

t Here I applied the same ideas for I covered my photograph in a plastic
t
mixing and matching colours when sleeve then tried out the paint mixes
working from a photograph. I mixed all directly over the photo to see how close
the dark greys, blacks and browns using they were before adding them to the
a mix of Prussian blue, alizarin crimson painting. The sleeve was then wiped
and a small amount of yellow. clean later.
Paul Alcock
In June 2017 Paul will be leading
a painting holiday to Barcelona,
visit www.paintingineurope.com
for further details. Paul is based
in Southend-on-Sea, Essex where he
teaches and finds inspiration for many
of his paintings. He runs workshops for
Watershed Studio, Old Bank Studios,
Old School Studio and Art and Craft
Days, and demonstrates painting
techniques throughout the south
east. Visit www.paulalcock.co.uk
for further details.
t
Southchurch Park Boating Lake, water-mixable oils, 18x24in. (45.5x61cm

LP04 27-29 Fennell_Layout 1 10/02/2017 12:05 Page 27
Watercolour
Colour and depth

Try simple, effective methods for painting with watercolour, by Alison Fennell
LEARNING OBJECTIVES
n Understand surface conditions
n Practise wet-in-wet and wet-on-
dry techniques
T he striking orange-red markings

on the koi’s white body were
so captivating and dramatic set
against the dark blue of the pond that
I was inspired to paint it. Watercolour,
used wet into wet, was the perfect
medium for rendering this beautifully
patterned fish and in the demonstration
over the page you will be focusing
on how to achieve the perfect surface
conditions to paint them.
In this demonstration you will also
work through initial loose washes and
on to painting slightly abstract passages
of water before adding the final details
of lily pads and their sunlit stalks.
Before applying the initial patches
of orange-red, you’ll need to wet the
entire inside of the fish with clear
water and allow it to sink in to the
point where there is still a faintly
visible glisten of moisture. To see this,
try holding the paper to the window
or a light. This condition, which I call
‘satin’, is the perfect time to add the first
washes. If you add them when the
paper is running with water, you won’t
have control of the colours, but if you
wait too long and the paper becomes
damp with no shine, painting onto the
surface will leave you with unsightly
watermarks. If you don’t succeed on
the first attempt, just try it again. LP
You will need

n Surface
l Arches HP 90lb (200gsm) 100%
cotton rag paper, stretched,
91⁄2x51⁄2in. (24x14cm)
n Artists’ watercolour
l Cadmium scarlet, cerulean blue,
cadmium red deep, French
ultramarine blue, burnt umber,
burnt sienna, Winsor violet,
Winsor blue, sap green and
raw umber
n Brushes
l Synthetic Rounds Nos. 0, 3, 6 & 8
l Flats ¼in. & 1½in.
Koi Carp, watercolour, 912⁄ x512⁄ in.

t
(24x14cm)

Watercolour
Demonstration Koi Carp

Your reference drawing
t
of the carp
Step 1
t
1 Wet the inside of the fish
with clear water and allow
the surface to become
‘satin’ (see introduction).
2 Use a pale wash of
cerulean blue to paint the
tips of the fins, tail and
mouth.
3 Mix French ultramarine
blue and burnt umber to
create a soft blue-grey and
paint the left-hand side of
the fish in this to create
a shadow.
4 Add a much finer line of
the blue-grey mix around
the right-hand gill and the
right-hand flank. This helps
give the fish its roundness.
t Step 2
1 Whilst still moist, use the No. 3 Round to paint a viscose mix of cadmium
scarlet to create the markings. Don’t forget to place some of this colour
where each fin joins the body. These strokes will blur softly, which is what
we want at this stage.
2 If any passages bleed too wildly, simply use a thirsty brush – a clean,
barely damp brush – to suck up the straying colour.
Step 3
t
1 Whilst still moist,

add a stronger
viscose mix of
cadmium red deep
with a speck of
French ultramarine
blue. This will give
the markings more
depth. Leave a fine
margin of a few
millimetres from
the first wash
showing to achieve
a layered effect.
2 Lift out irregular
sharper-edged white
shapes with
crumpled dry tissue
paper. This will make
the red patches pop.
3 Leave to dry
completely.

Step 4
t
1 Mix a large puddle of Winsor blue
and Winsor violet and begin painting the
sections in between the lily pad stalks wet
on dry. As you complete each section, use
the No. 3 brush to drop cadmium scarlet
into the blue area where there is a
corresponding red patch on the fish.
2 Lift out texture in the blue areas with
a dry crumpled tissue.
3 Using a No. 0 Round brush and a French
ultramarine blue and burnt umber mix,
paint the ovals that make up the fish’s eyes
and add lines to indicate ridges on the fins
and tail. Soften these with a slightly moist
brush in places so that they relax into the
painting and don’t look too drawn in.
4 Continue working around the fish in this
way and add an extra strong viscose blur
of Winsor blue and Winsor violet directly
under the mouth and head to create the
idea of a cast shadow in the water.
Step 5
t
Allow to dry completely before rubbing away

any pencil lines that may still be visible.
Step 6
t
1 Paint the lily pads with

a mix of sap green and
raw umber, wet onto dry.
Add extra patches of the
same colour. Mix the
burnt umber stronger
in places to create
variety and texture.
2 Paint the lily stalks
in a more dilute version
of sap green and raw
umber and, as it dries,
add much stronger
patches of colour on
the stalks to indicate
shadows – especially
where the stalks emerge
from or go under the
pads and the fish.
3 Leave the left-hand
and top side of the
stalks lighter and make
the right-hand and
undersides darker.
This puts light into
your painting.
Step 7
t
1 Finally re-touch the fin and tail lines where necessary using the French
ultramarine blue and burnt umber mix.
2 Splatter with a dilute mix of cadmium red deep to finish.
Alison Fennell
Alison runs weekly watercolour classes in Pontypridd; email
eastwitching@hotmail.com for details. Find Alison’s card range,
Alison’s Ark, published by The Museums & Galleries Collection,
at WHSmith and shops attached to galleries and museums.
Visit www.eastwitching.com for more information.
t
The finished painting Koi Carp, watercolour,
912⁄ x512⁄ in. (24x14cm)

LP04 Subs_Layout 1 13/02/2017 10:41 Page 1
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LP04 31-33 Paul_new2_Layout 1 10/02/2017 12:09 Page 31
Back to basics
Understanding colour
Part 17 Tony Paul concludes his back-to-basics colour series with a look at how to
use cool browns, and finishes with a focus on the blacks and whites in your palette
LEARNING OBJECTIVES it can be streaky when

applied fairly densely,
n Colour history and development but in acrylic this can
n Build colour and mixing be valuable for creating
confidence various textures.
Lightfastness ASTM D4302,
n How to use the cool browns, Class I, excellent
blacks and white in your palette lightfastness.
Colour bias Generally
I n this final instalment of my

series on colour and colour mixing,
I will begin by dealing with the
cool browns. As these consist of one
mono-pigment – raw umber – and
a cool brown.
Transparent/opaque
Semi-transparent.
Tinting strength Medium.
Staining No.
one hue colour – sepia, composed Watercolour Used thickly,
from a brown (probably raw umber) it is blackish and in fluid
and black – I will also discuss the washes it granulates readily.
blacks and whites, which are toners Oil Despite having a high
rather than colours. oil absorption it is fast
drying and, because of
RAW UMBER PBr7 its textural possibilities,
Raw umber is a natural can be used effectively
earth, originating from in underpainting if mixed
Umbria in Italy. with slow oil colours,
Depending on the such as flake white, cobalt
source and the green or Venetian red.
proportion of iron, Other media Raw umber is
manganese and aluminium silicate, excellent in any medium.
its bias can vary. In watercolour it
granulates well, particularly if mixed SEPIA
with blues. Being semi-transparent, Originally
sepia was
made from
the ink sacs
RAW UMBER of cuttlefish,
To my mind the best version of the two which
raw umbers below is the cool shade, produces a dense blackish
because it is the only natural dark earth brown. The resulting ink
that has a cool bias was used for pen and wash
technique. The original ink
was not lightfast so is now
replaced by the brown and t
Underpainting for a tempera painting
black blend hue colour, as seen in of Lynsey, egg tempera on watercolour
the colour swatch of Daler-Rowney paper, 14x10in. (35.5x25.5cm). I use raw
FW acrylic ink you see above. umber a lot in underpainting as I find that
its colour is useful as shaded flesh in a
LAMP BLACK PBk6 portrait. After this layer was complete
t
Daler-Rowney
t
Winsor & I worked over it using colour.
Newton Professional Made from the soot of
Artists’ burnt mineral and/or
watercolour watercolour is much
lighter in tone and vegetable oil, lamp excellent lightfastness.
version is dark black is a bluish black, Colour bias Bluish.
and cool quite yellowish
very transparent and Transparent/opaque Very transparent.
with good tinting Tinting strength High
strength. It is popular in all media. Staining No.
In watercolour its transparency Watercolour Cool and very transparent.
is useful in washes. Lamp black can be streaky if applied
Its fine soot particles don’t make other than in thin washes.
a good oil colour film, being soft Oil See above for faults. When used
and brittle, and prone to wrinkling in thin glazes it can give a beautifully
t
Raw umber is a good shadow or cracking, taking months to dry, deep black.
colour for yellow unless in thin glazes. Other media Used in all media, but
Lightfastness ASTM D4302, Class I, only occasionally used in acrylic.
t

Fox, Indian ink on white scraperboard, 614⁄ x334⁄ in. (15.5x9.5cm). This
t
illustration was commissioned to illustrate a poem by Sean Street in
his anthology, This True Making. There is little doubt that if you want
drama, black and white delivers it in droves. Indian ink is generally
made from lamp black or ivory black bound in an aqueous binder
made with shellac and borax. It is waterproof when dry. Its Achilles
heel is that if applied over gouache or a similar aqueous medium,
the ink is likely to flake off. The black ink coated the scraperboard’s
white chalky surface well, sitting on the surface. A scraper scratched
through the ink to reveal the white underneath.
COLOUR MIXING
t Cerulean mixed with Daler-Rowney raw umber
creates a neutral grey
+ =
Raw umber Cerulean blue
t The higher key and yellower Winsor & Newton

raw umber gives a rich green
+ =
Raw umber Cerulean blue

t When raw umber is mixed with ultramarine
a charcoal grey results, similar to Payne’s grey
+ =
Raw umber Ultramarine blue
THE WHITES
FLAKE WHITE to sulphurous pollution. their saturation. You will use a lot
PW1 Oil Protected by its oil binder, it is more zinc white to achieve pale colours
Flake white was the a superb white. than you would if using titanium white.
first manufactured Other media Not used in other media, Zinc white will not obliterate
white, being made because of its toxicity. undercolours unless applied thickly.
from the white Thick applications tend to flake off,
surface deposits ZINC WHITE PW4 particularly if a flexible support
obtained by Introduced into the such as paper has been used.
subjecting lead artist’s palette in the Oil Zinc white has medium oil
plates to the fumes of vinegar. The 1830s by Winsor & absorption and a very slow drying
resulting pigment was lead carbonate. Newton and labelled speed, drying to create a hard, brittle
Lead carbonate tended to have a soft as Chinese white, zinc paint film. Used thickly, it is prone to
texture when dry so a proportion white was used not cracking. Useful for glazing techniques
of zinc white was added to give a only to add white and for lightening colours while
more durable paint film. It was then highlights, but also to retaining their clarity.
known as flake white. Its toxicity has add to colours to create gouache, like Other media Widely
resulted in its manufacture being body colours. Blended with titanium used in all media.
prohibited. Flake white’s demise is white, it is marketed as ‘mixing white’
a shame, because it is so good in oil. in both oil and acrylic ranges. TITANIUM WHITE
Lightfastness ASTM D4302, Class I, Lightfastness ASTM D4302, Class I, PW6
excellent lightfastness excellent lightfastness. Widely used in all
Colour bias A neutral white. Colour bias Cool and bluish. painting media after
Transparent/opaque Opaque. Transparent/opaque Semi-opaque. its introduction in the
Tinting strength High. Tinting strength Medium. 1920s titanium white
Staining No. Staining No. has the highest tinting power of all the
Watercolour Not used in watercolour, Watercolour An excellent additive to whites, easily obliterating underlayers.
as it can turn black when subjected lighten colours without destroying Made from titanium dioxide it is a

Back to basics
IVORY BLACK PBk9 MARS BLACK PBk11 Transparent/opaque Opaque.

Ivory black is another Mars black came into Tinting strength High.
soot-based black, which the artist’s palette in the Staining Dried Mars black can be
is the product of charred 1920s, and nowadays is difficult to lift off in watercolour.
bones. Originally it was most often used in Watercolour More opaque and less
made from the scrap left over from the acrylics, as it blends more easily with streaky than the soot blacks. Like
ivory conversion industry. The scraps, acrylic resin than the soot blacks. It is ultramarine, the pigment particles
burnt in sealed containers, produced a made from ferro-ferric oxide, roasted flocculate to create granular
very pure blue-black. It is semi-opaque to a slightly brownish black. The textures.
and warmer in colour than lamp black. pigment structure is much better than Oil An uncomplicated black. It
In watercolour washes it granulates the soot blacks, free of technical has medium oil absorption and
and is less streaky than lamp black. problems in oil. Some painters reject medium drying speed so it can be
Like lamp black, in oil it doesn’t make it, as they feel its dense opacity lacks used in underpainting and upper
a stable paint film and is prone to subtlety. layers of a painting. It produces a
sinking and matting. Lightfastness ASTM D4302, Class I, hard and fairly flexible paint film.
It is slow drying with very high oil excellent lightfastness. Other media Mars black can be
absorption, resulting in a soft brittle Colour bias Brownish black. used in any media. LP
paint film.
Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias To brown.
Transparent/opaque Semi-opaque.
Tinting strength High.
Staining No
Watercolour In use since ancient times
when it was made from ivory scrap, it
continues to be the most popular black.
Oil It is not easy to work well in oil,
often creating problems that come to
light years after painting. In layer
painting its use should be confined to
thin applications in the upper layers.
Other media Ivory black is widely
used in all media.
Tony Paul
Tony is the author of four popular
practical art books, still available on
Amazon. Find out about Tony and his
work at www.courtenaysfineart.com
neutral bright white. Titanium white’s

density can overpower other colours
in mixes, making them look dusty or
faded.
Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias Bright, neutral white.
Transparent/opaque Densely opaque.
Tinting strength Very high.
Staining No.
Watercolour Great for putting in
highlights, light reflections on water
and obliterating under layers. Mixing
small amounts of titanium white with
colours will render them more like
gouache, ideal for correcting. Thin
washes will appear as a milky veil.
Oil Now the primary white,
manufacturers have taken steps to
make it more like flake white. t
Helen, sepia FW acrylic ink on Bockingford 140lb oatmeal watercolour paper, 22x15in.
Winsor & Newton combine titanium (56x38cm). After making a quick outline drawing I went into the ink work, firstly lightly
and zinc white to make flake white blocking in the tonal planes of the body. Once established I worked, first into the hair
hue, and a similar blend of whites then, before putting in the tonal modelling of the face, I mapped in the background tone
bound in a faster drying binder is that revealed the contours of her hair, face and right arm. I was then able to judge what
marketed as underpainting white. tones were needed for the modelling of her face. I had to work quickly because the ink,
Other media Titanium white is once dry, would not be removable. I liked the softness of the tones of the figure and the
found in all media. cool neutrality of the ink’s colour. Working on tinted paper made the overall image
a little more harmonic.

LP04 34-37 Kay_Layout 1 10/02/2017 12:16 Page 34
Oils
At home
Using the chateaux of the Loire as her theme, Pamela Kay offers insights
into how to see and paint traditional interiors and their details successfully
years. Not that this was a problem at all.
LEARNING OBJECTIVES On the contrary, it made the trip very
n How to find subjects that will exciting and interesting. Our objective
entice the viewer was to paint in the gardens and chateaux
of the Loire and only one was under
n Make sketches to help you water. Never one to miss an opportunity,
produce paintings later when not painting gardens there were
n Understand colour choices marvellous interiors to draw and paint
as well.
I n June last year, Spencer Scott

Travel organised a painting trip
to the Loire in France exclusively
for readers of Leisure Painter. It was
doubly memorable because we chose,
We stayed near Tours, in a converted
chateau on the banks of the river, which
was gradually encroaching on the tennis
court – a good way below us. One of the
great advantages of staying in Chateau
quite inadvertently, to travel during a Beaulieu was experiencing firsthand the
petrol strike and possibly the severest magnificent interiors and the wonderful
flooding of the Seine and the Loire painting opportunities that these rooms
valley France had experienced in many gave us.
The sketch made for The Dining Room, Painting in splendour

t
Chateau Beaulieu (below) made on Dining rooms have always been a

Saunders Waterford NOT 140lb watercolour great favourite of mine and we all
paper, 7x10in. (18x25.5cm) made watercolour sketches (see left)
and drawings one afternoon of the
dining room of the Chateau Beaulieu.
All painting is about ‘seeing’; noticing
something that looks just right and asks
to be painted. What catches your eye in
an interior? Selection and vision are
everything. Without either, subjects are
just commonplace. Why bother to paint
the commonplace?
The view facing away from the windows
first caught my eye. The added depth of
the reception room beyond and the
atmospheric lighting in it was too good
to miss. There was a brief sparkle of the
reflection of a bright light from the
windows behind me, which could be
seen in the mirror over the fireplace.
The table, fortunately already laid for
that evening’s dinner, made up the
whole of the foreground and brought
the composition together. Strong verticals
and strong horizontals always seem to
underpin the most satisfying
compositions.
I liked the contrast in tones, too: the
cool, sharp whites of the tablecloth and
china contrasting with the darker and
mysterious richness of the room beyond.
I made a watercolour sketch (above left)
with as much information as I could.
Invariably, there is a great deal of
excitement and urgency packed into a
rapid notation such as this, which keeps
the approach fresh and lively – the
qualities also needed in the final oil
painting, The Dining Room, Chateau
Beaulieu (left).
The Dining Room, Chateau Beaulieu, oil

t
on board, 11x10in. (28x25.5cm).

t
The Dining Room, Giverny, oil on board,
10x11in. (25.5x28cm). The contrast between
the glowing yellows of the dining room and
the cold blues of the kitchen beyond makes
the sharp contrast in which Monet delighted.
Too much yellow is mitigated by accents of
green on the mantelpiece and the black of
the framed Japanese prints.
Mdme Monet’s Preserving Pan, oil on

t
board, 11x10in. (28x25.5cm). The enormous

copper preserving pan was the beginning
for this painting. The warm copper colours
contrast well with the cold blue of the
kitchen tiles, which in turn enhance the
soft yellows of the dining room beyond.
Giverny
The same feeling of speed and surprise
went into the paintings of the interior
of Monet’s house at Giverny. We spent
the final day of the trip soaking up the
marvels of the house and garden, making
notes and waiting for the hoards of
visitors to depart so that we could have
the gardens to ourselves and paint
quietly in the evening light.
Before the house was closed for the
night, I made lots of drawings and colour
notes of the dining room and the kitchen.
The doorway to the kitchen from the
dining room had always caught my eye
as an important focal point. The dining
t
room, glowing in its various tones of

Oils
The Window, oil
t
chrome yellow – a difficult colour at
on board, 10x8in. the best of times to paint – was suddenly
(25.5x20cm). This made startling by the astonishing cobalt
interesting chair, blue light of the kitchen beyond (see
placed by a window, The Dining Room, Giverny, page 35).
works well. A simple The cold effect of the blue tiles in the
approach can kitchen that can be seen in the sliver of
convey a great deal the doorway was amazing in contrast to
of atmosphere and the warm yellows of the dining room.
mystery. It allows
the spectator to Back in the studio, turning the notes
enter in and I had made into an oil painting, I found
imagine much more the only way to assess the changes of
than is in the actual colour and tone in all the yellows of
painting. the dining room was to put a ripe quince
on the table in front of me and use its
variations of the same yellow when
painting various parts of the interior.
t Two Cats and the It worked perfectly!
Captain’s Chair, oil The reverse of the painting of the
on board, 8x7in. dining room happens from the kitchen,
(20x18cm). I was looking back through the door (Mdme
painting in the Monet’s Preserving Pan, bottom of page
kitchen and saw 35). The blue tiles cast a cool light in
this beautiful the room, and the doorway glowed with
and completely the buttery yellows of the dining room
undemanding sight beyond. The magnificent copper
of the cat sleeping
on the captain’s preserving pan immediately caught my
chair. It is all part eye and made a perfect focal point for
of painting interiors the composition, echoed by the range
and sometimes of pans on the wall above.
something this
simple is enough Pure inspiration
in itself. There is so much material to be gathered
on painting trips like these. Although
time is also spent happily on finished
work, I like to extract every possible last
drop of reference out of a visit and go
home full of ideas for future paintings.
To do this I have to be constantly
vigilant and on the look out for an
interesting composition – a motif that
will catch a viewer’s eye, just as the
original subject matter did for me.
Another dining room, another interior
and another table still laid for the
lunchtime meal (The Dining Room in the
Chateau, right). I used the tall double
doors in this chateau to frame and partly
hide the scene, which gave it a little
mystery. If you can’t quite see
everything, it’s much more tantalising.
The tall doors also give more of an idea
of the grand scale of the interior. Their
dark cool colours bring the foreground
to you and make the soft, sparkling light
of the room beyond inviting.
Counterchange and contrast, strong
verticals and carefully placed horizontals
are the backbone of this composition.
Interiors don’t have to be grand or
elaborate. It helps if you are painting
something foreign or exotic, but it can
be very simple and still be effective and
evoke the unique atmosphere of that
particular place. LP
Pamela Kay
Pamela will be leading a painting holiday
for LP readers in the Low Countries in
June. See page 38 for more details. Find
out more about Pamela and her work by
visiting www.pamelakayprints.com

t
The Dining Room in the Chateau, oil on board, 16x12in. (40.5x30.5cm). A limited view of the scene, framed by tall French double doors,
gives an unusual but interesting composition and an intimate ‘feel’ to the painting.

LP04_HolidayKay_new_Layout 1 10/02/2017 16:00 Page 38
Reader holiday
Secret gardens and villages

in Belgium and Holland
with Pamela Kay NEAC RBA RWS
June
11 to 21,
2017
Fotolia
Fotolia Johan de Meester
Join leading botanical artist, Pamela Kay, on a very

special tutorial painting tour in the Low Countries
B
elgium’s Open Garden’s scheme is stunning gardens at De Heerenhof in Holland.
similar to our own except that the This is a unique painting tour of the
collection of private gardens is only best-kept secret places in the Low Countries.
open to members. We have joined the There’ll be a tremendous amount of variety t
Giverny, oil on canvas by Pamela Kay
scheme, making this trip possible and very to paint and the programme will be carefully
special. Being able to paint in these rarely paced so your painting time is not rushed.
P
amela Kay NEAC, RBA, RWS is an
seen and personal gardens is an In addition to fabulous gardens, there’ll be accomplished and versatile artist.
exceptional opportunity and many will be picturesque villages, canals and old She is an extremely conscientious
open exclusively for us, enabling you to windmills. teacher and will help you get started
paint without any distractions. and understand how to work with the
We have handpicked a selection of the Travel is by luxury coach throughout (from subject matter. There will be tutorial
most aesthetic and colourful gardens with London Gatwick) enabling you to take as sessions, talks and demonstrations
the help of the Secrétaire Générale of much painting equipment as you like. back at the hotels, which will help you
Jardins Ouverts de Belgique. They will Special and unusual hotels will enhance the develop your style and complete some
include chateau, cottage, potager, rose and holiday. You’ll stay four nights in old of your paintings. Pamela will be
romantic gardens. These gardens open for a almshouses and six nights in a hotel built working in watercolour and gouache.
few days in June when they are at their best around an historical windmill. Breakfast
and the roses are in full bloom. The and dinners are included. All the l Number of students 8 to 12
wonderful gardens of 18th century Chateau arrangements are taken care of for you by l Price £2,995 per person
Hex will be most impressive as will the an accompanying travel escort. l Single supplement £365
01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com

Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully
licensed operator Spencer Scott Travel Services Ltd CAA ATOL 3471. Other holidays in 2017 include the South of France with Lachlan Goudie ROI, Amsterdam
with Ken Howard OBE RA, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP04 39-43 Webb_Layout 1 10/02/2017 12:31 Page 39
Watercolour
t
Early Morning, Paignton Harbour, watercolour on 200lb Bockingford Rough paper, 10x1312⁄ in. (25x34cm). Much of the foreground boat
in this painting was described by painting the darker, negative shapes around it. The ripples were added loosely with a large, fully loaded
brush, beginning at the top and painting downwards.
Take three colours

David Webb discusses three of his favourite colours and how he exploits
them to produce a range of effects and textures in watercolour
LEARNING OBJECTIVES I find them the most useful, making is to buy Artists’ quality watercolour
the most natural of colour mixes when over Student ranges, as they are much
n How to choose a limited palette used with other colours in my palette. more vibrant. You also find that they
n How to mix your own greens Most of my paintings are created are more concentrated, which means
with a limited palette of four or five that they go further.
n How to mix and apply shadow colours, from a palette of 12.
colours Occasionally, when painting a floral The right red
scene, for instance, I may use a few Of the three reds in my palette –
more. However, when painting alizarin crimson, light red and
M y palette contains three blues,

three yellows and three reds
along with two browns and a
violet, but choosing three to discuss
here is not a simple matter. My task
landscapes there are a few that
I rely on more than others.
I am often asked which brand of
paints I use. Well, if I’m honest, I don’t
stick to any one brand as colours vary
vermilion – the one I use the most is
alizarin crimson. Alizarin is transparent,
which is a good start. As I build my
paintings up in two or three washes,
transparency is vital. It is a cool red,
would be made easier if I chose the wildly between different manufacturers. verging on pink, which can be
three most often used, as there are I find that I like certain colours from warmed easily with the addition
colours to which I continually return, one brand then favour another of a little yellow.
but that doesn’t necessarily make them manufacturer for others. The one In Early Morning, Paignton Harbour
my favourites. It simply means that recommendation I would make though (above) I used a light wash of alizarin
t

Watercolour
t
Berry Head, Brixham, watercolour on 200lb Jackson’s Eco Rough paper, 10x1312⁄ in. (25x34cm). When painting large areas of grass
or foliage it is important to change the greens throughout the painting, to avoid large, monotonous areas of a single colour.
crimson for the red areas in the was still wet. I added a little raw
foreground boat. Once it was dry, sienna just above the horizon.
I glazed shadows using a blend of
alizarin crimson, cobalt blue and Keep it raw
burnt sienna for the lower parts of Of my three yellows – aureolin, Indian
the hull. Colours were mixed on the yellow and raw sienna – the choice is
paper to achieve subtle transitions much more difficult, as I use all three
of cool to warm tones. frequently, especially when mixing
I often add a touch of alizarin to greens. Most artists agree, I think,
my skies for an extra hit of colour. that greens are the hardest colours
It is a strong red so a little goes a to work with. They can all too easily
long way. It is also a staining colour, overpower a painting and appear
which makes it difficult to lift out acidic. I am not a fan of ready-made
once it has dried. The sky in greens, which is why I prefer to mix
Bigbury Bay (right), for instance, my own from the primaries. This is
began with a wash of cobalt at the why I use these three yellows
top. I then brushed weak alizarin extensively.
crimson into the lower parts to If I had to choose one over the
create a pink flush while the cobalt other two, raw sienna has to be one
of the most useful colours to the
landscape painter. It is mellow and
Sunlit Doorway, St Marychurch, doesn’t scream at you. Again, it mixes
t
Devon, watercolour on 200lb well with other colours to create soft,

Bockingford NOT paper, 14x10in. natural shades.
(35x25cm). A foundation wash of raw Students are often confused between
sienna helps create a warm glow in raw sienna and burnt sienna, but they
the sunlit areas of this scene, which produce different results when mixed
greatly influence the transparent with other colours. Raw sienna and
washes laid over the top. cobalt blue, for instance, results in

Bigbury Bay, watercolour on 200lb

t
Jackson’s Eco Rough paper, 1312⁄ x10in.

(34x25cm). In a scene such as this,
where great distances need to be
implied, a sense of aerial perspective
can be achieved by making your
foreground features stronger in tone
than the more distant elements.
The cliffs in the background are
also more grey/blue in appearance.
a lovely sage green (see colour mixing

chart, below right). Substitute it with
burnt sienna and the result is grey,
which can be either cool or warm,
depending on which colour dominates
the mix: more cobalt creates a cooler
grey; more burnt sienna means a
warmer grey. I always describe raw
sienna as the one that looks like English
mustard, while burnt sienna is a rusty
brown. I occasionally layer over a
previously painted area with a single,
unifying warm wash of raw sienna.
In Berry Head, Brixham (left), raw
sienna was used with cobalt blue for
the warm greens at the top right of the
painting, mixed on the paper. If there
are large areas of green in your subject,
it’s important to keep them changing
from warm to cool, sunny to shady,
and light to dark, otherwise they can
become quite bland. The gorse in the
foreground was mostly Indian yellow,
but I also added raw sienna to some
parts and aureolin to others.
I tend to mix most of my colours on
the paper, changing colours as the brush
travels across the surface. Greens need
variety and I like to do this as I go,
rather than mixing a single version
in the mixing well.
I frequently use raw sienna as a
foundation wash when painting
buildings, particularly if they are sunlit.
In the painting Sunlit Doorway, St
Marychurch, Devon (left) raw sienna
was applied over the entire surface of
the paper. While it was still wet I added
burnt sienna to some areas of the MY THREE FAVOURITE WATERCOLOURS
stonework. For some of the cooler areas
in the top third of the painting, I added
light red and a little cobalt blue. The
strong cool shadows on the door were
painted wet into wet once the first wash
was dry, using stronger dilutions of
Alizarin crimson Raw sienna Cobalt blue
cobalt blue, alizarin crimson and
burnt sienna. COLOUR MIXING ON THE PAPER
True blue
Of my three blues – cerulean, cobalt
and ultramarine – the choice is made
easier for me. I use cobalt blue more
than any other blue. In fact, I would say
that I use it more than any other colour,
as I know that I have to buy more of it. Raw sienna + Cobalt blue + alizarin Cobalt blue +
It has so many uses. On its own, it cobalt blue crimson + burnt sienna raw sienna
makes a natural sky colour, although
I often use cerulean for areas of the sky
that appear just above the horizon,
especially in seascapes. Cobalt blue is
also a reliable choice for mixing greens,
whether for trees and fields, or areas of
Cobalt blue + light red Cobalt blue + alizarin crimson
t
the sea. Mixed with aureolin it makes a

t
Ruins at Margam Park, South Wales, watercolour on 200lb Bockingford NOT paper, Lake at St Fagans, Cardiff,
t
10x14in. (25x35cm). There’s no such thing as a standard ‘shadow colour’. Shadows are watercolour on 200lb Bockingford NOT
influenced by reflected light, which means they vary from warm to cool, depending on the paper, 10x14in. (25x35cm). If you need
surfaces reflecting light into them. Variety in these areas makes a painting more interesting. to cool down an area of green, try
using a purple mix in the shadows. The
underlying green wash neutralises the
vibrant green, which is ideal for spring (top right) were achieved with a purple, creating a natural shady tone.
growth or translucent leaves lit from final wash of cobalt blue and alizarin Just ensure that the purple mix is not
behind. The mix can be warmed with crimson. I also used this combination too strong that it overpowers the green.
the addition of a little Indian yellow for the shadier parts of the background
or raw sienna. trees in Ruins at Margam Park, South Reflections, watercolour on 200lb
t
Cobalt blue also combines well with Wales (above). Bockingford Rough paper, 10x14in.
reds: for a rich purple, I mix it with For Reflections (right) I applied an (25x35cm). Movement in the water can
alizarin crimson and for a colourful all-over light-toned wash of cobalt break up the reflection into ripples,
grey I mix cobalt with light red. Light blue to the water surface. I then which has the effect of elongating the
red can look like burnt sienna when dropped in a few other colours here reflection vertically. When painting
diluted on its own in the mixing well, and there, such as alizarin crimson and water, it is a good idea to simplify
however, when mixed with cobalt, it burnt sienna. The darker ripples at the ripples as much as you can.
creates a purple-grey, which is useful top of the painting were reflections of
in shadow areas. I wouldn’t use it as dark-toned trees. These ripples were in the pure watercolour tradition,
a ‘one mix for all’ shadow though, as applied once the lighter wash had I rely on the whiteness of the paper
that doesn’t exist. Always look carefully dried, using a combination of cobalt to provide my whites and light tones
at shadow areas as they are influenced blue and raw sienna. to allow me to build up my paintings
by factors such as reflected light. In This is the same combination I used in two or three washes. I’ve found
Bigbury Bay, for instance, the strong for some of the bushes in Berry Head, that all three of these colours create
foreground shadows were comprised Brixham (page 40), however the ratio beautiful mixes, which are also
of cobalt blue with a touch of light red. of cobalt blue to raw sienna is transparent. These are my favourite
Deep shadow areas in woodland different. For the ripples the mix is three; yours, of course, may be
scenes can be problematic. The natural dominated by cobalt blue with just entirely different. LP
tendency is to keep adding blue to the a touch of raw sienna. The mix for
green areas to make them darker. the bushes contained more raw
However, this can result in unnatural, sienna than cobalt blue.
acidic passages in the painting. A final In conclusion, these three colours – David Webb
wash of purple in these areas, which alizarin crimson, raw sienna and Find out about David, his
usually includes more cobalt than red, cobalt blue – are almost always used courses and workshops by visiting
cools down these areas. in combination with other colours or www.davidwebbart.co.uk or email
The coolest shadow areas in the line each other to provide natural, clean mail@davidwebbart.co.uk
of trees in Lake at St Fagan’s, Cardiff washes. As an artist who likes to paint

Watercolour

LP04 44-47 Mendonca_Layout 1 10/02/2017 12:38 Page 44
Pastel
Pastel primer
Part 1 Follow Rebecca de Mendonça as she discusses how to work with a variety
of surfaces and background colours to produce lively, characterful portraits of dogs
LEARNING OBJECTIVES
n Colour history and development
n Build colour and mixing
confidence
n How to use cool red earth
in your paintings
t
Drawing and painting materials
(left to right) Faber-Castell Pitt Pastel
Pencil, Conté Crayon, Unison soft
pastel, a small shard of Unison soft t
Otis, pastel on primer, 11x1212⁄ in. (28x32cm). A sympathetic background for
pastel for detail, willow charcoal plus black animals can be a neutral blue grey. Because the dog is so dark, I used
an eraser and a plastic scraper. a cream background around it.
Pastel choices
S oft pastels are the perfect medium
to capture dogs. A few strokes can
show their quick movements, and
the textures of hair and fur. Dogs come
in a huge variety of shapes and sizes,
I use a selection of types of pastel and,
depending on the palette required,
I either begin with charcoal, which
is wonderfully forgiving or Conté
types and temperaments, and what crayons, which are quite hard so great
I really love about them is their simple for sketching out and rough textures,
energy. They are invariably friendly as well as easy to rub out. Then I go
and willing to please, showing their on to soft pastels using mainly my
emotions in obvious ways, with mobile preferred brand, Unison, because of its
ears and wagging tails. This helps to gorgeous softness and resilience when
make them easier to draw than other dropped on the floor. Unison also has
animals so aim to work quickly and a fabulous selection of subtle hues that
have fun. are perfect for animal work. Its Natural
In this series of articles we are looking Earth range is particularly good for the
at how to capture the structure of the warm tan hues. I also use Faber-Castell
dog in your drawing, how to choose Pitt Pastel Pencils for fine texture,
your surface colour, and go on to look although they don’t have enough
t
Surfaces used Colourfix pastel primers at textures and techniques with pastels. strength of pigment for some of the
in pots and painted onto mountcard, There are so many ways to imbue your detail work. For the details I use little
Winsor pastel paper by Winsor & Newton paintings and drawings with the life shards of Unsion pastels, as all I need
and Canson Mi-Teintes pastel paper and energy of these lovely animals. is a sharp edge, rather than a point.

These marks have been applied with

varying pressure. Notice with the pastel
pencil how there isn’t so much scope
for making different marks, or much
strength of pigment. For details a
broken edge of soft Unison pastel will
give a much more vibrant mark. Artists’
quality pastels have a much better
range of colours and tones than cheap
ones. To achieve depth in your work
you will need a strong range of tone.
With all of the colour palettes you see
on these pages notice how they include
lights, darks and medium tones. They
also include muted shades and bright,
intense colours. The specific colours
that you use don’t actually matter as
much as picking a range of tones.
In next month’s article we will look
in more detail at using pastels to
capture the different textures of fur,
hair and the features of the face.
The surfaces
Although I work on paper some of
the time, my favourite surface is Art
Spectrum Colourfix Pastel Primer,
which comes in a variety of colours,
including a clear primer, which can go
over an underpainted surface. I paint
these onto mountcard, which is rigid
enough to prevent warping, but light
enough to frame behind glass. There
are many different ways to use this
versatile medium, but I have three
different methods I enjoy using when
painting dogs.
I would advise using paper if you
are new to pastels, as the texture of
paper can feel easier to work on at first.
Canson Mi-Teintes paper comes in a
great range of colours. I also suggest
using any of the greys and browns, but
I also like burgundy, moonstone, royal
blue, indigo blue and slate grey. Winsor
Pastel Paper by Winsor & Newton also
has lovely colours, including dusk,
smoke and royal blue.
Choosing the right surface colour
can seem difficult, but really there t
Looking Up, charcoal, Conté crayons and Unison soft pastels on primer, 21 x1414⁄ in.
are no right or wrong choices. Think (53x36cm). A good background for many animals is a light burgundy, in this case a mix
about the mood that you are trying to of Colourfix pastel primers burgundy and sand. This dog is quite dark so I used a light
create. Do you want your work to be creamy grey around it to set if off.
soft and gentle, strong and dramatic
or perhaps fresh and bright? Does your
subject have a coat that is very white,
has strong tonal contrasts, or is a
particularly bright colour, such as a red
setter? It’s important to remember that
the surface is not just the colour and
tone that will be in the background
around the edge of your dog, it will
be part of the palette of the entire
picture, showing through under the
pastels that you lay over it. Let’s look
at a few different possibilities.
t
Colour palette for Looking Up on a neutral creamy-burgundy surface
Sympathetic backgrounds
Neutral colours or ones that show in right). I mixed two colours of pastel photograph up to the papers or pots of
the dog’s coat are the easiest choices to primer on the surface, such as burgundy primer and see which ones it sits with.
make. I like to choose a mid-tone onto and sand for Looking Up and deep If the hues of reference and surface
which I can add the darks and lights, ultramarine and sand for Otis. seem to be related then it should work!
but still keep the surface colour as part Moonstone, hemp and sand are good
of the palette. For example see Otis neutral Canson paper colours. To Primary backgrounds
(above left) and Looking Up (above Bright primary colours are great if you
t
choose from these, try holding the

Pastel
t
Poppy, pastel on acrylic paint and clear
primer, 11x1212⁄ in. (28x32cm). This red fox
labrador was such an intense warm colour
that ultramarine blue acrylic paint created
a strong, pure and complementary surface
on which to work. It had a coat of clear
Colourfix primer painted over the acrylic
paint to give it some ‘key’ for the pastels.
feel brave, bored or perhaps a

little crazy! I started using them as
backgrounds when I realised that
although I love painting animals, I miss
using bright, fresh colours. Ultramarine
blue is great behind black and white
dogs, as it is a good shadow colour for
whites, and can be seen as part of the
shine on black coats. It also creates
zing when used with browns, reds
and honey or sandy shades, as it is
a complementary to the orange in
these shades.
If I want something bright and primary
as a ground, I begin by painting acrylic
paint onto the mountcard, in Charlie’s
case (left) ultramarine blue, and it may
need two coats. When dry, I add a coat
of Colourfix clear pastel primer. The
Colourfix primers tend to come in quite
dusty hues so if you like something
purer and brighter, you have both the
bright colours and the texture that you
need. If you pastel directly onto acrylic
paint, there isn’t enough key to the
surface, which will restrict the number
of layers of pastel you can use. The
clear primer can go over any other
paints as well.
t
Charlie, charcoal, Conté crayons and Unison soft pastels on acrylic paint and clear
primer, 1314⁄ x11in. (34x28cm). This whippet works well on ultramarine blue as the blue Light backgrounds
sets off the warm honey-coloured coat. He is drawn with a few marks to capture his A white background gives a feeling
quick movements. I loved the way his eyes were shooting up and down as his owner of freshness and open space, but be
talked to him. warned, it is easier to start your pastel
work on a mid-tone background.
I often paint background colour under
the place where the dog will be and
leave the area around it white and
open. I often use this method when
I am exploring tone rather than colour,
and I use the white colour of the
Colourfix primer to paint my ground.
It’s easier to use a white-primed
surface to a white paper. This is mainly
because the primed surfaces take more
layers of pastel, and if you have made
a mistake you can put a crisp white
or highlight over a dark. This can give
t
The colour palette for Charlie on a blue surface. I used several pastels from the your work much more depth and
Unison Natural Earth range for the warm colours here. drama. LP

Pastel
t
Dalmation, charcoal, black Conté crayon and Unison pastel on primer, 14 14⁄ x18in. (36x46cm). I used lilac-greys for the mid-tones.
t
The colour palette for Dalmation on a white surface Friskitt on White, pastel on
t
primer, 11x1212⁄ in. (28x32cm). This

picture started on a blue surface, but
Rebecca de Mendonça the dog was getting lost against the
dark tone of the blue background.
Rebecca teaches, gives demonstrations and I made a drastic change, and painted
workshops, and with fellow pastel artist Nel white primer over the blue around
Whatmore has set up The New Pastel School, the dog, then put the edges of his
running courses in the UK and Italy. For details coat back over the white, and now
of her work and courses go to www.rebecca he stands out. The looseness of the
demendonca.co.uk and www.thenewpastel white background adds some
school.co.uk or telephone 01392 840132 movement to the piece.

LP04 48-50 Kerr_Layout 1 10/02/2017 12:45 Page 48
Ink
Drawing matters
Part 3 Here are easy-to-follow tips and exercises for drawing
with both water-soluble and permanent ink, with Anne Kerr
t
Figure 2 Just a few curved broken lines and
it is obvious that this is a cup of hot liquid.
I saw this painted on the window of a coffee
shop; it spoke volumes on a cold winter day!
Sometimes what we leave out of a picture is
more pertinent than what we put in.
Figure 1 (left) shows a drawing I have

done using the Elegant writer pens.
When made wet with a brush, the ink
splits into a green-blue shade and a
pink shade, which worked nicely for
this study. Quickly blot up some of the
water with a tissue while you work
t
Figure 1 Flowers, Elegant Writer Pen (fine) on Arches hot-pressed watercolour paper, and you will reveal the pink shade
812⁄ x1134⁄ in. (21.5x30cm) underneath.
Pens The majority of ink pens on the
market contain waterproof ink, but
expensive, I find Arches HP paper there are a few that are water-soluble.
LEARNING OBJECTIVES is strong and resilient. If you only The German Lyra Art Pens with a
n Build your drawing skills intend to use a little water, a heavy strong fibre tip and the metal-tipped
drawing paper will suffice. drawing pen, Pilot Hi-Tecpoint, have
n Practise the different techniques Strathmore 300 or 400 drawing paper water-soluble ink, available in different
for using water-soluble and and Bristol board are also good nib widths. There is also a brush pen
permanent ink choices. in the same Pilot series. The Kuretake
n Choose the right materials for Water-soluble ink works much in the Sumi brush pen also contains water-
the job same way as water-soluble graphite soluble ink. My preference for drawing
(see last month). Be aware, however, with ink is a fountain pen. The Lamy
that some inks form washes easily Safari fountain pen would be a good
O ver the past two months,

we have looked at drawing
with both graphite and water-
soluble graphite pencils. We now
move on to look at drawing with ink.
when water is added, but become
permanent once the ink has dried.
Other inks stay washable, whether
wet or dry. Make sure you choose
the correct ink, especially if you
choice. If you are using a fountain pen,
always check that the ink you intend
to use has ‘suitable for fountain pens’
on the label of the bottle.
There are so many varieties of tools wish to add watercolour washes later. Technique
on the market to use with ink, it It’s also important to note that most When we experimented with water-
would be impossible to list them all water-soluble inks are not lightfast. soluble graphite pencils last month,
here. Therefore, I will divide the ink If you choose black ink, some we discovered that cross-hatch
drawing materials into water-soluble brands become brown in colour shading and other shading patterns
and waterproof. when wetted. My preferred water- are not useful once water is added,
soluble black ink is Private Reserve as everything blends together. It is
Water-soluble ink Ink. Some brands also split into their the same with ink. Most shading with
Surface If you intend to add a fair component parts when wet and water-soluble ink is tonal shading
amount of water to your work then cause a slight rainbow effect. The from light to dark and dark to light.
use a watercolour paper. Hot-Pressed Speedball Elegant Writer pens are an Once you have completed your tonal
paper is best, as it is smooth and example of this. Choose carefully if washes, you can add fine detail to your
makes drawing easy. Although this is not the effect you desire. drawing when the washes have dried.

t
Figure 3 The Obelisk, Pilot Hi-Tecpoint water-soluble ink pen on Saunders Waterford NOT watercolour paper, 8 12⁄ x1134⁄ in. (21.5x30cm)
Many students prefer to make a
pencil sketch first, which can be
erased when the ink drawing is TRY THIS!
finished. There is absolutely nothing Drawing with ink is a lovely
wrong with this if it gives you medium and it is so satisfying to
confidence. Use a fairly soft pencil be able to sketch straightaway
(HB or 2B) to sketch the outlines without bothering with a pencil
lightly, checking and correcting any outline. This little exercise is the
perspective issues as you go along. first step to achieving this. Repeat
Once satisfied with your basic outline, it as often as you can and you will
you can begin to draw in ink with soon become more confident.
confidence. Remember what we 1 Choose a fairly simple subject,
already covered limiting solid lines sketch it roughly in pencil then
in your drawing. Keep the lines go over this with ink, making all
broken and interesting and the your lines solid.
brain will fill in the gaps. 2 Do the sketch again, making
Once you have your initial ink your ink lines broken (and
drawing completed, go back to the therefore more interesting).
focal point. This is where you will Notice the difference.
be doing most of the detail and 3 Do the same drawing a third
darkening the features with strong time without the initial pencil
lines and shading. Look at the sketch. You will be amazed at
drawing I have done of the stone how much easier the ink drawing
obelisk (above). I built my picture is when you use more broken
up using the ‘three-pass’ method, and suggestive lines.
comprising an initial pencil sketch,
followed by the inking in of basic
forms and features then, finally, Figure 5 Fairy Ornament, fountain pen
t
adding the rich darks and details with waterproof ink and Sharpie black
to the focal point. felt-tip pen on Strathmore 400 drawing
paper, 812⁄ x1134⁄ in. (21.5x30cm)

Ink
Waterproof ink
First check that the ink or ink pen you
have chosen is waterproof, or you may
have a nasty shock when you add
watercolour washes to your work.
My preferred drawing materials are
once again a fountain pen with a flexible
nib and the Micron pens that come in
various sizes, which allow you to make
different width marks. A Sharpie felt-tip
is also useful as is a Pentel brush pen
for larger areas.
Next month, we look at using ink in a
more spontaneous sketching fashion. We
will also add watercolour washes to give
the work more impact. In the meantime,
t
Figure 4 Mark making with waterproof ink using a Micron waterproof ink pen No .02 on practise the drawing exercises you see
Arches hot-pressed watercolour paper. Texture and shading lines can be done in much the here as they will give you confidence
same way as we did when using graphite pencils (LP, February). This list is not exhaustive; when sketching with ink on location. LP
why not invent a few of your own?
TRY THIS!
Use the same ‘three-pass’ method of drawing (see page 49) when making your own waterproof ink drawings
t
Step 1 t
Step 2
Choose a simple subject, such as this church. Draw lightly with a 2B Go over the basic form with waterproof ink – making
graphite pencil. The lines were darkened solely for tutorial purposes here. a variety of marks and loose interesting lines. Look
at Figure 4 (above) for
inspiration.
Step 3
t
Go over the main subject,

bringing in more darks and
highlighting the focal point.
The finished drawing on

t
Strathmore 400 drawing paper,

812⁄ x1134⁄ in. (21.5x30cm). Here
I used Micron drawing pen
Nos. .02 and .05.
Anne Kerr
Anne runs watercolour,
pastel and picture-
framing classes at her
home studio in Spain.
Full details can be
found on her website
www.annekerr
artstudio.com

LP04 51-53 Parashko_v3_Layout 1 10/02/2017 12:59 Page 51
Oils or acrylics
From photo to painting

Part 4 Elena Parashko demonstrates the painting of a marine motif from a photo
LEARNING OBJECTIVES
n How to paint successfully from
photographs
n How to balance simplicity and
detail in a scene
A couple of years ago, I was

honoured to be artist in residence
for The Sydney Heritage Fleet
in Australia. My job was to depict Fleet
vessels in artwork so I visited the coastal
steam ship, John Oxley (1927), which
was undergoing major restoration.
Donning a hard hat and climbing the
scaffolding to board this vessel during
a pause in construction provided a
unique opportunity to witness the
painstaking work of the volunteer
shipbuilders. Walking through the
deteriorating compartments gave me
insight into how magnificent this steamer
once was and will be again.
In my artistic practice, much of my
work is aimed at highlighting the beauty
of everyday objects that often go
unnoticed in the busyness of our lives.
I found much inspiration here.
Inspiration
As painting there and then on board was
not an option, I relied on taking quick
photographs to record the images that
made a visual and emotional impression
on me. I worked from these reference
photos and my personal experience back
home in the studio. An open porthole
t
The finished painting Thinking of You, oil 32x32in. (80x80cm)
with cracked glass transported me to
a different time and place. I empathised
with all sailors who travel far from home
and miss their loved ones. I imagined
them on the open sea and thinking of
their partners and children, waiting for
their return. That inspired me to paint
Thinking of You (above right).
It may not look like much, but this
is the photo (right) that inspired my
imagination to create a very unusual and
interesting painting. The photograph was
just a starting point, but I made significant
adjustments to it for the painting. As I had
used a flash to photograph the porthole
in a dark compartment, this caused
washed-out front lighting. In normal
sailing conditions, I imagined an
overhead light coming from the left-hand
side, which would create interesting cast
shadows to the right. I therefore invented
a new direction of light and shadow
in the painting. Looking through the
porthole, I decided to paint a view of the
open ocean instead of the current reality
of the shipyard setting. I hope you enjoy t
Your reference photograph for the following demonstration
t
painting the scene with me. LP

Oils or acrylics
Demonstration Thinking of You
You will need

n Surface n Brushes
l Stretched canvas, l Flats Nos. 12, 6 & 2
32x32in. (80x80 cm) l Round bristle
n
brush No. 12
Artists’ quality
l Liner brush No. 1
oils or acrylics
l Titanium white n Miscellaneous
l Ultramarine blue l Cartridge paper
l Cerulean blue l Graphite pencil
l Viridian l Circular household
l Blue black objects
l Burnt sienna l Ballpoint pen
l Burnt umber l Black transfer paper
l Alizarin crimson l Willow charcoal
l Gloss varnish
t
Your reference photograph: a porthole on John Oxley
t Step 1
Draw the composition to scale on cartridge paper using a graphite pencil.
In order to draw accurate circles, find circular household objects to trace
around. For example, for the porthole I discovered a plastic bucket was the
perfect size, a coin
was suitable for the
small bolts and a jar
was just right for the
large bolts. For a
contemporary feel,
I chose a square
format and centred
the porthole within
this space, but to
avoid too much
symmetry and the
risk of monotony,
I raised the horizon
line above the
centre.
Step 2
t
1 Trace the inner

circle of the porthole
onto the canvas by
placing the drawing
onto the canvas then slipping black transfer paper
face down under the drawing. Using a ballpoint pen,
trace the inner circle and only then remove the TIP According to the
papers. Within this circle paint the sky with cerulean rules of perspective, the
blue and titanium white. Towards the horizon waves in the distance
lighten with more titanium white. should be smaller,
2 Complete the underpainting of the ocean using thinner and closer
rough horizontal brushstrokes and a mixture of together. Waves in the
ultramarine blue and viridian. foreground should be
3 To paint the waves, mix some of the sky colour larger, thicker and
into the original ocean colour and apply ripples with spaced further apart.
a fine liner brush. There should be a
4 When this is dry, place the drawing on the canvas gradual transition in size
and retrace the inner circle of the porthole only. between the foreground
This will help you to tidy up the edges of the and the background.
porthole in the next stage.
Step 3
t
1 For the wall colour, make a soft purple-grey with a mixture

of titanium white, blue black, the ocean colour and alizarin
crimson. Apply this over the whole canvas around the porthole.
2 When this is dry, place the original drawing onto the canvas
and use transfer paper to trace the rest of the composition.

t
Step 4 t
Step 5
1 Paint the glass of the porthole cover with a slightly darker 1 Dirty up the wall colour by dabbing a slightly darker and
version of the wall colour. For its frame use burnt umber in the lighter purple-grey over the whole wall surface with a large
darker ring and burnt sienna in the lighter ring. Round bristle brush.
2 Apply the underpainting for the screw-like structures that secure 2 The bolts and detail of wall panels are painted with light,
the porthole window closed with burnt sienna, darkened with medium and dark grey. These greys are made from the same
burnt umber in the shadow areas to create a solid form. These mix as the basic wall colour, but lightened with more
structures were mostly painted over in the photograph, but I titanium white or darkened with more blue black.
wanted to recapture their rust-like unpainted quality.
t
Step 6 Step 7
t
1 Add highlights and textures to the 1 Paint the cast shadows

rusty structures by mixing light grey with a medium version
into their original underpainting of the purple-grey wall
colours. Detail the grooves in the colour. Use the same
t
The finished painting Thinking of You, oil, 32x32in. (80x80cm)
bolts with burnt umber using a fine colour to paint two drips
liner brush. of water running down
2 Smudge a streak of titanium white the wall from the Elena Parashko
onto the window glass to indicate porthole panel. Elena is the author of the empowering book Survival Guide for
a reflection. 2 Finally, highlight the Artists: How to Thrive in the Creative Arts, available on Amazon.
3 As I introduced an artificial light small pool of water at She also runs painting retreats in Fiji and Tuscany. For more
source from the upper left side, cast the base of the water information about her work visit www.elenaparashko.com or
shadows will appear on the lower right drops with a dot of email info@elenaparashko.com. Her blog www.survivalguide
side of the structures. I drew these titanium white and the forartists.com has a wealth of information for artists.
imagined shapes with willow charcoal. painting is finished.

LP04 54-57 Hooper1_Layout 1 10/02/2017 13:18 Page 54
Beginners’ printing
A painter’s guide to
woodblock printing
Ready for your next challenge? Lisa Hooper introduces tips
and techniques for white line woodblock printing to try at home
LEARNING OBJECTIVES
n Colour history and development
You will need
l A side-grain woodblock plate (details l Masking tape
n Build colour and mixing of suppliers are provided at the end l Japanese printing or other papers
confidence of this article) (see below)
l A small v-shaped wood/linocutting l Something to burnish the paper
n How to use cool red earth in
your paintings tool with: a wooden spoon or doorknob
l Watercolour paints and brushes perhaps, or a Japanese baren.
I n the March issue of Leisure Painter,

I wrote an introduction to linocut
printing. This month I want to
introduce you to another printmaking
technique, white line woodblock printing,
very easy to adopt. It allows you to
create full-colour prints with brushes
and watercolour, and there is very
little block cutting. It is very unusual
in that you can create full-colour
In Cape Cod in the first decades of the
20th century, a group of North American
printmakers, who had been working in
Paris at that time and therefore exposed
to Japanese woodblock printing
which is surprisingly versatile and which images without resorting to complex methods, began to use a simplified
people who paint in watercolour will find registration techniques. version in their prints. If you look online
you will find many beautiful examples
of the ‘Provincetown Prints’, which they
produced. The method is rather like
Japanese woodblock printing in that
the printing plates are made of wood,
the inks are watercolour and they are
applied with brushes, and the usual
method is to use a Japanese paper,
but this is not essential.
It differs from Japanese woodblock
printing, however, in that all of the
colours are printed from a single block
and the paper is used dry.
How to begin
Before you begin, you need to
understand the particular qualities of
these prints. Instead of carving multiple
blocks, each carrying a separate colour,
just one block is cut using a v-shaped
tool simply to separate each block of
colour. In short, all of the lines in the
design are cut into the block. Then
a piece of paper is taped to the block
along one edge, making a secure hinge.
Finally, watercolour is applied to the
dry wood, one area at a time and
burnished off onto the paper.
The grooves that you cut will form
little moats separating the areas of
colour, which means that the print will
be completely dissected by white lines.
This is a design feature of which you
need to take into account early on.
So, broadly speaking, your outlines
are separating flat areas of colour.
Step one First draw a design for your
print that fits the plate you have. You
will need to reserve an inch-wide strip
t
Crested Tit, white line woodblock print, 614⁄ x7in. (16x17.5cm) along one side of your piece of wood

t
After the Rain, Whithorn, white line woodblock print, 434⁄ x1214⁄ in. (12x31cm)
to make a hinge for the paper (see satisfied, as you will find it very difficult
illustration, right). Use the left side to replace it in the same position. When
if you are right handed. Plan your you have finished, rinse and dry the plate,
drawing so that it fits within the which can be used again as often as
remaining area and transfer it to your you like.
block using carbon paper, remembering
to reverse it and leaving that strip free. Pros and cons
You can take the print up to the edges This technique has a lot of advantages.
of the wood on the other sides and cut 1 Relatively little cutting is involved so
a line along the left-hand edge of the it is easy and quick to cut the design
design, or you can bring the design 2 You don’t have to achieve tonal
completely within the area and cut variation by cutting lots of different
an outline all the way around it. textures as the colours take care of
Step two Cut a small groove into the that. In fact the cutting part is fairly
wood along every line in the design. straightforward; basically, where t
The paper is taped to the block along
This should be deep enough not to there is a line you cut a groove. one edge, making a hinge.
flood with watercolour when you paint 3 It is painterly in that a lot of control
the surface of the wood next to it, and can be exerted over the colour scheme. prints from the same block.
the whole thing should be sanded off You can even re-touch and add shades 5 The block itself is ultimately a very
with fine sandpaper so that there are and blends within areas as you go. beautiful object as it takes on the
no lumps of sawdust or wood clogging 4 You can make a very large number of colours used in printing.
the lines when you have finished.
Step three Cut a piece of paper slightly
larger than your block. If you are using
Japanese paper ensure that the smooth
side is face down and stick the left-hand
edge to your bare strip using masking
tape. Tape the whole length and press
it down firmly. You should be able to
raise and lower the paper without it
shifting.
Step four Using watercolour and
ordinary brushes, simply begin to paint
the plate within the moats. Just paint
one or two areas at a time and before
it soaks into the block too much, lower
the paper and rub hard on the back to
transfer the paint. You can experiment
with the pressure needed. If your paint
is very wet you might need to use a
piece of baking parchment between
your burnisher and the paper, but you
will find the right degree of wetness
and dryness through experimentation.
Step five You can introduce tonal
variations across single areas by
blending the colours with your brush
on the wood just as you would on
paper. You can also darken areas by
overprinting, but reducing colour
density is virtually impossible. Don’t
forget that you don’t need to cut away
any white areas, simply don’t paint
them. Gradually work your way across
the whole picture until you are happy
with your print. Do not remove the
t
paper before you are completely t

Port William Backyards, white line woodblock print, 11x11in. (28x28cm)

Beginners’ printing
6 The paints used are just normal

watercolours, which are easy to handle
and clean up.
7 The woodgrain will show to some
extent, which can be used to advantage.
The disadvantages are:
1 It takes a long time to print each
plate. The plate illustrated below left of
a Reed Bunting took two hours to print.
2 Each print is slightly different as the
hand colouring introduces small
alterations each time so, strictly
speaking, they are ‘varied editions’.
3 Not every design works well with
white lines dissecting it.
4 It is difficult to print large un-dissected
areas of colour evenly. LP
AS YOU PROGRESS…
A note on the paper
The paper I use comes in a pad of 50
sheets from Intaglio Printmakers in
London. You can order it online. It is
called Ho Sho and it works very well.
I recently also used Zerkyl white extra-
smooth paper (145gsm, mould-made),
which is sold widely by the sheet. It is
worth experimenting with your paper
stash before buying a Japanese paper.
The qualities you want are smoothness,
medium weight and absorbency.
Suppliers
I use Pfeil wood/linocutting tools sold
t
The finished print Reed Bunting, white line woodblock print, 912⁄ x934⁄ in. (24x25cm). The white by GreatArt and others. The GreatArt
lines in this print represent frost. This is an example of the lines being used for a purpose. code for the small v-shape tool is
34350/006. GreatArt also sells Asian
ply plates, which are suitable for this
type of printing. Intaglio Printmaker
(www.intaglioprintmaker.com) sells
plywood plates too, as well as more
expensive and durable side-grain
woodblocks and Japanese barens.
Books on the Provincetown
Printmakers
Find out more about the Provincetown
Printmakers online. You may also find
the following books interesting:
Midwest Modern: The Colour Woodcuts
of Mabel Hewit by Jane Glaubinger
(The Cleveland Museum of Art, Seattle,
2010) and From Paris to Provincetown:
Blanche Lazzell and the Colour Woodcut
by Barbara Stern Shapiro (MFA
Publications, Boston, 2002)
Lisa Hooper
Lisa is a full-time printmaker,
specialising in wildlife art, who lives
and works in south-west Scotland. She
runs courses in printmaking, details
of which can be found on her website
www.hoopoeprints.co.uk. A new
technical book by Lisa detailing the
different printing techniques she uses
was published earlier this year. Printing
Wildlife is available from booksellers,
online and from her website.
t
The woodblock from which Reed Bunting was printed has become quite attractive in itself!

LP04_IndiaSoan_v2_Layout 1 30/01/2017 14:48 Page 38
Reader holiday
Paint in Rajasthan,
India with Hazel Soan October
16 to 31,
2017
Join popular art tutor, Hazel Soan, on the ultimate painting holiday
in India and return with an impressive portfolio of work
l Paint the grandeur of the Udaipur, known as the ‘city of sunrise’ Painting programme & tutor
Mughal Empire in the Royal is a glistening oasis in the Rajasthan desert. Hazel Soan is a versatile and
It is one of the most serene, romantic and
lakeside city of Udaipur paintable places in India. Apart from the
talented artist, and an excellent
l Experience Diwali –
teacher with a natural gift of
special light, its ornate white-marbled drawing out the best in
palaces and lakeside location are most
the Festival of Lights appealing. Women washing their clothes
students. She will illustrate a
l Capture the fervour of the

wide range of the topics with
on the shores of Lake Pichola, people bathing talks and demonstrations.
annual Pushkar Camel Fair at the ghats, colourful saris and impressive There will also be an
turbans and moustaches will add wonderful opportunity for you to paint a
in the Rajasthan desert content to your paintings. You’ll be in model. This tutorial painting
l Portray the serenity of a Udaipur during Diwali, which is one of holiday is ideal for intermediate students,
the most celebrated Hindu festivals and but more experienced students are welcome to
Brahma Temple pilgrimage known as the Festival of Lights. work independently. Hazel Soan will be working
l Extend your stay to in watercolour, but all media are welcome.
Pushkar is a holy Hindu town in the As well as your own travel escort, there will be
enjoy the sublime beauty heart of the Rajasthan desert and every
a local Indian guide with you, helping you find
of the Taj Mahal under October there is a Brahma Temple
the most suitable places to paint and provide
a full moon Pilgrimage on the shores of Pushkar Lake.
an explanation of the various ceremonies.
The annual Pushkar Camel Fair also takes
place in October, when thousands of local
villagers gather to trade their cattle, horses
and camels. Both are colourful and
atmospheric spectacles, and not to be missed.
Hazel Soan will be extending her stay
in India to paint the Taj Mahal under a full
moon and invites you to join her. This most
iconic monument is a must for anyone who
has not already seen it.
l Number of students: 8 to 12 l Price per
person in a twin room: £7,995 l Single
supplement: £600 l Taj Mahal extension
October 31 – November 3: from £850
Includes: flights, hotels, all meals, local
guide, art tutor and travel escort.
01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com

The Artist and Leisure Painter magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471 Other holidays in 2017 include the Gardens of Belgium & Holland with Pamela Kay NEAC, RBA, RWS,
Antibes and the Côte d’Azure with Lachlan Goudie ROI, Amsterdam with Ken Howard OBE, RA and Vietnam with Peter Brown NEAC, ROI.
LP04 Joyce_v2_Layout 1 10/02/2017 13:25 Page 58
Oils
60-minute study
Part 2 Last month Colin Joyce discussed the materials and
techniques he uses to paint fresh and lively oil studies outdoors.
This month he shows you how to complete a study
LEARNING OBJECTIVES
n How to paint an oil study in
60 minutes
n Keep it simple!
T his is the scene I decided

to paint today from North
Queensferry in Fife (left).
I was attracted by the bright light
on the water, which was almost too
bright to look at. I set myself a time
limit of one hour to paint the scene.
You will need

n Surface n Miscellaneous
l Warm-toned l Grey-toned
canvas board, disposable
5x7in. (12.5x18cm) palette paper
l Blu-Tac
n Oils
l Ultramarine blue
l Ultramarine violet
t
Your reference photograph of the scene l Yellow ochre deep
l Titanium white No. 2
Step 1
t
I began by drawing a couple of

thumbnail sketches in ink of both
the rail bridge to my left and road
bridge to the right.
I decided against the rail bridge as
the light and dark areas were around
50/50 and therefore not ideal.
Step 2
t
I’m all set up and ready to go. I used a

sheet of grey-toned disposable palette paper,
held in the box with Blu-Tac on which to mix
my oils. The colours used were ultramarine
blue, burnt
umber,
ultramarine
violet, yellow
ochre deep and
titanium white
No. 2. I used a
thinned mix of
blue and brown
to place the
main darks
on the warm
toned 5x7in.
canvas board.

LP04 Joyce_v2_Layout 1 10/02/2017 13:26 Page 59
t
Step 3 t
Step 4
Next I established the highlights then worked on the sky, I continued to work on the sky then mixed grey for the river
which was changing by the minute. to cover the rest of the canvas. At this point I assessed how
it was looking, before I began on the bridge structure.
Step 5
t
1 I mixed a dark using ultramarine blue and burnt

umber plus a touch of the violet.
2 I added the structure of the bridge and whilst
doing so noticed a couple of people walking onto
the pier so placed them in the scene. I also boosted
the highlights on the water. I checked my watch to
find I’d been working for just over 50 minutes.
t Step 6
I took the study home and left it overnight to dry
a little. I then spent a few more minutes tidying
up the edges, and adding a little colour on the
background where I remember the sunlight hitting.
I boosted the highlights on the water once more
and signed it. I was pleased with this little study
and looked forward to working it up into
a larger piece, possibly for my next exhibition.
Colin Joyce
Fife-based artist
and tutor, Colin runs
classes, workshops
and holidays, and
demonstrates for art
groups. See his work
at the Dundas Street
Gallery, Edinburgh
from 17 to 25
February. His
workshops include
two watercolour
weekends in Fife (12
to 14 May and 22 to
24 September). Visit
www.colinjoyceart.
com for details.
The finished painting

t
North Queensferry, oil

on canvas board, 5x7in.
(12.5x18cm)

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LP April 2017 Books p61_News 1st 13/02/2017 09:51 Page 6
Books
WHAT TO READ THIS MONTH
Towns and
cities
Painting Urban and
Cityscapes by popular
artist and tutor,
Hashim Akib, is a
practical guide to
Visit www.painters-online.co.uk/store and click on painting street scenes,
the link to books to buy the latest practical art books from cafés and busy
squares to illuminated
available from LP’s online bookshop nightscapes and rain-
soaked streets. Hashim
concentrates on water-
Starting small based media, including watercolour, acrylic and mixed
Scottish painter, Wil media, and offers plenty of advice on good drawing
Freeborn, has devised a and composition, perspective, using colour creatively
watercolour painting course and capturing the movement of people. The author
that focuses on small encourages a loose and vibrant approach and uses his
paintings – each of which own work to illustrate his advice as well as work by a
builds, subject by subject, range of international artists.
until you have the confidence Painting Urban and Cityscapes by Hashim Akib.
to continue a lifetime of The Crowood Press, (s/b), £16.99.
painting. Aimed specifically
at the complete beginner,
Wil guides you through each
subject, explaining techniques along the way. Skies
Learn to Paint in Watercolour with 50 Small Paintings For the landscape painter,
by Wil Freeborn. Search Press, (s/b), £12.99. skies are all-important –
setting the tone and
atmosphere of the scene.
Anatomy Geoff Kersey’s revised and
Gottfried Bammes’s The Complete updated book, How to Paint
Guide to Anatomy for Artists & Skies, brings us plenty of
Illustrators was originally published practical advice on how to
in Germany in 1964 and is tackle the subject of skies in
considered to be the definitive guide watercolour, and give a sense
to drawing the human body. It has of cohesion and atmosphere
now been translated into English for to your work. Skies covered
the first time and contains over 1200 include, amongst others, a
photographs, diagrams and drawings stormy sky, a summer sky,
within its 500 pages. A must for evening glow, sunset and low cloud. There’s information on
anyone serious about capturing the materials you’ll need, how to sketch skies, use photographs,
human form in detail. composition, colour and perspective. The book closes with six
The Complete Guide to Anatomy for Artists & Illustrators by Gottfried step-by-step projects for you to try out your new-found skills.
Bammes. Search Press, (h/b), £50. How to Paint Skies by Geoff Kersey. Search Press, (s/b), £12.99.
Atmospheric landscapes
Award-winning young artist, Fraser Basing much of his techniques on
Scarfe, combines traditional methods traditional approaches and, indeed
and modern materials to show us How to painting in a style reminiscent of the
Paint Atmospheric Landscapes in Acrylics. Old Masters, Fraser Scarfe shows us how
The book follows the artist throughout to look at the landscape around us with
the year, and throughout the seasons new eyes, and then provides the
with practical advice on elements that knowledge for us to be able to recreate
make up the landscape – skies, clouds, it in acrylics.
trees and buildings, for example, as well How to Paint Atmospheric Landscapes in
as more practical considerations, such as Acrylics by Fraser Scarfe. Search Press,
painting in cold weather or in cities. (h/b), £19.99.

LP01 ACYComp_Layout 1 18/11/2016 15:14 Page 58
&
in association with Patchings Art Centre & Jackson’s Art Supplies
Art Club of the Year

COMPETITION 2017
CALL FOR ENTRIES
A
ll UK art clubs are invited Festival (July 13 to 16) and through
to submit a total of five two- to July 28. An overall club winner
dimensional works that you feel and two runners up will be selected
represent your club along with a written by well-known artist and tutor,
profile, including details about your Hazel Soan, and visitors will be
club’s history, members and activities. asked to vote for their favourite club
We will select our top ten clubs for the People’s Choice Award. All
to exhibit their five entries at the work entered will be featured on our
Patchings Art, Craft & Photography website at www.painters-online.co.uk
Prizes
We are delighted to announce
exclusive sponsorship by
Jackson’s Art Supplies
l FIRST PRIZE £500 worth of
Jackson’s art materials vouchers,
£100 towards the cost of a
workshop or demonstration t
Art Club of the Year judge, the artist
to club members and a profile and tutor, Hazel Soan in her studio
about the club published in our
magazines, on PaintersOnline
and through our social media Janet Singer Poppies & Scuttle,
t
channels pastel, 28x26in. (71x66cm), one of

the five entries submitted by last
l TWO RUNNERS UP £250 year’s winners, Leicester Sketch Club
worth of Jackson’s art materials
vouchers for each club
HOW TO ENTER & CONDITIONS OF ENTRY
l PEOPLE’S CHOICE AWARD £100
The competition is open to art 3 To enter, first register your club excepted) ready for exhibition from
worth of Jackson’s art materials clubs across the UK. Only online at www.painters-online.co.uk via July 13 to 28, 2017 at Patchings Art
vouchers for the club with the entries can be accepted. Only ‘login/register’ and add your club Centre, Nottinghamshire.
most public votes original work will be considered profile to the biography area of 6 Successful art clubs will be notified
and paintings based on reference the club account. Please include a in late April about delivering their
photographs must have been name of your main contact when work between June 16 and July 2,
taken by the artist or used with the registering. Then upload your 2017 to Patchings Art Centre.
permission of the photographer. digital entries via the link on the 7 All care will be taken with entries
Photography, except where Competitions page. Payment will but no responsibility can be
incorporated into collage, is be added automatically to your accepted for loss or damage in
not acceptable. basket; please remember to pay transit, incoming or outgoing,
Judges 1 The non-refundable entry fee
of £20 covers the FIVE entries
before you leave the website.
4 Upload your entries with the non-
whilst on the competition premises
or during the exhibition. Originals
Hazel Soan, artist and tutor per art club of two-dimensional refundable entry fee of £20 by the selected and submitted for final
Liz Wood, artist, tutor and co-owner work in any media. closing date of March 31, 2017. exhibition must be fully insured
of Patchings Art Centre 2 No entry should be larger than 5 Entries will be judged after March by the artist.
120x150cm WHEN FRAMED 31, 2017 when selected work will 8 Original works must be left with
Sally Bulgin, editor The Artist (canvases do not need to be be called for exhibition. All work the organisers throughout the
Ingrid Lyon, editor Leisure Painter framed). must be framed (canvases exhibition.
LP April 2017 Gallery p63_Layout 1 13/02/2017 10:18 Page 3
Art club gallery BEST IN SHOW PAINTINGS

If you would like to see your art group’s winning paintings
reproduced here, encourage visitors to your next exhibition to
vote for their favourite work, then simply send us the details.
Full information is given below.
Market
t
Harborough Art Club
Alan Walker Whitby,
watercolour,
113⁄4x161⁄2in. (30x42cm).
The Market
Harborough Art Club
is made up of a group
t
Royal Tunbridge Wells Art Society
of local artists who Suzy Philips Storm Approaching, oil on
meet on the last canvas, 231⁄2x311⁄2in. (60x80cm). Suzy tells us:
Friday of each month “The inspiration for the painting came from
in the Langton Room my frequent trips to Kingsand in Cornwall
of the Congregational where I often paint. The coastline is quite
Church Centre in rugged and the seas extremely rough in the
Bowden Lane, Market Harborough. There is a varied programme of events winter time with waves rising as high as the
including talks, practical workshops, demonstrations, appraisals and competitions. clock tower on the beach. I am drawn to
Club secretary, Jane Palmer, tells us that: “Back in the early ‘50s and ‘60s the annual studying the sky and tend to look upwards
art exhibitions were held in the local library. Anyone could enter by simply turning quite a lot. I admire the work of Turner and,
up and hanging their work! In 1963 Councillor Tugwell recognised the popularity of interestingly, the recent film about the artist
the exhibitions and suggested the formation of an art club. A group of enthusiastic used Kingsand as the set for Margate. I have
exhibitors set about establishing the club. It was so popular that 71 members started to produce a series of paintings in
attended the first meeting. The format and content of the club has changed over different weather conditions and times of
the years to meet modern demands but the club remains active and vibrant today.” the day, such as at sunset, before the rain, or
For more information visit www.marketharboroughartclub.co.uk at twilight. Storm Approaching (above) was
the first of these.”
Formed in 1934, The Royal Tunbridge Wells
Bathampton Art Society is a lively and flourishing club.
t
Art Group Members meet at their own premises at 61

Lindsay Brewster The Pantiles, Tunbridge Wells for a variety of
Stourhead, oils, activities, including Portrait from the Model
9x21in. (23x53cm). and Life Drawing sessions as well as
Established in workshops and talks. For more information
1968, the about its busy programme of events visit
Bathampton Art www.rtwas.org
Group now has
around 100
members who meet three times a week –
on Monday afternoon and evenings and How you can join in
on Thursday mornings. Demonstrations To participate in our best in show feature, arrange for the voting to take
by guest artists are regularly organised, place at your next club exhibition, then send Leisure Painter a photograph,
and the group holds two exhibitions each transparency or jpeg of the chosen painting. We can only accept sharp,
year. The spring exhibition will take place high-resolution (300dpi) images for reproduction purposes. Attach details
at Bathampton Village Hall, Holcombe of the artist, title, medium and dimensions, along with details of the club
Lane, Bathampton on Saturday 22 April. itself. LP also welcomes art exhibition listings, profiles, events, letters and
For more information about the news. Send to Jane Stroud, 63/65 High Street, Tenterden, Kent TN30 6BD;
exhibition or membership, visit or email jane@tapc.co.uk
www.bathamptonart.co.uk

LP April 2017 Art clubs p64-65_News 1st 13/02/2017 10:27 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
Highlights
Bathampton Art Group
Spring exhibition and sale of
paintings at Bathampton Village Hall,
Holcombe Lane, Bathampton BA11
6UL on Saturday 22 April. As usual
EXHIBITIONS AND ACTIVITIES there will be demonstrations by
members of the group throughout
the day, and the public will be invited
to vote for their favourite painting.
Refreshments will be available. The
group is looking for new members –
particularly for the Monday evening.
For further information visit
www.bathamptonart.co.uk
Bramhall Art Society
The Bramhall Art Society celebrates
its 50th annual exhibition at
Bramhall Village Club, Lumb Lane,
Bramhall SK7 1LR on 31 March from
Rob Chappel, chairman
t
of the Axminster Art Society, 10am to 6pm and 1 and 2 April,

with Barbara Hills’ winning t
Winners of the painting challenge set by the Spalding Arts & Crafts 10am to 5pm. There will be a harp
design Society, showing (left to right) Sally Slade, Wyn Cocks and Colin Twell recital by Alice Kirwan at 11am on
the Saturday morning. Enquiries to
News Pam Malabon 0161 439 5387.
Logo competition Spalding Arts & Crafts Society Cambridge Drawing Society
Axminster Art Society recently ran a Founded in 1916 by surgeons at the Now in its 135th year, the Cambridge
competition to design a new logo, with Johnson Hospital in Spalding to help Drawing Society will be holding its
five criteria: the logo should be simple, the recuperation of soldiers wounded spring exhibition at a new venue –
memorable, timeless, versatile and in the First World War, the Spalding The Pitt Buildings, Trumpington
appropriate. The four judges included Arts & Crafts Society continues to Street, Cambridge from 1 to 8 April,
Ingrid Lyon and Sally Bulgin, editors of thrive with over 100 members, who 10am to 5.30pm daily; closing at
Leisure Painter and The Artist magazines, meet on the first Tuesday of the 4pm on final day.
Gary Bridge, design director at month at Pinchbeck Village Hall (7.30 Dorking Group of Artists
Axminster Carpets, and Lynda White, the to 9.30pm). The society recently set The Dorking Group of Artists will be
society’s president. The competition was members a challenge to paint the old holding its spring exhibition at
advertised through local press, technical mill at Lyme Regis in any medium Betchworth Village Hall, Station
colleges and art societies in the south from a photograph chosen by the Road, Betchworth, Surrey RH3 7DF
west. The committee was delighted with committee. The competition was
the response, eventually narrowing the judged by John Gray of Riverbank
entries down to two before the society’s Studio. Wyn Cocks’s watercolour won
chairman took the final decision. The first place, Sally Slade’s watercolour 9 April, 10am to 4pm daily. Enquiries to
winning entry by Barbara Hill (above) was second, and Colin Twell’s acrylic, 01526 830981 or 01526 322279.
shows a simple, yet strong design, third. To find out more about the society, n Royal Tunbridge Wells Art Society
making good use of bold colour. To see visit www.saacs.org.uk or email
Spring exhibition at 61 The Pantiles,
more entries, visit www.axminsterartsociety.uk spaldingartsociety@yahoo.co.uk Tunbridge Wells, Kent from 8 to 23 April.
Open 10am to 5.30pm daily; closing at 4pm
on final day. Visit www.rtwas.org
CLUB EXHIBITIONS n Shelford Group of Artists
n Altrincham Society of Artists Exhibition at Shelford Village Hall, Church
n Brierley Hill and District
Spring exhibition at Altrincham College of Lane, Shelford on 15 and 16 April, 10am to
Arts, Green Lane, Timperley WA15 8QW on
Society of Artists 4pm daily. Enquiries to 01949 860568.
n
Sunday 2 April (1 to 5pm) until Saturday 8 Exhibition at The Red House Glass Cone, Tiverton Art Society
April. Open Monday and Wednesday, 10am Wordsley, West Midlands until 12 March.
Spring exhibition at the Castle Primary
to 4pm; Tuesday and Thursday, 10am until Open weekdays from 10am to 3pm; 11am
School, Barrington Street, Tiverton from 8
5pm; and from 10am until 3.30pm on to 4pm at weekends.
to 15 April, 10.30am to 5.30pm daily;
Saturday. n Chester Grosvenor Art Society closing at 3.30pm on final day. Visit
n Bedford Art Society Spring exhibition at Upton by Chester Golf www.tivertonartsociety.co.uk
n
Spring exhibition at the Bunyan Museum, Club, Upton Lane, Upton by Chester CH2 Worksop Society of Artists
Castle Road, Bedford from 20 to 27 March, 1EE from 1 to 9 April, 10am to 7pm daily.
Exhibition at the Discovery Centre, Clumber
10am to 4pm daily excluding Sunday. Visit n Millennium Art Group Park, Worksop, Nottinghamshire, from 10
www.bedsartsociety.co.uk Exhibition at Scopwick Village Hall on 8 and April to 7 May. Open daily, 10am to 4pm.

LP April 2017 Art clubs p64-65_News 1st 13/02/2017 10:27 Page 3
Jacky Cowdrey Robert, acrylic ink, 153⁄4x193⁄4in. (40x50cm) on show at the spring exhibition of the Dorking
t
John Glover Steve Dowling oil, 30x24in.
t
Group of Artists (76x61cm) at the spring exhibition of the

Cambridge Drawing Society
from 29 April to 1 May, 10am to 6pm Civic Centre, Cottingham, East Yorkshire
daily; closing at 4pm on final day. Over from 30 March until 1 April. Open daily, Poole BH17 7BJ from 7 to 24 April,
250 new and original pieces of art will be 10am to 5pm; closing at 4pm on final 10.30am to 4.30pm daily. Formed in
on display, all for sale at affordable day. Approximately 200 framed and 1924 PEDAS is a very active local art
prices. The group meets on Tuesday unframed pictures will be on show society, which currently has around 100
afternoons at Beare Green Village Hall including a selection of greetings cards members. For more information visit
from September through to Easter, for a made by members. There will also be a www.pedas.org.uk
varied programme of activities, including special display of acrylic paintings by Sawbridgeworth Art Exhibition
workshops and demonstrations, and with members, highlighting some of the areas Thirteenth annual art exhibition and sale
outdoor painting and sketching during of Hull and the East Riding. at The Memorial Hall, The Forebury,
the summer months. For more information Poole & East Dorset Art Society Sawbridgeworth CM21 9BD on 1 and 2
contact the chairman, Jane Anderson Wood on The Poole & East Dorset Art Society April, 10.30am until 4.30pm daily.
01372 375123 or email her at (PEDAS) will be holding an exhibition of Admission £1. Refreshments will be
j.andersonwood@gmail.com work by members in celebration of food provided by the Sawbridgeworth WI Café.
Haltemprice Art Group and drink conveyed in drawing, painting To submit entries of paintings or photographs
The Haltemprice Art Group will be and sculpture. Flavour will go on show at (deadline: Friday 24 March), email
holding its 70th annual exhibition at The The Gallery Upstairs, Upton Country Park, sawbridgeworthartexhibition@gmail.com
Demonstrations & classes

Guiseley Art Club demonstration to the Brighouse Art Hipperholme & Lightcliffe
Local watercolour artist and LP Circle at 7.30pm on 16 March at Waring Art Society
contributor, Rachel McNaughton Green Community Centre, Brighouse, Bruce Mulcahy will lead an acrylic
will demonstrate floral watercolour West Yorkshire. Telephone 01484 712947 or workshop for the Hipperholme &
painting to the Guiseley Art Club on visit www.brighouseartcircle@yahoo.co.uk Lightcliffe Art Society on 21 March at
3 April at Guiseley Methodist Church Halifax Art Society Brighouse Rest Centre, Park Row,
Hall, Oxford Road, Guiseley, Leeds On Friday 3 March, Julia Ogden will Brighouse, at 7.30pm. Visitors are
LS20 9EP. Visitors are asked to arrive tutor an acrylic workshop for the Halifax welcome. For more information visit
at 1.15pm for a 1.30pm start and to Art Society focusing on painting skies; www.handlas.co.uk
bring their usual watercolour and on Friday 17 March, Edward Foster Virginia Water Art Society
materials with them. Non-members will run a workshop on drawing birds On Wednesday 5 April (7.30pm),
are welcome; entry fee £5. For more and animals. Both workshops will take Margaret Glass will give a pastel
details telephone Carol Warneford on place at All Saints Parish Hall, Godfrey demonstration on painting marine
0113 2503023. Road, Skircoat Green, Halifax, West skies to the Virginia Water Art
Brighouse Art Circle Yorkshire from 10.30am to 1pm. Non Society at the Community Centre,
The Artist contributor, Paul Talbot- members are welcome. For more Beechmont Avenue, Virginia Water.
Greaves, will give a watercolour information visit www.halifaxartsociety.com Visit www.virginiawater.org.uk/artsociety

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East Ruston Vicarage Gardens. There are also 14 & 15 Oct Swift Lines and Singing Colours  All Art Materials included on selected holidays
k plein air painting holidays, walking and 31 Oct & 1 Nov Come Paint and Print Your  Non painters & All Abilities Welcome
Christmas Card
Broads National Park, as well as holidays 11 & 12 Nov A Seasonal Splash of Acrylics  Studio & Location based courses in all media
UPER UPholidays to 25 & 26 Nov Spring Flowers in Line and Wash
r, Linda will be runningSpainting  Stunning Views and Amazing Locations
LE E
and to Polizzi Generosa DOUinBLSicily.
SAV and is happy to
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
A
us with her teaching experience
£145
Boscombe Manor, Nr Bournemouth BH5 1HR
DE
meet the needs of individuals - whether it’s one-
at’s needed or special courses for groups. Look
r full details of all66
the courses and options APRILon2017 www.painters-online.co.uk
find some step-by-step tutorials to follow.
Suppliers of the finest
lp CLA AprilNEW.indd 66 art materials 10/02/2017 14:39:59
Holidays & Courses
Art
rt
r breaks
bre
rreaks
ks
k in Exmoor
Ex
E moor
www.shorlandoldfarm.co.uk
ww
www
ww..shorlandoldfa
w ffarm.co.uk
Teaching art has been David’s

passion for over 15 years, f l locat
Beautiful
Beautifu
fu a ion
location
at
passing on his knowledge Good fo
ffood
od
and tips from over 50 years of aatmosphere
Friendly at mosphere
painting and helping students Courses fofforr all abilities
learn, improve and achieve.
r ners welcome
Non-painting part
partners
rt
Watercolours • oils • pastels
Ready-made groups also welcome
Saturday workshops and holidays
www.watercolourartist.net
Tel: 01246 826311 Call Sandy or Mark 01598 763505
Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
LEARN AT HOME. Watercolour

SUE FORD’S PAINTING HOLIDAYS
and drawing. Beginners/advanced
Mixed Media Courses
Cober Hill and Red Lea Hotels both in
Scarborough, various dates.
Holiday of the month correspondence courses. Easy, relaxed,
thorough. Details: Jenny Trotman NDD.
Tel: 01305 264568
Glenthorne, Grasmere, Higham Hill,
Bassenhwaite, various dates.
INSPIRED PAINTING HOLIDAYS www.catswhiskersart.co.uk
The Algarve, May 10-17.

The Watermill in Tuscany, July 15-22.
www.sueford.co.uk Watershed Studio
Suefordartist@icloud.co.uk Celebrating our 16th year
Tel: 01642 712926
• Proven reputation for quality courses
• Warm welcome & home-cooked food
www.learntopaintinfrance.co.uk • Rural studio in its own grounds
• Excellent local accommodation
With Mike Hall Des RCA. • High profile, popular tutors
Join popular artist Fraser Scarfe, Tim Fisher
Jeremy Ford, Charles Evans,
and experienced
Diana Seidl and many more…
tutor Mike for
a long weekend Call Allison Bond for details:
or a week’s all 01255 820466
P
Email: allison@watershedstudio.co.uk
inclusive painting rofessional artist and mosaicist, Catherine Stott, runs a
www.watershedstudio.co.uk
holiday in France. programme of workshops and art holidays from her home St Clere’s Hall Lane, St Osyth,
in mid Devon. A keen gardener herself, Catherine’s subject Clacton on Sea, Essex, CO16 8RX
Small painting groups in Limousin.
matter is based around the gardens and natural scenery of Devon
All levels welcome. and Exmoor. Most painters bring watercolour, soft pastel or
See the website for details acrylic media, and are encouraged to explore and develop their PAINTING COURSES IN NORFOLK
or call Mike on own style in the medium that suits them best. Guests stay in AA AND CORFU. 1-7 day and weekly art
01256 850167 or 07774 616361 four-star Weston House, a Victorian property in the centre of the courses painting flowers and gardens,
bscshep@aol.com village of Bampton (home to Catherine and her husband Peter), landscapes, watercolour or line and
and in their holiday cottage nearby in the village. All rooms have wash with Jan Blanch in Norfolk
TARN AREA, SW FRANCE. Painting private bath or shower rooms, many en-suite. A studio occupies also Brusho classes. Very good
holidays. Excellent food and most of the second floor, which was originally a tailor’s workshop, accommodation. Painting holidays
accommodation, superb landscape, so has plenty of natural daylight in which to work. in Corfu.
forestry, mediaeval villages, studio, large In the spring and autumn Catherine runs four-day or weekend Tel: 01493 393639 or 07702 069300
courses. The summer programme consists of six-day garden Email: janblanchartist@gmail.com
swimming pool. Professional tuition by
painting courses, which run approximately once a month from www.janblanch.co.uk
Ken Ray BA, WSCAD, Diana Golledge,
Cora Martin. Details: Bob and Carla Schaap, May onwards and include outdoor working in local gardens and
Chateau de Pourpry, 81220 Damiatte, National Trust properties. Catherine also offers special courses for
Tarn, France. Tel: 0033 563 707 176
small groups of landscape painters who want to learn more Painting & Drawing Workshops
about painting and drawing in Devon and Exmoor, as well as at Pegasus Art Shop
Email: bobencarla@aol.com
one-day workshops for both adults and children. Residential www.pegasusart.co.uk
courses are fully catered and, with a maximum of six or seven info@pegasusart.co.uk
Framing students, there’s plenty of one-to one-attention.
Courses to look out for in 2017 include a one-day workshop
AshcraftArtists
FramingFrames
sketching and painting a spring flower, landscape or garden
subject (12 April); a four-day residential break painting June
- Save money on framing Gardens and Landscapes (10 to 14 June); and a week-long
- Complete or self-assembly residential landscape course – Midsummer Glory (22 to 28 July),
- Plain wood or painted Professional tutors
- Inlay frame specialist
which is a studio and location-based course concentrating on
Light & spacious studio
- Large, standard and bespoke sizes summer’s borders and hedgerows. Small Classes
All abilities welcome
Exclusive - St Ives/Nicholson style Contact Catherine Stott at Weston House, 6 Luke Street, 1 Day Workshops
frames available on-line Bampton, Devon EX16 9NF; learn@westonhousedevon.co.uk; 3 Day Masterclasses
Call 01427 787318 or visit or visit www.inspiredpaintingholidays.co.uk Book your place on 01453 886560
www.ashcraftframing.co.uk/store Shop Online Extensive Fine Art Materials
lp CLA AprilNEW.indd 67 10/02/2017 11:44:20

Holidays & Courses
art holidays in cornwall
All abilities ‘a great deal more than just a painting holiday...’

Spacious light studio
One, three and six day courses throughout the year
Small groups with plenty of individual tuition
Visit Britain 4 star accommodation Tel 01579 383491
For location work we use the coast,
moors and the Tamar Valley
www.callingtonartschool.com
Sicily HOLIDAY HOME/SELF CATERING ART MATERIALS

Award Winning Art
LLANGOLLEN/NORTH WALES
1-8_Callington.indd 1 29/8/12 10:24:34
Regular contributor to ‘The Artist’
magazine and popular tutor.
painting holidays • 3 Bedrooms- Sleeps 6 people
• Fully equipped and parking
Painting Holidays 2017! • Nice gardens with fabulous views from
Higham Hall, Lake District
October 2017
large conservatory and ideal for painting
Rydal Hall, Lake District for details see our website:
Cober Hill, Scarborough • Overlooking canal basin and hills
HF Holidays – Malham, Whitby www.esplora.co.uk/painting • Only £270 per week.
Dalvaro Art, Spain
Paint Andalucia, Spain or email: Tel. 01244-332868 or 0748-322-6224
Sandpiper Studio, South Wirral Email: margaretwagnerrpt@gmail.com
Watershed Studio, Essex trips@esplora.co.uk
Norfolk Creative Arts, Norfolk
Workshops available nationally.
www.rdcreative.co.uk
for further details or contact Esplora Visit
0113 2252481 or email
rdcreative@ntlworld.com
David Webb
'Leisure Painter 1-16 advert.indd 1 01/12/2016 10:11 professional artist,
author and
contributor to
Leisure Painter.
Watercolour
courses/workshops
the UK in 2017.
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• Dorset, Cornwall, Essex, South Wales & Devon WATERCOLOUR WEEKENDS
in the Peak National Park at the Farming
Details at: www.davidwebbart.co.uk
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01803 846321
Telephone 01433 621546
Films Art Shops
Pegasus Art Shop

www.pegasusart.co.uk
Shop Online
for Fine Art Materials
01453 886560
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stine or John  Roy Lang  All Abilities Welcome & Small Groups (Max 12)
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otel.co.uk.  Joanne Boon Thomas  Studio & Location based courses in all media
tel, 4 Glen Road, LP Binder ad 2_Layout 1 28/08/2013 14:48 Page 1
And many more
emouth BH5 1HR
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binders take a complete
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98 763505 Prices (including VAT and p&p)
oldfa
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p&p Prices start from £95 for a day or up to £495 for a week in
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LP04_WebCompStC_Layout 1 09/02/2017 11:47 Page 1 or send your name

Order online at www.painters-online.co.uk/store
Call or email us for details or to request a brochure:
and address, with a cheque payable to TAPC, to: LP Binders, 63-65
High Street, Tenterden, Kent TN30 6BD. To pay by credit card telephone 07544 343749 any time, or email at
+44 (0) 1580 763673. Alternatively, email liza@tapc.co.uk art-valcansick@hotmail.co.uk
PAINTERSONLINE 13/02/2015 10:59:15
and St Cuthberts Mill Competition

Leisure Painter,
The Artist and
PaintersOnline ENTER NOW
have teamed up with To win one of eight sets of Saunders
St Cuthberts Mill to Waterford watercolour paper blocks
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the new improved magazines, and click on the links
smoother HP surface, to competitions. Closing date
worth £25.44(rrp) each. for entries is May 20, 2017.
Winners will be selected at
Saunders Waterford is a 100% cotton, making paper since the 1700s, taking random from all online entries.
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who specialise in high-quality www.stcuthbertsmill.com make sure you opt in to receive our
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LP April 2017 Online gallery p70_News 1st 13/02/2017 11:15 Page 66
Online gallery
Jane Stroud’s selection of works from the PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
I t’s dogs again this month – this time

from a professional animal portrait
painter, Sarah Eden, who says she has
the best job in the world. Here she
describes some of the ways she uses
composition to help convey the
character of her subject. If you would
like to see more work by Sarah, post a
comment or have a go yourself and
upload your own images on our free
online gallery visit
Mischief-maker
Based in Malmesbury, Wiltshire, Sarah
Eden describes herself as a ‘figurative
realist painter’. She specialises in
commissioned oil portraiture – of
children in particular, but also paints
portraits of adults and pets. She uses
both traditional and contemporary
styles, working from photographs, which
she says negates the need for numerous
sittings, She is, however, always keen to
include narrative objects, which she finds
convey a lifelike painting and often help
to portray the subject’s identity and
personality. Midget just needed herself!
She writes: “I took up painting four
years ago, following a somewhat stressful
career in marketing, and it is now a fully-
fledged business. I can’t believe how
fortunate I am to do something for a
living that fills me with such joy and
sense of fulfilment. I must be the only
person who is pleased to see a Monday
morning come around.”
Sarah’s animal portraits are principally
dogs, which, she says, is because they are
more in demand, but she also paints
British wildlife and agricultural animals.
“I paint exclusively in oils,” she explains,
t
Sarah Eden Midget, oil on board, 16x12in. (40.5x30.5cm)
“as I find it such a forgiving medium. I
love its vibrancy and the way you can way that best communicates their if it were poking out of the painting. My
build a painting almost in a sculptural personalities. For this particular young client was keen for me to capture her
way.” springer, I was fortunate that my client ‘smile’, which is so typical of Midget. I
“Midget is one of my latest dog portrait was happy for me to do something a often paint my backgrounds in flat
commissions and, perhaps, one of my little more funky and express Midget in distempered tones that add purity to the
favourites. Although I have my own fairly her own inimitable way – that is crazy subject and make them ‘pop’. Here I
photo-realistic style with my painting, I from top to toe! I wanted to show her went with a pretty shade of blue/grey to
always like to paint portrait subjects in a sense of curiosity by painting her nose as boost the warm russets of her coat.”

St Cuthberts/Whitton workshops ad.qxp_News 1st 17/01/2017 11:27 Page 1
& WORKSHOPS Includes

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at Patchings Art, Craft & Photography Festival in Nottinghamshire, Saturday, July 15, 2017
Organised by The Artist and
Leisure Painter in association with
St Cuthberts Mill, manufacturers
of Saunders Waterford Watercolour
Paper, who will provide each
student with over £50(rrp) of paper
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YOUR TUTOR
Judi Whitton is a professional
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The Old Farmstead, West Cork, watercolour by Judi Whitton
PATCHINGS ART, CRAFT &

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The cost of each three-hour session is just £55(inc VAT) per person
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of the additional materials
paper worth over £50(rrp), PLUS free entry to Patchings Art,
necessary when booking.
Craft & Photography Festival for the day, worth £10!
For more information and to book your place please visit

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If you don’t have internet access please telephone Liza or Nicci on 01580 763673
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