Leisure Painter August 2017 FreeMags - CC

LP08 1 Cover_Layout 1 30/06/2017 11:09 Page 1
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with watercolorist Ibolya Taligas
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2 AUGUST 2017 www.painters-online.co.uk
p02_lpaug17.indd 2 29/06/2017 11:15:15

July welcome_Layout 1 03/07/2017 13:05 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/9
ISSUE 563
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
AUGUST 2017
Editor
Ingrid Lyon
U nless you are one of the lucky ones
and a natural artist, learning to draw
and paint successfully is not the easiest
Contributing Editor
Jane Stroud
Editorial Consultants
of tasks. Many painters maintain that they are still learning after
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
a lifetime of painting. That is what makes painting such a joy;
Tony Paul STP
become immersed and you will learn new skills and be more
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048) confident with each day.
(annamarieb@warnersgroup.co.uk)
Advertising Copy This month’s issue focuses on how to simplify the painting process
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) to help you to paint more fluently. Painting gardens and flowers
Accounts
creditcontrol@warnersgroup.co.uk
en masse, for instance, can be a daunting task, but part one of Julie
Events Manager King’s watercolour series (pages 16 to 18) takes you through seven
Caroline Griffiths
Subscriptions & Marketing Manager easy steps to making sense of design, light, colour, brushstrokes and
Wendy Gregory
Subscriptions
application. Next month she will set a painting project from a
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
photograph so practise this month’s exercises in readiness for the
Online Editor task to come.
Dawn Farley
Designers Harbours – with all their associated paraphernalia, reflections and
Alison Renno
Sarah Poole light – are often deemed too complicated for many painters to try.
Leisure Painter is published I don’t know how Paul Alcock has done it, but his step-by-step
every four weeks by:
The Artists’ Publishing Company acrylic demonstration this month (pages 24 to 27) makes drawing
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, and painting this subject matter not only possible, but also
Kent TN30 6BD
(Tel: 01580 763315) enjoyable. It’s a good practice in sizing up a drawing, painting
Publisher reflections and simplifying a scene, too.
Dr Sally Bulgin, Hon VPRBSA
Do you have a tablet, but not sure how to use it for drawing and
Publication of an article or inclusion of
an advertisement does not necessarily painting? This is a huge subject, but follow Tony Underhill’s own
imply that TAPC is in agreement with
the views expressed, or represents exploration on pages 34 to 37. Begin thinking of your app as a new
endorsement of products, materials
or techniques. TAPC does not accept medium to master, and enjoy the flexibility and ease of ‘undoing’
responsibility for errors, omissions
or images received in good faith your mistakes.
Annual subscription rates:
UK £39.99 (includes Northern Ireland); We hope you enjoy the rest of the issue. If there’s a subject or a
USA $80; Canada $92; EC member
countries €67; all other countries medium you’d like us to cover, or a question you need answered in
(sterling rate) £50
depth, please let me know. We’re happy to help.
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
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Newstrade distribution by INGRID LYON Editor

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SEPTEMBER 2017 issue on sale 11 August
www.painters-online.co.uk AUGUST 2017 3

LP08 4-5 Contents_News 1st 30/06/2017 15:16 Page 4
Contents AUGUST 2017

45
38
2
12 5
24 Painting project
IN EVERY ISSUE Part 2 Follow Paul Alcock step by step as
he interprets a harbour scene in acrylics
7 Diary 63 Books from last month’s photograph
Things to do this month Some of the best practical
art books are reviewed 28 Painting project
8 Exhibitions Part 1 Make the most of summer landscapes
Some of the best shows 64 Art clubs as you put together a strong composition from
around the country News, highlights, exhibition two photographs and learn the value of hard
listings and ‘best in show’ gallery and soft edges, with Jem Bowden
10 Letters
Your tips, suggestions, 70 Online gallery 31 Loose and lively flowers
ideas and questions Jane Stroud chooses two Practise wet-in-wet watercolour to paint
paintings from PaintersOnline summer flowers, with Rachel McNaughton
34 Embrace digital
Develop your skills as you follow
FEATURES Tony Underhill’s step-by-step tutorial
on how to use your tablet for drawing
12 Lessons in the landscape
Part 1 Begin your journey with acrylics 38 Go with the flow
as Cat Croxford discusses materials and Part 1 Paint lively watercolours of animals,
techniques for painting landscapes with Liz Chaderton
16 Focus on gardens 41 An acrylic view

Part 1 How to make sense of the In the final article in this series, Tony Paul
colours and textures of summer gardens discusses the nature of mediums before
in watercolour, with Julie King demonstrating how to paint translucent
On the cover layers of acrylics
Paul Alcock Harbour Scene, acrylic, 20 Line and colour
16x20in. (40.5x51cm). Paint this Experiment with oil pastel resists, 45 Mersey shore
harbour scene step by step with acrylic inks and watercolour to create Find artistic inspiration close to home –
Paul on pages 24 to 27
exciting effects, by Tim Fisher Steve Strode leads the way

LP08 4-5 Contents_News 1st 30/06/2017 15:16 Page 5
Coming
next month
Be inspired to paint from photographs and life.
Here are just some of the projects and themes
in the September issue of Leisure Painter
8
20 ON SALE 11 AUGUST
YOUR WORLD OF
48 WATERCOLOUR...
n Loose and lively
animals
n Gardens and flowers
n Summer landscapes
n Impressionistic
buildings
CONFIDENT ACRYLICS...
n Tips and techniques
for painting with
acrylic inks
2 57 n Landscapes and still-
life projects to try t
Ian Pethers Moonlight, pen
PLUS... and wash, 1134⁄ x814⁄ in. (30x21cm).
Learn drawing and watercolour
OFFERS, NEWS AND COMPETITIONS n A moonlit woodland techniques step by step with Ian
in pen and wash next month
6 Join Leisure Painter’s 50th annivesary celebrations
and paint a local scene for your chance to win n Paint beach scenes
a £50 voucher from GreatArt in vibrant oils
LEISURE PAINTER
19 Save money when you subscribe to Leisure Painter n Be inspired to paint ON-SALE DATES
this month close to home Issue On sale
n How to paint in just
44 Join Lachlan Goudie as he paints in Antibes and September 11 August
October 8 September
the Côte d’Azur in September three washes November 6 October
62 Take advantage of the latest offers on practical art AND LOTS MORE!
books in LP’s online bookshop at PaintersOnline
71 Your chance to win one of 20 Bockingford A3
pads from St Cuthberts Mill, worth £14.52(rrp)
AND one of eight sets of four 59ml bottles of
ProColour Acrylics, worth £33(rrp)
48 Take three washes

Learn the value of tonal variations in the first article in a short
watercolour problem-solving series, with David Webb
52 Night vision
Follow Elena Parashko as she paints a moonlit seascape in oils
57 On coloured ground
How to use tinted surfaces for mixed media, by Claire Martin
61 Fast-flowing famenco
Here’s a confidence-building exercise to help you paint more t
Cat Croxford Bloody Poppies, acrylic on canvas, 18x2312⁄ in. (45x60cm).
freely in watercolour, by Sue Bradley Learn how to make the most of rich and vibrant acrylics

ART ROMANIA 21st -28th August
Painting holidays in enchanting Maramures a

beautiful and relatively undiscovered north
western area of Transylvania, where the customs
and domestic universe remain unchanged.
Improve your art in a small friendly group with lots
of one-to-one tuition from English & Romanian
artists. Stay in traditional Romanian furnished
accommodation, in a peaceful village with delicious
home cooked meals. Trips to Unesco listed sites
and artist workshops. All abilities & media and
non-painting partners welcome.
Prices from £495pp for 2 people sharing twin
room. Discounts for bookings made
before 1st August.
Wizzair flights from London/Luton &
Doncaster/Sheffield to Cluj airport. Mini bus
transfer from Cluj airport included on Mondays.
“In the historic Land of Maramures, the hills
are alive with ways long forgotten elsewhere in
Europe.” National Geographic
“A fantastic experience” David, 2016
August AnnivComp halfh_Layout 1 26/06/2017 10:50 Page 58
T: 07947 761964 or 0207 2749845
artholidaysromania@gmail.com
www.artholidaysromania.com
& 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
SUMMER’S COMPETITION PRIZES

This month, be inspired by Steve Strode’s We are delighted to announce exclusive
Mersey shoreline project (pages 45 to 47) sponsorship by GreatArt throughout
to paint a scene or subject that is close this year’s anniversary competitions
to your home. Work in any medium and
style. Please upload your entry by Each month’s winner will receive £50
12 noon on Thursday, 5 October 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 summer entry by featured on our website at
painting per artist each month the closing date of 5 October 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 5 No correspondence will be
be sent via our website at October and the winning entrant entered into.
www.painters-online.co.uk. will be informed later in October.
p06_lpaug17.indd 6 30/06/2017 09:33:21

LP August 2017 Diary p7_News 1st 29/06/2017 09:51 Page 6
Diary
THINGS TO DO THIS MONTH
Alwyn and June Crawshaw at work in their studios

t
Diamond couple
In celebration of 60 years of marriage,
June and Alwyn Crawshaw will be holding
an exhibition of oils, watercolours, sketches
and drawings both old and new at The
Picturecraft Gallery in Holt, this August.
The couple were married on 16 March 1957
and so began a partnership, not only in
life, but also in art as they embarked upon
a world of painting, teaching and sharing
their experiences with others. Alwyn has
been writing for Leisure Painter since it
began in 1967, and June for very many of
those 50 years. Between them they have
created 28 books, eight television series,
and 68 half-hour programmes for the BBC,
and Channel 4, which have been screened
worldwide. In addition they found time to
demonstrate and lecture to art societies
and lead painting courses abroad, the first
to do so for Leisure Painter. “The past 60
Freya Hartas’s cover illustration for The Dragon with a Chocolate Heart by Stephanie Burgis
t
years have been very hectic, very enjoyable
and very satisfying,” says Alwyn. “We have
Things to do been helping people worldwide to
n All about dragons works by wood sculptor, Keith appreciate what they see and to use
Coinciding with Here be Dragons at Pettit and glass from Jazz Dixon, painting as a creative means to enjoy it.”
the Victoria Art Gallery in Bath (22 specially commissioned for the June and Alwyn’s Diamond Wedding
July to 8 October), a range of events event with a grant from the Big Anniversary Exhibition can be seen at The
and workshops for children has been Lottery Fund. Pickhams is open Picturecraft Gallery in Holt, Norfolk from
organised throughout the exhibition, every day, except Monday, from 18 to 23 August. Telephone 01263 711040.
including Face of the Dragon, for 11am until 7pm. Entry to the To find out more about June and Alwyn
three to seven-year-olds, who will be gardens and exhibitions is free. visit www.crawshawgallery.net
creating colourful dragon masks, and
Dragon Allsorts for six to 11-year-olds
which will see them painting and
drawing dragons of all kinds. The full Opportunities
list of workshops is available on the Inside Dorset
Victoria Art Gallery website at Artists within a 15-mile radius of Poole in
www.victoriagal.org.uk/dragons Dorset are invited to enter The Gallery Upstairs
n Summer trifle Open 2017. Work can be in any medium on the
Summer Trifle at Pickhams in theme ‘Inside Dorset’. The submissions day is
Wilmington, East Sussex is a two- Wednesday 29 November and selected works
week-long celebration of art, craft, will go on show from 2 December until
literature, drama and music, taking Christmas. For full details and entry forms visit
place from 5 to 20 August. www.thegalleryupstairs.org.uk
Exhibitions throughout the week will Figurative art
showcase local artists, and a variety Entries are now invited for the 10th Columbia
of arts workshops will be taking Threadneedle Prize at the Mall Galleries in
place to get involved with. London, which focuses on figurative or
Alternatively, stroll through the representational art. Submission closes on 22
beautiful gardens to discover various t
Celebrate art, craft, literature and music September. To enter and for full details, go to
sculptures in the grounds, including at Pickhams’ Summer Trifle this August www.mallgalleries.org.uk/call-for-entries

LP August 2017 Exhibitions p8-9_Layout 1 29/06/2017 10:36 Page 2
Exhibitions JANE STROUD RECOMMENDS

The art of Venice
The Royal Collection contains the
world’s finest group of paintings,
drawings and prints by Caneletto,
bought by George III in 1762. This
exhibition brings them together
with other works from the 18th
century, reflecting the beauty of the
city, from the splendour of
St. Mark’s Square and the Grand
Canal to its festivals, theatre and
masked carnival.
Canaletto and the Art of Venice can
be seen at the Queen’s Gallery,
Buckingham Palace, London, until
12 November. Tickets and visitor
information: 0303 123 7301 or visit
www.royalcollection.org.uk
Canaletto The Bacino di S. Marco on
t
Ascension Day c. 1733-4, oil on canvas,
301⁄4x491⁄2in. (77x125.5cm)
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘Hesketh
Hubbard Art Society’: annual exhibition of
work by the society, which has been
running life-drawing classes weekly since
1930, 1 to 5 August. ‘Art and Peace’:
contemporary Chinese art, 15 to 18 August.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Summer
Exhibition’, until 20 August. ‘Matisse in the
Studio’: an exhibition of objects that
Matisse accumulated around him as
inspiration for many of his works,
t
James Cowie The Yellow Glove, oil on canvas, 22x26in. (56x66.5cm) 5 August to 12 November.
n Tate Britain
True to Life Millbank SW1. 020 7887 8888. ‘Queer British
True to Life: British Realist Painting in the 1920s and 1930s brings together more than Art 1861-1967’, until 1 October.
80 paintings exploring the realist tradition in British art between the two world wars –
a period of art that has been overshadowed by abstract art, which became fashionable REGIONAL
shortly after. This exhibition at the Scottish National Gallery of Modern Art provides an n Corke Gallery
opportunity to discover paintings from a little-known period of British art, with work 296-298 Aigburth Road, Liverpool. 07773
by such artists as James Cowie (above), Laura Knight and Winifred Knights. The 28782. ‘Strokes of Colour’: recent paintings
exhibition forms part of the Edinburgh Art Festival 2017 and various talks and tours by television presenter and writer, Andrew
have been arranged to coincide with the exhibition. Marr, until 21 July.
True to Life is on show at the Scottish National Gallery of Modern Art (Modern Two), n Falmouth Art Gallery
75 Belford Road, Edinburgh, until 29 October. Visit www.nationalgalleries.org Municipal Buildings, The Moor, Falmouth,
Cornwall. 01326 313863. ‘Winifred
Nicholson: Liberation of Colour’, until 16
September.
LONDON n Harbour House
‘The Seasons’: Jane Wormell captures the
n Bernard Jacobson Gallery changing seasons from her garden in The Promenade, Kingsbridge, Devon. 01548
28 Duke Street, St. James’s SW1. 020 7734 London and Tom Mabon from the Scottish 854708. ‘Sea Sense’: an exhibition by The
3431. ‘Matisse’: painting, sculpture, drawing Highlands, 13 to 29 July. House Group, celebrating local oceans and
prints, until 16 September. coastlines, 1 to 6 August.
n Llewellyn Alexander Gallery
n Dulwich Picture Gallery n Ilminster Arts Centre
124-126 The Cut, Waterloo SE1. 020 7620
Gallery Road SE21. 020 8693 5254. 1322. ‘Not the Royal Academy 2017’: The Meeting House, East Street, Ilminster.
‘John Singer Sargent’: watercolours, until featuring the best of work submitted to the 01460 55783. ‘Annual Open Exhibition
8 October. Royal Academy Summer Exhibition, but not 2017’: featuring work by amateur and
n Jonathan Cooper Park Walk Gallery hung, until 19 August. ‘Society of Feline professional artists selected from open
20 Park Walk SW10. 020 7351 0410. Artists’, 24 August to 15 September. submission, 7 August to 1 September.

LP August 2017 Exhibitions p8-9_Layout 1 29/06/2017 10:36 Page 3
n The John Davies Gallery ‘The Edwardians’: exploring the glamour, Germany 1919-1933’, paintings by Otto Dix
The Old Dairy, Fosseway Business Park, rural nostalgia, evocative landscape and the and photographs by August Sander, until 15
Moreton-in-Marsh, Gloucestershire. 01608 city of the 1900s, 16 July to 31 December. March 2018.
652255. ‘David Prentice: Retrospective: Part n The Natural World Gallery n Victoria Art Gallery
1’, celebrating the work of this celebrated Banham Zoo, Norfolk. 01493 440972. ‘The Bridge Street, Bath. 01225 477233. ‘Here
British artist, until 26 August. Natural World Art Group Summer Exhibition Be Dragons’: featuring dragons in two and
n Kevis House Gallery of Wildlife Art’, featuring work selected from three dimensions, 22 July to 8 October.
Lombard Street, Petworth, West Sussex. open submission, 15 July to 17 September.
01798 215007. ‘Impromptu’: drawings of n South Shields Museum & Art Gallery
musicians and dancers by Frances Hatch, Ocean Road, South Shields, Tyne & Wear. All information given here is correct at the
until 29 July. Frances will be in the gallery 0191 211 5599. ‘L S Lowry’: later paintings, time of going to press, but you are advised
on Saturdays 15 and 29 July to talk to until 9 September. to check details and opening times with
visitors about her work. the galleries prior to your visit in case
n Tate Liverpool of unavoidable alterations to their
n Manchester Art Gallery Albert Dock, Liverpool Waterfront. exhibition schedules
Mosley Street, Manchester. 0161 235 8888. 0151 702 7400. ‘Portraying a Nation:
Aviation Art
Over 400 original works of aviation art will go on
show at the Mall Galleries in London between 18 and
23 July for the Guild of Aviation Artists’ annual
Aviation Paintings of the Year exhibition – the largest
exhibition of its kind in the world. The guild aims to
promote aviation art in all its forms, and works will
depict all aspects of aviation life, from detailed,
accurate records of aircraft, to events, personalities
and historical achievements, both today and from
bygone times. Demonstrations in various media will
take place during the week, including an oil painting
demonstration by past GAvA chairman, Graham
Cooke, on Thursday 20 July. For more information
telephone 020 7930 6844 or visit
www.mallgalleries.org.uk. To find out more about
the Guild of Aviation Artists, view all the work
included in past exhibitions and read all the latest
news, go to www.gava.org.uk
Philip E. West Showtime, oil, 283⁄4x283⁄4in. (73x73cm)

t

June letters_News 1st 29/06/2017 08:51 Page 11
Letters
of transferring over, please? I like to
make sure the drawing is right so I don’t
want to be doing this straight onto
pastel paper.
Catherine Lewis
YOUR TIPS, SUGGESTIONS, Painting with disabilities

IDEAS AND QUESTIONS In the June 2017 issue of
Leisure Painter, Maisie Taylor told us
about her health issues, which caused
her problems when painting. There are
Recycle old work There are organisations that are eager
two women with similiar problems in
A letter by Kate Rook in the December to take this file and, if marketable, will
our painting group. They use an office
2016 issue of Leisure Painter asked if produce an eBook.
chair on wheels, which can be adjusted
acrylic gesso would obliterate an Alan Baker
in height, and the back can come
unwanted water-soluble oil painting.
forward or be pushed back. The easel
Last summer I also had a canvas board How to follow a DVD
and table they use also moves up and
that I wanted to reuse. I applied two Like many amateur artists I make use
down.
heavy coats of acrylic gesso over dry of DVDs to try to improve my
At the moment both artists paint
water-soluble oil and when dry a techniques. A recurring difficulty is
with acrylic, but holding the brushes is
further ground coat of mid-tone that on these DVDs the presenting
difficult. Around the brushes they fix a
Student quality acrylic paint. artist begins by showing us a very
thick piece of an old towel. Both often
A year later, after using the panel as detailed drawing he or she has done
wear a brace, which is fixed to the wrist.
a backing board for acrylic and previously. To make matters worse,
They can place a brush in it and lead it
watercolour papers and a lightweight this is often shown at an angle to the
with the help of one or two fingers.
mounting board for my camera tripod camera and is not filmed full screen.
Both ladies cannot come every week;
(for painting en plein air), there is no Quite often it will be a very faint
they have good and bad days. They
sign of the acrylic gesso or paint layers drawing and so extremely difficult to
know there will be a time when they
separating from the surface. Perhaps see. We can only make a copy of this
will go for painting in watercolour, as
not definitive proof, but the panel has drawing by minimising the DVD and
that is much easier to handle. Perhaps
been flexed, twisted, scrubbed clean so removing it from our screens. Even
this can be a solution for Maisie, too?
with wet rags and is still going strong then, it will result in a drawing that we
We hope readers send in a lot of tips
without any signs of deterioration. cannot see clearly.
to help Maisie and others in a similar
Ian Spence So, we often fall at the first fence when
position.
trying to learn from DVDs. We cannot
We send a lot of painting pleasure
The power of apps make a reasonable start with a clear
from Holland!
I used to be quite good at art in my drawing and the whole painting exercise
Ingrid Tinbergen
school days and one of my pictures was becomes very difficult. How do other
accepted for the Sunday Mirror National artists get around this problem? It does
Exhibiton of Children’s Art competition seem to detract from the usefulness of Send your letters to
in 1968. Now in my 60s, one of my using DVDs as an instructional aid. Leisure Painter, 63-65 High Street,
ambitions was to produce a children’s Many members of our art group have Tenterden, Kent TN30 6BD.
colour eBook. To do it justice, I had this problem and to date we have Alternatively, email the editor at
purchased several art books and a not come up with a solution. leisurepainterletters@tapc.co.uk.
video on painting. I also bought a Marlene Griffin All letters published here win a
watercolour paint set and several set of 24 Van Gogh Oil Pastels.
brushes. Pastel problem Find out more about Royal Talens
However, after a few failed I have recently started pastel painting, art materials by visiting
experiments and mostly making a mess and love painting animal portraits. www.royaltalens.com
of it, I realised that I was out of However, I have a problem with
practice. To regain my skills, I transferring my drawn image onto the
purchased a paint software programme pastel paper. I draw the animal
from a leading company (there are freehand, trace it then transfer the
several on the market). The advantage image onto the paper with Tracedown.
of this approach is that it leaves no The problem I have is that this leaves
mess. I can decide to continue a lines that I am unable to cover with
painting by saving my work or abandon pastel, as it appears to repel them. This
it by deleting it. With additional tools, is with both chalks and pencil. I have
such as Microsoft Project, my pictures never had much luck transferring an
were placed into a file of slides from image by using pencil onto the back of
which I could generate a large PDF file. tracing paper, as the marks are usually
This was the first stage in generating a so faint that I am unable to see them.
picture eBook. Does anybody have any other method

LP08 10-11 Lets/Harrison_News 1st 30/06/2017 11:54 Page 11
In tribute
Terry Harrison
Ingrid Lyon pays tribute to a popular and inspiring artist and tutor
will simply not flow

from the brush.
2 Mix the colours
in the palette before
putting them on the
painting surface so
you can see the
consistency of the
paint clearly before
you use it.
3 Whether you
prefer a three-
dimensional
technique, an oil-
painting style or
e watercolour method,
e the appropriate
acrylic paint is
available to you.
You don’t have to
t
Terry Harrison worry about ‘thick t
Terry Harrison Yorkshire Farmyard, watercolour, 1134⁄ x1734⁄ in. (30x45cm)
to thin’ as you
would using oils, nor the ‘light to
s
I t is with immense personal sadness
that I must report the death of artist
and tutor, Terry Harrison, on 13 June;
someone I remember with heaps of
energy, spirit and enterprise. Terry’s
dark’ rule using watercolour. You can
legitimately use white paint, which is
essential for lightening colours, straight
from the tube. The only restriction you
TIP Try not to spend all your time
looking through the camera lens.
Remember to take time to smell
the roses, too.
name will be well known by many have is your own imagination.
readers, who knew him through his 4 Paint in the direction that a tree grows.
r exhibitions, books, DVDs, workshops, Start at the bottom of the tree trunk then outdoor projects, it could be because the
demonstrations, holidays and articles in add the branches. temptation is to over do it and take on far
Leisure Painter. Having painted for many 5 Paint the reflections at the same time too much in one sitting. Instead of trying
decades, the art materials he wanted, but as the trees using the same colours. It’s to paint everything in sight, why not just
couldn’t find, he simply produced himself always tricky mixing and matching exact concentrate on one part of the whole
and eventually sold to students and fellow colours later. picture? To make things even easier for
artists alike. He also painted a series of 6 Avoid painting around objects when yourself, limit the size of your painting
popular jigsaw puzzles for Gibsons, and using acrylics. Paint logically from the and avoid tackling anything larger than
his paintings and prints are held in back to the front, using layers of colour. 8x10in. The secret is to show self-restraint,
collections throughout the world. and paint within your limits. LP
Terry was a hugely talented, generous Landscape composition
and kind tutor, who inspired a generation 1 Avoid placing the focal point in the
to pick up their brushes and paint centre of your picture.
successfully. From his first career in 2 Introduce a path or track that leads
graphics, which he gave up in 1984 to the viewer into the painting.
paint and teach professionally, his life 3 Use dark trees behind the building
was focused on art. to help enhance its shape.
His friendly, gentlemanly presence will 4 Suggesting distance beyond the focal
be sorely missed. Our thoughts go out point will add depth to your picture.
to his wife and fellow-artist, Fiona Peart, 5 Create some foreground interest and
and to their family. colour by adding flowers.
6 Place a shadow in the immediate
Terry’s advice foreground to help frame the
What better way to pay tribute than to composition.
remind you of some of the practical
advice and help he gave Leisure Painter Watercolour
readers over the years. 1 Establishing the darks is really
important. Be brave and apply strong
Acrylic dark colour to achieve the full impact.
1 Avoid having the paint too wet. Always All too often a pale wash is applied
remove any excess water from the brush then another wash put on top and this
by either squeezing the brush head with becomes pale and muddy. Watercolour
your fingers or by dabbing the wet brush always dries lighter than expected so the
onto some kitchen towel. If the brush is initial wash needs to be very dark.
overloaded, the paint will flood out of the 2 If you haven’t painted outdoors before, t
Terry Harrison Rustic Doorway, acrylic
brush; if the paint is too thick, the paint or haven’t succeeded in completing on canvas board, 12x8in. (30.5x20cm)
AUGUST 2017 11
LP08 12-15 Croxford3_Layout 1 30/06/2017 16:00 Page 12
Acrylics
Lessons in the landscape

Part 1 Cat Croxford discusses materials and techniques as she
begins a three-part series on landscape painting with acrylics
LEARNING OBJECTIVES
n Understand the materials
needed for acrylic painting
n Hints and tips for painting
practice
n The most frequently asked
questions on acrylics are
answered
I ’ve been working with acrylics

most of my painting life and
enjoy teaching beginners and
improvers how to make the most
of this fabulous medium. Acrylics
allow you to layer quickly and
experiment on the canvas. It is the
best medium with which to begin
painting. Its unique qualities,
particularly quick drying times, can t
A variety of large flat brushes, known as mottlers
be exploited to evolve expressive,
exciting paintings. Acrylic paint cadmiums, which are not included in
Acrylics vary with their thickness – the Amsterdam Standard range.
YOUR EQUIPMENT or ‘body’ – and their pigment content.
Always use good paint and good Royal Talens’ Amsterdam Standard Brushes
brushes. Whilst good equipment range is a good place to start. Their Choose synthetic brushes that have a
won’t guarantee an amazing paint has a great consistency, reliable little flexibility, but enough stiffness to
painting, bad equipment will pigments and a good range of colours. push the paint onto the canvas. Two
make it harder to achieve. I also use Ara, particularly for their great ranges are DaVinci Top Acryl and
t
The original photo taken used to paint Mapledurham Golf Course, which is shown being painted over this and next months’ articles

Acrylics
Jackson’s Art Akoya brushes. If you

prefer a slightly stiffer brush, DaVinci
Impasto or Liquitex Freestyle brushes
are fabulous, particularly the long
handled mottlers (below left) for very
large work.
Mottlers are large flat brushes that
encourage expressive mark making
so they are essential! Begin with a
size of 40mm.
Flats are very versatile so include a
smaller flat, such as DaVinci No. 14
or Akoya No. 8.
Small filberts are great for detail work;
Jackson’s Art Akoya filberts are hard
to beat.
Keep your brushes in water whilst
you are using them, otherwise the
acrylic will dry and ruin them. Then
wash them clean under a running tap.
Keep ‘dressing’ the brush – squeezing
it along the tuft, away from the metal
ferrule – until the water runs t
Cat painting in her studio
completely clear. Hang them brush
down to dry if you can.
gaps in the paint. The underpaint 3 Sketching out
Supports is a practical layer; it is not your Your sketch should be a guideline
Begin with stretched canvas. Quality background colour. only, as being too precise will
differs with price, but Loxley Gold inhibit your approach when you start
is reliable and good value. 2 Gridding painting. Painting should not be about
Gridding allows you to organise both ‘colouring in’, but creating the illusion
WHERE TO BEGIN your composition and to transfer from of form with mark making.
1 Underpainting a photograph or life. Grid both your Paint your sketch with a little acrylic
You can paint acrylics on almost any canvas and source image identically, diluted with water, which will allow
surface if it is primed first, such as making sure your canvas has the for a loose sketch, or use chalk or
stretched canvas, wood or paper. same proportion as the photograph, soft pastel pencil for a little more
Stretched canvas allows you to paint otherwise you will distort the image. control. Whether you use a paintbrush
in more layers, which is ideal for I usually grid in thirds or quarters, or pencil, hold it at the end furthest
starting out in acrylics. but try not to make your grid too away from the brush point and keep
The next step is to underpaint your complex, otherwise it can become standing back from your canvas.
canvas with slightly diluted acrylic to confusing. Use a soft pastel or chalk
give you an even covering. This will to draw your gridlines; avoid lead USING ACRYLICS
give your painting more depth and will pencil, as it is likely to mark the Another advantage of acrylic’s drying
ensure no pesky white creeps through canvas. time is that you can pretty much start
t
Underpainted canvas, using lamp black with grid and sketch using a white Faber-Castell Pitt pastel pencil
t

t
This is the first area of the painting completed. The blues were added to with a range of oranges. See the completed painting next month.
anywhere you like. However, if you brushmarks that come from your belly Painting practice
begin in a less detailed area you can find rather than from your brain! The Do not paint thickly, it will be harder
your rhythm and experiment with your challenge of making smaller marks with to mix colour, but do not paint too thinly,
brushmarks. a big brush encourages you to experiment as the paint will dry quickly. Then,
I believe that there are three essentials with different ways of holding the brush, without washing your brush, apply your
in beginning with acrylics, to build your too. next value over your first wet marks,
confidence and to make the most of the Essential 2 Use at least three values of mixing the colour, and repeat with your
unique properties of acrylics. paint. Value relates to how light or dark light value. Be critical, step back as you
Essential 1 First, consider the brush and a colour is and is a practical decision to paint and determine whether you need
the marks you are going to make. Aim convey light and form, but also to create to increase one value over another then
to use the largest brush for the area. This lively colours and happy accidents! adjust the marks or change colours.
will help you work quicker, in line with Essential 3 Mix the colours on the canvas, Consider adding further colour into the
the drying time, but more importantly, not the palette. This is key to working mix if you wish. As you become more
give you expressive and exciting with acrylics. Start with the darkest value. confident, try picking up more than one
colour on your brush at a time.
Vary the marks that you make, within
the form that you are describing. Avoid
a repeated mark or direction, which may
draw the eye or look awkward. Follow
the contours of objects with your brush.
The more you work the brush over the
paint in one area, the more blended the
colours will look. The less you work the
brush, the more gestural look you will
achieve. Remember, precision and
perfection are not necessary for a good
painting, and you will not find your
confidence by fussing over detail. Stand
back from your canvas regularly so you
don’t become caught up in tight corners!
You can follow this process for every
area of your painting, considering brush
size, three values, mark marking and
mixing. LP
t
Five values of paint on the palette and a
40mm mottler. The colours are Ara Prussian
blue and grey blue, Amsterdam ultramarine
t
Mapledurham Golf Course, acrylic, 20x24in (50x60cm) violet, grey blue and titanium buff light.

Acrylics
ACRYLIC PROBLEM SOLVER

You can’t make mistakes with acrylics!
The drying time allows you to go over areas
that aren’t pleasing again and again.
Problem It dries too quickly.

Solution It could be that you are not using
enough paint on the canvas. Pick up a little
more with your brush and work a smaller
area. Add paint to the canvas more
frequently.
Problem I keep getting lumpy, sticky

smears of paint.
Solution You may find unsightly dragging
of lumps when the first layers of acrylic are
beginning to dry and go tacky, and you are
lifting them off with subsequent layers.
Using a little increased pressure may help to
smooth these out, but resist the urge to add
water; this will lift the paint and eventually
you will go through to the underpainting or
canvas. Learn to feel the acrylic through your
brush, and you can identify as it moves from
slippery phase to sticky, and when to stop.
Problem When mixing colour on the

canvas I end up with one value.
Solution You may be overworking the paint
and using strokes that are too long. Mix
briefly in a small area then move on to the
next area. Also be aware of how potent each
paint colour is – mixing a little Azo yellow
into a sap green does not make much
impact. t
Mapledurham Bluebells, acrylic on handmade stretched canvas, 2312⁄ x2312⁄ in. (60x60cm)
Problem I’m getting muddy colours!
Solution When you select your three values
of paint, ensure that you are not including
too many of the three primaries. If you mix
colours, such as greens (blue and yellow)
with reds, you will likely make dirty murky
colours. Think carefully about how each of
the colours will mix by testing out
combinations of each on the palette.
Problem I don’t know what colours

to start with!
Solution Look at one area at a time.
Consider the dominant colour and find
colours that will create dark, medium and
light versions. For example, the leaves of
a tree may be close to sap green, which is
quite dark. Use a yellow to create medium
values, and white to mix for lighter values.
Do all your mixing on the canvas, please.
Above all, be brave! If you’re not sure
which colour to use or brushmark to make,
do it anyway and see what happens. Often
mistakes become little pieces of genius!
Cat Croxford
Cat works predominantly in acrylics
from her studio in Mapledurham, south
Oxfordshire (visit www.catcroxford.com
for details). She also teaches a variety of
courses, including acrylics for beginners,
at Joe Daisy Studio in Mapledurham
(visit www.joedaisy.co.uk for course
details). Meet her at the Affordable Art
Fair in Bristol (8 to 10 September).
t
Trees for Hiding In, acrylic on handmade stretched canvas, 1934⁄ x1934⁄ in. (50x50cm)

LP08 16-18 King_Layout 1 30/06/2017 15:48 Page 16
Watercolour
Focus on gardens
Part 1 How to paint the colours and textures of summer gardens with Julie King’s
seven-step guide, from design and brushstrokes to light and colour mixing
LEARNING OBJECTIVES
n How to simplify and block in
your subjects in watercolour
G ardens and parks are a constant
source of inspiration, forever
changing with the seasons and
creating different shapes, textures and
colours. Concentrating on interpreting
the garden in the summer season,
over the next three months I will
give you advice and tips on how to
approach what sometimes can appear
to be quite a complex subject.
n How to interpret and mix
colours
n The value of light and shade 1 COLOURS FOR FLOWER PAINTING
in a painting In this and my follow-up articles in the like to try the colour-mixing exercises
September and October issues, I have limited and you do not have the colours I used,
my palette to six colours; a warm and cool just substitute them for the nearest
shade of each primary colour. If you would shade in your palette.
t 2 SIMPLIFY YOUR DESIGN

The key to painting a garden is to simplify.
Initially I interpret the areas of colour as
a simple line drawing of curved shapes. Aureolin Cadmium Ultramarine Phthalo Quincridone Nickel azo
This can apply to tree shapes, too. The less red light blue blue magenta yellow
pencil drawing you do, the more freedom
you’ll have when painting.
F
B
3 APPLY BLOCKS OF COLOUR
t
Areas of foliage and masses of flowers can be seen

as blocks of colour. Look through half-closed eyes and
the textured detail is less apparent, but the varying
tones accentuating the form are more obvious. I begin C
by applying a base wash of my lightest to mid-tones,
wet on dry then follow them with stronger washes
and final detail on top. D
A Short single and zigzagged brushstrokes around the
flower heads. Leave white paper to illustrate white
flowers or apply masking fluid for a sharper white shape.
B Sweeping brushstrokes. E
C Flat washes and stippling.
D A base wash, which can be variegated with a mix
of yellow and blue green.
E Darker recessed shadows applied around the edges
of leaf or flower shapes.
F Crisscross brushstrokes.
G Colour applied on wet paper to suggest a soft distant
tree. Blue-greens recede.
H Wet-on-dry tree shapes contrast against a light hedge.

Watercolour
3 YOUR BRUSHSTROKES
Varying the brushstrokes can Small brushstrokes Stippling with
t
be an effective way of giving surrounding flower the point of the
not only an idea of directional heads suggest foliage brush create an
growth, but also impressionistic illusion of flower
suggestions of the shapes of heads
leaves and flowers in borders
and flowerbeds.
t
Crisscross brushstrokes t
As before, but using a larger t
Sweeping brushstrokes for t
Short textural
worked continuously give brush and leaving gaps suggest long leaves, stems or negative brushstrokes
hard edges to foliage sunlight on leaves spaces between
t 4 HOW TO CREATE LIGHT

The light source in a garden is an important and sparkles of a very light background tone sunlight in the sketch (below). In the lower
consideration. Background shades and or white paper can accentuate the brightness recesses the colours were darker and cooler
shadows are generally cooler in colour and of the day. as they were in the shade. The contrast of
colours closer to the foreground are warmer. I left plenty of white paper showing on the dark against light gives shape and form to
Often sunlight appears to bleach the colour top of a mass of flowers to indicate the the plants. Contrast gives life to a picture!
A Warm Day in the Park, watercolour sketch, 12x20in. (30.5x51cm)

t

Watercolour
5 HOW TO MIX GREENS WITH YELLOW 6 HOW TO MIX GREENS WITH RED
When painting foliage vary the greens to avoid monotony. To make a green deeper and less intense, add a touch of its
Combining different yellows (warm and cool) with warm and cool complementary colour, either cadmium red, quinacridone
blues will provide you with a broad range. If you want to mix a magenta or permanent rose. To mix a silvery green try
yellowish green, begin with yellow in your palette and add blue. phthalo blue with a very small amount of cadmium red
Then try a mix of equal parts and finally make a blue-green with a drop of yellow.
by adding a touch of yellow to blue.
Aureolin yellow Nickel azo yellow Ultramarine Nickel azo Cadmium

blue yellow red light
+ + = + =
Phthalo
blue Quinacridone
magenta
+ = + =
Ultramarine
blue
+ = + =
Phthalo Cadmium Nickel azo

blue red light yellow
7 ORANGES AND PURPLES t How to mix oranges

Flowers come in a broad array of colours, Nickel azo yellow
Aureolin yellow
from soft shades to dramatic vibrant tones.
It is not easy to mix some colours, as they
can be synthetic looking. A flower painter’s +
palette often comprises different shades
of pink, from warm to cool, such as Quinacridone
permanent rose or red, opera rose and magenta
quinacridone magenta. Secondary colours
– orange and purple – can be mixed by
combining the primary colours.
In these colour exercises, I selected
a warm and a cool shade of each primary
colour and mixed it with the appropriate Cadmium
colour to make a secondary colour. As you
red light
can see, blues mixed with a cooler fresh
pink – quinacridone magenta or permanent
rose – result in a fresh purple, which is
perfect for flowers. When blue is mixed
with hot red, the shade of purple created
is more subdued and earthy, and lends t How to mix purples
itself to use on pathways and tree trunks.
Quinacridone magenta Cadmium red light
Next month I will introduce a painting
project with a photograph I took of a
garden in Kent, and will discuss the +
importance of composition, before
inviting you to tackle the interpretation Phthalo
of it in colour. blue
Julie King
Find out more about Julie, her art and
classes by visiting julie@juliehking.co.uk. Ultramarine
Julie’s new book, Take Three Colours - blue
Watercolour Flowers, is published this
month by Search Press. Turn to page 62
for details on how to buy this and other
practical art books.

LPS 19 Subs_Layout 1 30/06/2017 11:52 Page 1
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LP08 20-23 Fisher_Layout 1 30/06/2017 16:03 Page 20
Mixed media
Line and colour

Part 4 Experiment with oil pastel resists, acrylic inks and watercolour
to create exciting textures and effects, with Tim Fisher
LEARNING OBJECTIVES a water-resistant medium that offers surface can become grey and muddy
n Build confidence with resist a colourful alternative to wax candles. as you rub in the different pigments.
techniques I find the following selection comes
Your materials in handy: white, pale blue, luminous
n How to use acrylic inks A smooth surface offers the best type yellow, olive green, yellow deep,
of ground for applying oil pastel. An lemon yellow, burnt umber, violet
n Mixed-media techniques made off-cut of picture framer’s mountcard grey, yellow ochre, Naples yellow
simple worked on the reverse (white) side and red light.
makes a good surface on which to Useful colours from Daler-Rowney
I continue my series on inks by

demonstrating how to combine
inks with oil pastel this month.
I was inspired by a documentary
in which Henry Moore demonstrated
work.
When using liquids as resists you
could choose watercolour-based or
diluted acrylic paint, although I prefer
either Indian or acrylic inks, which
FW Acrylic Inks range are: black,
indigo, yellow ochre and crimson, as
plenty of secondary colours can be
mixed from these. I hope you enjoy
trying the following techniques. LP
how he used resists to produce his maintain their density even when
shelter drawings during the Blitz. diluted with water. I like to use
The way his drawings came to life Sennelier oil pastels, as these are Tip In warmer weather, chill the pastels
when a wash was applied over what nice and soft, and blend easily when by placing them on a frozen ice pack.
I think was a wax candle resist was applied to the card surface. This will help achieve a better mark,
almost magical. So I began A small selection of bright colours as they tend to dig in when too soft.
experimenting with oil pastel as works well. Use too many and the
TECHNIQUE 1
Oil pastel abstract backgound
One method I use is to create a scratch If the following method of working lino prints to understand some of the
card where the over-painted surface can inspires you, it’s worth studying art techniques used for mark making to
be removed to reveal the colours below. that has been created from woodcuts or describe objects.
Step 1
t
I created an abstract
background, working the
oil pastel over the paper
quickly, beginning with red
light. Naples yellow, yellow
ochre and a little olive green
were introduced into the
edges, followed by pale
blue, until the surface was
completely covered with
a heavy application of the
oil pastel. I placed the
colours to suit the subject
I had in mind and blended
by working one oil pastel
over another.
Tip A piece of cloth

is handy to wipe the
sticks, as they tend to
pick up other colours,
which can transfer
into the wrong places.

t
Lobster, oil pastel and acrylic ink, 8x11in. (20.5x28cm)
t
Step 2
1 I painted black FW acrylic ink over the 2 Next day, I created a tracing of my design 3 Tools can be improvised from a cocktail
background. To improve the flow, I poured of the lobster, laid it on the sheet of card and stick to an old kitchen knife. Craft knives are
ink into a shallow bowl then added washing- redrew over it using normal pressure with a little too sharp and tend to dig into the
up liquid in roughly equal quantities. I used a a sharp pencil. I began with the claws and framer’s card. An old penknife works well.
4⁄ in. wide flat nylon brush to apply the ink. It
3
worked towards the body. When the sheet The scrapings were removed from the tip of
takes a long time to dry so I left it overnight. was lifted, the drawing could just be seen. the knife with a piece of kitchen roll. After
time, the shavings became difficult to remove
from the blade so I occasionally cleaned the
tip with a packet of wet wipes.
3 I removed material from the claws and the
legs using curved strokes to describe the
shape. The body was left as a heavy outline
with the lines becoming thinner towards the
tail. I made small corrections by reapplying
ink to the incorrect marks.
TECHNIQUE 2
Oil pastel striped background
t
1 For this small landscape I applied the oil

pastel underpainting heavily using yellow deep
and red light in a series of horizontal strokes.
2 After applying the black ink and allowing
it to dry, I described the scene as an outline
with the penknife. The sky was completely
removed as a series of horizontal strokes,
making the lines closer together as I worked
down the board to make a lighter horizon.
3 I enjoyed describing the shape of the fields
by changing the direction and curving some
of the lines. A sense of distance and variety
was achieved by varying the line spacing
and thickness.
4 The nearer trees and bushes were left as solid
t
t
Northumberland Landscape, oil pastel and acrylic ink, 7x6in. (18x15cm) black with the occasional sky hole lifted out.

Mixed media
TECHNIQUE 3
Oil pastel, acrylic ink
and watercolour
Another way of working is to apply oil pastel
lightly then fill in the remaining spaces with
colour. Other media can be experimented with
here. I tend to use watercolour combined with
inks, as this method often requires a wider
palette of colours. A large soft brush, such as
a squirrel, is useful, as it glides more readily
over the oil pastel and deposits plenty of
colour onto the surface.
This method differs from the previous in that
much thinner layers of oil pastel are applied so
that any added liquid is not resisted too much,
which results in some super textures and effects.
Step 1
t
1 Firstly, I took a street scene of a Norfolk

village and created a light impression on a
sheet of mountcard by using the sides of oil
pastels. I broke off a short piece of burnt
umber oil pastel using the side to block in
the end wall shapes of the buildings. I prefer
blocks of colour rather than producing an
outline of the subject.
2 The building opposite in shadow was
created as a solid shape using violet grey, 3 Luminous yellow was added to the building surface was covered with a light application
I carried the same colour across the road fronts to catch the light and yellow deep was of pale blue with some olive green added
for the cast shadows. used for the rooftops. The remainder of the for foliage.
Step 2
t
1 I diluted indigo FW acrylic ink
with water and added it to the
sky area. I find that what would
normally be a dull colour in
most media is quite bright as
an ink. I let the initial washes
dry before adding more colour.
The process of letting the ink
dry makes the surface more
receptive for additional layers
of colour to be added. I work
on the sky until I get some cloud
forms appearing.
2 A little crimson was added into
the indigo to create the distant
trees followed by the shadows
across the road. The same colour
mix was added to the building
on the right and on the building
end walls. The rooftop on the
left was painted with a wash
of yellow ochre ink.
3 I then switched to Sennelier
watercolour for the rest of the
painting. Interesting foliage
textures can be achieved using
watercolour, as it forms more
readily into globules over the
wax of the pastel. Using this
method, the paint has to be
applied as quite a strong mix
of colour to achieve the right
effects.
4 I added dark greens into the
shadow side of the bushes using
a mix of primary yellow and
ultramarine. Dark shadow was
introduced on the left side and
the window apertures with a
strong mix of indigo watercolour
t
Norfolk Village, oil pastel, acrylic ink and watercolour, 9x10in. (23x25.5cm) and Venetian red.

t
Bede Houses, Melton Mowbray, ink, oil pastel, soft pastel and watercolour on Fisher 400 paper, 10 x14in. (25.5x35.5cm). This
was drawn using a matchstick dipped in ink. I then used the oil pastel as a resist, applied as white over the sky and coloured into the
buildings and trees before adding washes of watercolour. The painting was finished by working over with soft Sennelier pastel.
TRY THIS!
Flower paintings are
also great fun to do using
technique 3. I quickly added
the flower heads using a
combination of light red,
lemon yellow and yellow
deep for the petals after
which I added strokes of
pale blue, olive green and
white to represent the stalks
and background light to the
upper right. Next, a wash of
cinereous blue watercolour
was applied over the entire
painting. After letting this
dry, FW indigo ink was
added into the lower
portion of the painting,
flicking some of the paint
upwards to represent
grasses. The ink found
its way into the gaps and
was quite effective in
representing dark shadow
between grass stalks.
I enjoy experimenting
with resists and I’m sure
there are other ways of
working to be discovered by
t
Blowsy Blooms, oil pastel, acrylic ink
exploring the medium so all and watercolour, 8x12in. (20.5x30.5cm)
I can say is: have a go and
Tim Fisher
see what you can discover! Find out more about Tim, his work and
courses by visiting www.timfisherartist.co.uk

LP08 PP2_Layout 1 30/06/2017 11:25 Page 24
Acrylics
Painting project
Part 2 Painting a busy harbour scene takes time and patience.
Follow Paul Alcock as he demonstrates a plethora of techniques
and offers insights into interpreting such a scene from a photograph
LEARNING OBJECTIVES
n
n
How to draw a scene accurately
How to alter and adjust an
L ast month I discussed some of
the issues involved with taking on
a harbour scene such as this one
(below) and suggested a few ways in
which you could prepare to paint. This
month I’m going to take you step by step
through the process of how I went about
creating my painting of this scene.
acrylic painting
n How to use gloss medium to
paint reflections
You will need

n Surface
l 6mm thick MDF board, primed
with three coats of Jackson’s gesso
primer. I added a small amount of
mixed grey acrylic to the final coat.
16x20in. (40.5x51cm)
n Acrylics
l Cadmium yellow hue
l Cadmium red
l Alizarin crimson
l Phthalo green
l Ultramarine blue
l Cerulean blue
l Burnt umber
l Titanium white
n Brushes
l Various bristle filberts, Nos. 4, 8
& 14
l Jackson’s No. 0 Akoya synthetic
filbert
l Pro Arte Langnickle 1in. flat and t
The subject of last month’s painting project: fishing boats at Leigh-on-Sea
small nylon flat
l Seawhite No. 2 nylon Round Step 1
t
and No. 2 sable 1 Begin by ensuring the image is the same shape
n Miscellaneous as your painting board. To do this, place the
l Winsor & Newton gloss medium
image in one corner of the board – make sure it
l Stabilo CarbOrthello pastel pencil
does not have a border around it – and place a
brown 642 straight edge diagonally across its corners. If the
straight edge lines up with the corner of your
board, it is the same shape. If not, change the
shape of your board or your image.
2 Place a mark half way along the
edges of the board and create
corresponding marks on the image.
These will help you to place the
different sections of the image
in each quarter.
Step 2
t
1 To help place everything times across the width of my board.

correctly and in proportion, choose I sketched the boat in place using a pastel
one object with which to compare pencil, which made it easy to adjust,
everything else. In this case I used until I had the right size and a good fit.
the width of Abbey Lou, the boat 2 Next, place the black boat, Indianna.
on the left-hand side. I noticed Notice how both these boats fit in the
that Abbey Lou fits eight-and-a-half top quarter of the board.

LP08 PP2_Layout 1 30/06/2017 11:25 Page 25
Acrylics
t
Step 3
Take care to compare the size of each boat in turn with Abbey Lou as well as
the gaps between the boats. Also observe where the lines of windows and the
tops of the cabins are lining up in relation to each other. When I first started
sketching fishing boats years ago I thought it was strange how the cabins of
the cockle boats were off-set from the middle of the hull, but if you look
t
Step 4
carefully at Liberator and Indianna you’ll notice that running along the Once the main boat shapes are in place, mix and apply
sides of these two boats are a plethora of pipes and equipment associated grey for the sky and water using ultramarine blue,
with the business of shell fishing. alizarin crimson, burnt umber and titanium white.
Step 5
t
Paint the areas of foliage in the distance next, using

a mix of cadmium yellow, ultramarine blue and burnt
umber. Then add the rest of the background containers
and surfaces using various mixes of blue-greys,
browns and greens.
Step 6
t
1 Add the greys of the background boats’

windows then suggest the reflections with a
washy mix of alizarin crimson and black mixed
from phthalo green and alizarin.
2 Block in the foreground using a mix of burnt
umber and titanium white. I wanted to have
a rough approximation of all the main areas of
tone and colour in place before I went further.
I could then judge the colours and tones more
accurately and paint the different parts of the
image in relation to each other.

LP08 PP2_Layout 1 30/06/2017 11:26 Page 26
Acrylics
Step 7
t
t 1 With the background in place, paint some of the
distant masts and rigging with the edge of a painting
knife before going on to paint the sharper rigging of
the fishing boats.
t 2 To achieve sharp edges with a brush, run the edge of a flat

nylon brush along the side of a small off-cut of mountboard.
t Step 8
1 The cabin windows and roofs come next using a
small Round nylon brush, followed by the red of the
hull, which is a mix of cadmium red with a touch of
burnt umber and white. Remember you don’t want
this distant boat to come forward too much in the
painting.
2 Once dry, add the decoration and details, such as
the suggestions of names and insignia on the boats.
When painting any repeated details, such as windows,
observe subtle differences between each one. It will
make your painting far more effective.
3 At this point, I reduced some of the lighter tones in
the background in order to make my painting clearer,
and I introduced a couple of diggers to continue the
rhythm of warm colours across the image.
Step 9
t
I wanted the reflections to appear less solid Indianna’s

than the boats themselves and so a different hull,
handling of the paint was called for in these appeared
areas. Next time you are near water, observe slightly lighter, whilst the reflections of the reflections, which allowed some of the
just how reflections look compared to the lightest areas, such as the white markings underpainting to show through and therefore
objects they are reflecting. I noticed that the on the hull and the rigging, appeared slightly not appear quite so solid. The gloss medium
reflections had a moderating effect on tones darker. To achieve this softening I used a gloss also enabled me to soften and blur the
in that dark tones, such as the reflections of medium to thin the paint slightly for the edges slightly.

LP08 PP2_Layout 1 30/06/2017 11:26 Page 27
Step 10
t
1 The next stage is to paint the hull of Liberator
using a mix of cadmium red, adding cadmium yellow
and burnt umber for the shadow areas.
2 Look at the areas of reflected light on the hulls of
the boats. If you can make a habit of looking for these
details, they will add enormously to the impact of
your final image.
t Step 11
1 Add the lettering to the hull of Liberator. This is
tricky and care needs to be taken or it can appear
clumsy. In this case I sketched out a couple of guide
lines on to the hull using a pastel pencil and tried to
adjust the spacing of the letters to show they were
painted on a curved surface.
2 Once you have completed your painting, think about what you
wanted to achieve and ask yourself if you’ve accomplished it. When
you look at your work, are there areas that jar or look awkward? You Paul Alcock
may find that some areas need to be toned down whilst other areas Paul is based in Southend-on-Sea, Essex where he finds the
may need to be lifted. By observing your painting in a mirror inspiration for many of his paintings. As well as painting Paul also
or by turning it upside down you will find a fresh perspective on leads painting holiday for Arte Umbria and Painting in the Algave
what you’ve achieved and hopefully you will notice any discrepancies. and leads workshops for Old Bank Studios, Old School Studio and
This for me was the stage where I decided to lighten the beach and Art and Craft Days. See www.paulalcock.co.uk for further details.
add the ropes that I’d forgotten about!
t
The finished painting Harbour Scene, acrylics on MDF board, 16x20in. (40.5x51cm)

LP08 28-30 PP1_Layout 1 30/06/2017 11:20 Page 28
Paint along with LP
t
Photograph 1 Your main reference for this project, showing good depth and an interesting lead-in
Painting project
Part 1 Make the most of summer landscapes this month
with Jem Bowden. Learn about producing confident compositions
from photogaphs and how to create hard and soft edges
Composition
LEARNING OBJECTIVES
n Sketch a strong composition using
two photographs
I n my spring painting project
(Leisure Painter, June 2017) I focused
on the mixing of greens, and discussed
how the green you choose needn’t be
Composition is fundamental to a good
painting, and this is mainly about how the
biggest shapes are arranged on the paper.
n How to use hard and soft edges an exact match of what you see in your As you can see, I’ve based the sketch
and tonal strength to create focus subject. Although green is still a dominant (opposite) mainly on the first photograph
colour in summer, in this project I want (above), of which I like the composition as
to demonstrate a different approach to a whole. It has depth from foreground to
painting the season. Colour can be less distance, with some overlapping elements,
of an issue than you may think, as there a lead-in via the different height trees and
You will need are other important aspects that speak of
a particular season. Summer, for instance,
field edge, and a good division of sky and
land. To reduce symmetry and show more
l Soft pencil (4 to 8B) is associated with sun and blue skies sky I omitted most of the left-hand tree,
l Soft putty rubber (if we’re lucky), but we can also look and used artistic licence by adding a
l Sketchpad/paper
at an alternative to that idea. church tower in the distance. The latter
l Watercolour paper
In terms of technique, we will focus on provides a different type of shape among
n Watercolour the combination of soft and hard edges all the foliage, and acts as a focal point,
l French ultramarine in summer landscapes, and how edges which the photo was slightly lacking.
l Burnt umber or similar can create focus and draw the attention The second photo (above right) provided
in a composition. inspiration in the idea of hay bales, and a
n Medium Round brush First, let’s think about composition as harvested field adds an alternative, less
we look at the two photographs and green element of summer. This photo also
the sketch you see on these pages. gave me a good reference for cast shadows

LP08 28-30 PP1_Layout 1 30/06/2017 11:20 Page 29
Paint along with LP
t
Photograph 2 With its hay and harvested field, this photo provides more detail for the final composition
from the trees, and enough ‘facts’

to help place the bales into my
scene in a way that leads the eye
into the composition, aiding the
depth whilst adding interest.
Achieving the correct scale is
important so the recession is
convincing. The bales serve to
break up the flat surface of a field,
and their cast shadows assist with
creating the strong light effect,
hopefully lending atmosphere
to the scene.
I darkened the tallest tree, but
lightened those closest to us, on
the right, as if they are catching the
light more, thus drawing attention
further into the composition.
As an alternative to a more typical
‘sunny’ summer sky I made the
most of all that space with fairly
dramatic clouds. On a day of
showers you can experience heavy
cloud and even rain in front, whilst
sun is breaking through directly
overhead. That’s what I tried to
create here.
As usual I aimed to use a full The finished tonal and compositional sketch
t
tonal range for visual impact.

Counterchange is important, and I kept testing out how these things will work – along with the bales and main trees.
the sky very pale in some key places so or not! These are where we want to draw the
features would stand out against it. The I kept the drawing vague at the edges, viewer’s eye. Try the exercise over the
effect helps draw the eye so I ensured as these areas play only a supporting role. page before you begin to paint from these
pale tones were behind the focal point They will be painted ‘soft-edged’ (see photographs. See you next month when
of the church and partly behind the trees. page 30). Contrastingly, the church will be I will demonstrate how I tackled this
t
The sketching process is so important for painted sharply ‘in focus’ with hard edges, painting project. LP

LP08 28-30 PP1_Layout 1 30/06/2017 16:05 Page 30
Paint along with LP
EXERCISE
How to combine soft and hard edges
Soft edges are where we allow the paint to It’s a fundamental technique that makes in judging how wet or dry things are.
run or ‘bleed’ on damp paper (wet-in-wet), the most of watercolour’s fluidity, but it is I hope this simple practise exercise comes
either into other colour or just clean water. challenging to control, as timing is critical in handy.
Step 1
t
1 Take a sheet of watercolour paper
and divide it into four (so that you can
try this a few times). Draw a simple
church outline in pencil.
2 Mix a fairly strong tone of a colour,
not diluting the paint much. A synthetic
brush is good for this. I used French
ultramarine with a little burnt umber
here, but the colour is unimportant.
3 Much of watercolour painting comes
down to planning and being ready to act
swiftly when the time comes. So, once
you’ve prepared your paint mix and
your brush is loaded with it, use another
brush to put down clean water in
approximately the area circled.
t Step 2
Next, paint the silhouetted church, We’re creating a hard-edged church with just need to consider where we want
beginning from the right. Continue swiftly soft-edged trees next to it. Perhaps the trees it then plan it in.
leftwards from the church and into the are more distant, passing behind the church. I’ll show you how to use this effect
dampened area of paper without stopping. The effect draws our eye to the church more in the full painting next month. I’ll also
Here use your brushmarks to suggest a line than the trees, because it is effectively ‘in discuss colours – and we won’t need much
of trees. Timing is key to catching the focus’ and the trees are not. Pre-dampening green! – as well as brushwork, while we
damp area at the appropriate ‘wetness’ so the paper in this way is often how lost-and- try to stick to those all-important tones
the paint diffuses, but not too much! found sections of a painting are created. We of our sketch.
Jem Bowden
Jem offers one-to-one tuition, demonstrations, www.alphapainting holidays.co.uk). For more details,
workshops, weekly classes, and teaching on residential blog and galleries of his work visit www.jembowden
painting holidays. Next painting holiday is Wye Valley watercolour.co.uk, email jembowdenwatercolour@
in Watercolour (9-14 July with Alpha Painting Holidays gmail.com or call him on 0117 9711735.

LP08 McNaughton_Layout 1 30/06/2017 16:06 Page 31
Watercolour
Loose and lively flowers

Learn more about producing a successful composition before painting this
watercolour flower study step by step with Rachel McNaughton
LEARNING OBJECTIVES
n How to form successful flower
compositions
T he following demonstration
will work for painting a variety of
flowers and the colours you choose
will depend to some extent on which
the Winsor & Newton Professional Water
Colour range. I also chose Daniel Smith
transparent pyrrol orange, perylene green
and moonglow. Moonglow splits into two
n
colour flowers you wish to paint. colours as it dries and I used it to give the
Build confidence with wet-in-wet Rudbeckia comes in many of the yellow, background more interest. You could use
watercolour red and brown palette. I used cadmium a granulating mixture of ultramarine and
n Incorporate a background as you yellow pale, burnt sienna, Winsor violet, burnt umber or light red instead, but the
paint your subject quinacridone gold and neutral tint from splitting will not be as interesting. LP
HOW TO COMPOSE A FLOWER PAINTING

Shape A quick small
sketch to position the
main flowers will be
invaluable when
deciding where to
place your subjects
with paint. An S
shape made by the
flower heads is
a good option.
Rule of thirds
It also make sense
to use the Golden
Section – or rule of
thirds. The rule of
thirds states that the
centre of interest for t
Can you think of a better way
any rectangle lies of composing this loose study of
somewhere along nasturtium flowers?
the lines that divide
a rectangle into nine even image. Having the horizon line
sections. So by using these lines one third of the way from the top
to construct the painting or by or one third of the way from the
placing focal points roughly bottom creates a more attractive
where the lines intersect, we composition. And, of course,
can give balance to a using the rule of thirds can be
composition and make it more used whether the painting is
appealing to the viewer. vertical (portrait format) or
It is generally understood that horizontal (landscape format).
you should avoid placing the Depth Allow flowers to overlap.
horizon line of a photograph If a petal invades the shape
directly in the centre of the made by the centre of the flower,
plan to leave white
paper for it. Stems
should be lost and
found behind the
flowers or over the
top of petals. Avoid
painting a stem that
takes a detour
around a flower!
This is a
t
better-balanced
composition using
t
Rudbeckia, watercolour on Saunders Waterford High White
the rule of thirds 425gsm Rough watercolour paper, 22x15in. (56x38cm). Turn
over the page to paint this along with Rachel.
t

Watercolour
Demonstration Rudbeckia
Now you have your plan in your mind you can begin to put paint on
the paper. These flowers are boldly coloured so the cadmiums would
be a good choice with their opaque quality, but beware of painting
too densely at first. Work on dry paper.
Step 1
t
1 Begin to paint a flower
You will need or two near the top. Paint the
n Surface centre with a mix of burnt
l Saunders Waterford High White sienna and Winsor violet.
425gsm Rough watercolour Where a petal cuts across the
paper 22x15in. (56x38cm) centre, leave white paper so
you can add the petal later.
n Watercolour One stroke with a No. 8 Round
See colours, below brush should give you a petal.
n Miscellaneous 2 If there are differing colours
l Waterspray on your flower drop the
l Drawing paper second colour in while the first
l Pencil and rubber wash is still wet. Add a second
flower in the same way.
Colours used
Transparent Moonglow Perylene Cadmium Quinacridone Winsor

pyrrol orange green yellow pale gold violet
t
Step 2
t
Step 3
While still wet and with a clean damp brush, break up the outline. 1 Add a stem and, if you wish, a leaf or two, but keep it
Don’t do too much brushwork. A couple of strokes may be all simple with a single stroke. Keep everything sketchy and loose.
you need. Leave plenty of white paper for sparkle. Take your time 2 As the centres become drier, use strong cadmium yellow pale
and think. A little splatter will fill in empty white spaces. A quick to add dots of pollen. If they run in, allow that to happen.
spray of water on them will make them look less definite. You can go back and define when things are dry.

Watercolour
Step 4
t
Use your choice of background colour to begin to bring contrast.
Try to put the background in without catching too much of the
flowers, but allow it to run if it wants to. If you think it is a disaster,
blot quickly with kitchen roll or tissue. Proceed in this way for the
rest of the painting. Notice how the stems are incomplete and not
ramrod straight. Suggestion is key.
t
Step 6 t
The finished painting Rudbeckia,
1 When your painting is watercolour on Saunders Waterford
dry in some areas but still High White 425gsm Rough watercolour
has damp passages, use a paper, 22x15in. (56x38cm)
suitable colour and a fine
brush to add delicate lines
to define some petals.
t
Step 5
2 If you wish, make a mask
from a piece of kitchen roll
Rachel
1 Eventually you will come to a point where some background with a hole torn in, and use McNaughton
flowers need to be added for depth. These should be paler in a toothbrush to splatter fine Visit www.artbyrachel.co.uk to
colour and have less detail, but the process is the same. sprinkles of colour around find out about Rachel’s paintings
the centres. Do this on just and her courses and workshops.
some of the flowers.

LP08 34-37 Underhill_Layout 1 30/06/2017 12:45 Page 34
t
Make your own version of this pen sketch of Langdale Cottages and turn it into a tonal sketch on your computer. Alternatively, feel free
to scan or photograph it to use as a ready-made digital image.
Embrace digital
Part 1 Follow Tony Underhill step by step as he demonstrates how to use
a digital app to improve and expand your traditional drawings and paintings
LEARNING OBJECTIVES came from a vareiety of resources: the A new medium

online Procreate Handbook, trial and Don’t try to use digital art to
n Dip a toe into digital art error experimentation, YouTube replicate other media. Instead, treat
n Learn how to use layers tutorials and the online Procreate it as a medium in its own right. This
User Forum. month’s step-by-step demonstration
n Create effective tonal plans If this is the first time you’ve used shows how to improve your
your tablet or Procreate to create art, traditional work by using layers to
S ome people love digital art and

see it as a natural evolution; others
loathe it or call it cheating. I’m
open-minded, but because I love the
feel of my favourite pens and brushes
be patient and stick with it. Treat it
as a voyage of discovery and don’t
expect to be able to do everything
at once. Begin with the basics and
build up gradually, and don’t become
create ‘tonal plans’ that will help
make your paintings easy to read
and, therefore, more effective.
Because I’m travelling light, I use
small pencil sketches (thumbnails)
on paper means I didn’t see myself distracted. The functionality of digital to try out possible arrangements of
making any sort of switch. Then the art apps is mind-blowing. It’s easy dark, light and mid tones when
penny dropped that there was no need to become confused and even I paint outdoors, but I find this digital
for wholesale change and that perhaps disheartened by clever bells and method more flexible and visually
I could embrace new technology to whistles. So try not to stray too far striking when I’m working indoors
improve or expand what I was already beyond what you require for your with time to spare and my iPad
doing using traditional means. immediate needs. to hand.
Other than already having an iPad, Think of layers as a stack of I used Procreate and just my finger
I had no idea where to start. After overhead projector transparencies. to tap and draw with, but I believe
some online research I downloaded an Each one can be changed, reordered, other apps have similar functions
app called Procreate for iPad (available merged or discarded seperately, and and if you have a stylus so much the
from the iTunes App Store). At £5.99 it together they form a single composite better. Whatever you use, familiarise
cost less than a tube of paint. Then I image. Most apps support at least yourself with the basic user interface
had to learn how to use it. The answer a few layers. and functions first. LP

Digital
Demonstration Using layers to create a tonal plan
Colour icon
Actions
Gallery
Colour
Picker Sliders
New Palette
t
Step 1 Import the sketch
1 Tap Gallery, create a new canvas, tap the Actions
icon and insert your line drawing. Mine was a small
pen sketch saved as a photo on my iPad.
t
Step 2 Create your palette
2 ‘Pinch out’ with your thumb and forefinger 1 Tap the Colour icon, select Palettes,
to resize the image, if necessary. create a new one and call it ‘Tones’.
2 Using the Colour Picker sliders, select
white and add it to your new palette
by tapping a box in the palette grid.
3 Repeat to add a light mid-tone grey,
a dark mid-tone grey and black.
Layers Icon
Step 3
t
Change the sketch layer mode

Tap the Layers icon, make sure your
sketch layer is selected, tap on the
‘N’ (for Normal) and select Multiply
to make the layer transparent.
Select ‘Multiply’
Step 4 Add and fill a new layer

t
1 Using the Layers icon add a new layer,

tap on it to reveal the menu, rename it
Light Midtone, drag it down to sit under
the sketch layer and leave it selected.
2 Tap the Colour icon, select the light
midtone from your palette to change the
colour swatch, then hold and drag the
swatch onto your canvas. Your sketch
should now be superimposed on a
light grey background.
Add new layer
New layer dragged

under Sketch layer
t

Digital
Demonstration continued
Selection Colour Step 5 Create and fill shapes
t
icon swatch 1 Create another new layer
immediately under the sketch, name
it ‘White’ and leave it selected.
2 Tap the Colour icon and select
white from your palette.
3 Tap the Selection icon, then tap
at various points on your sketch to
create the first shape you’d like to
keep white on your tonal plan. You
don’t need to be too precise but make
sure the shape is fully enclosed. Hold
and drag the colour swatch onto the
shape to fill it with white.
Tap at corners to create Additional shapes

enclosed space
Step 6 More shapes and how

to ‘undo’
t
1 Turning the Selection icon on and off for

every shape, create and fill shapes for any
other white areas.
2 If you make a mistake or change your mind,
use the Undo tool to reverse each step in turn.
Undo tool
Step 7 More layers and shapes

t
1 Create another new layer, name

it Dark Midtone and leave it selected.
2 Select the dark mid-tone from your
palette and repeat as for your
white shapes.
3 Do the same for any black
areas you might want.
Dark mid-tone
areas added

Digital
Step 8 Final adjustments
t
1 Final adjustments can be made by
adding new shapes to any layer in any
tone. Earlier steps can’t be undone
without losing the interim steps but
the Erase tool helpfully removes areas
of a layer to reveal the layers below.
2 I made my final changes on the dark
mid-tone layer (the layer immediately
beneath my sketch) by adding a white
path and a dark mid-tone tree; and
erasing three strips to ‘reveal’ the
vertical windows on the left.
3 When you’re all done, tap the
Layers icon, then swipe each layer
to the left and ‘lock’ it to protect
against accidental change or loss.
Next month I’ll show you how to expand
your traditional work by using digital
colour blocks to give your drawings
and sketches a contemporary twist. All layers locked
Tony Underhill
Tony lives in Bedfordshire and Final adjustments
normally uses line and wash.
He can be contacted at
tonyunderhill@me.com
t
The finished digital sketch – an easy-to-read tonal plan for an effective future painting

LP08 Chaderton2_Layout 1 30/06/2017 12:53 Page 38
t
On a Mission, watercolour on Bockingford 200lb NOT watercolour paper, 1212⁄ x1612⁄ in. (32x42cm). What you leave out is more important
than what you include.
Go with the flow

Part 1 How to paint lively watercolours. In the first of three articles, Liz Chaderton
looks at the materials you’ll need and offers practical advice on freeing yourself up
LEARNING OBJECTIVES
n Understand your materials and
what they do
n Follow guidelines in technique
and stance
I love watercolour and if you are

reading this, you probably do, too.
Its unpredictability makes it exciting,
but it is not for the faint hearted. Just
when you think that you have finally
made headway, it likes to push back at
you. However if you are willing to put
a bit of thought in, plan a little, be
willing to go with the flow and
persevere, watercolour is wonderful.
There is no right or wrong way of
working with watercolour. I become a
little cross when people say that painting
loosely is best. Think of the wonderful
botanical art or consider the people who
build up images with 20 layers of
t
Liz at Green Park Painting Club (Photographer: Stewart Turkington) transparent wash and still retain great

luminosity; I take my hat off to them.

However, my preference is for painting
loosely and directly, but don’t think for
a minute it is the only way.
Painting loose is fresh, simple and
confident. However, a spontaneous-
looking painting that captures the
subject’s essence needs great
observation and deliberate painting –
with a sprinkling of luck and the ability
to make the most of happy accidents.
To achieve that fresh look you need
to analyse your subject, simplifying it
to shapes of tone, colour and line. Less
is most definitely more when it comes
to watercolour.
The main thing is to enjoy it. Learning
comes from experiments and playing
so love painting for painting’s sake. If
you make a big mistake, turn the paper
over – it is only paper.
My passion is painting animals and
flora, but the same philosophy and
approach applies to any subject you
want to capture in an expressive and
exciting way.
Let’s look at the materials that will give
you the best chance of success. I think
that the less worried you are the better
you will paint. If you have a plentiful
supply of paper and paint you will not
t
Ready Steady Go, watercolour on Bockingford 200lb NOT watercolour paper, 1334⁄ x1534⁄ in.
feel anxious about running out or (35x40cm). Good quality materials you can rely on along with plentiful supplies lets you
messing up. Not only will you enjoy the enjoy painting for painting’s sake.
process more, you will be bolder and
more experimental. but don’t use steam!
3 Handle your paper with care. Your
Paper fingers are oily and you will leave
The support is far more important in fingerprints. If you are buying loose
watercolour than any other medium. paper in a shop don’t buy the top one,
Traditionally we paint watercolour on as people will have been feeling it.
white paper, but JMW Turner painted on
tinted papers and he knew a thing or two! Paint
Now new preparations are available so Because patience isn’t my strong suit,
you can use canvas, but as a starting I like to use tube colours. It is easier to
point look for a good-quality, consistent be generous and to mix up rich creamy
paper. The fibres in cheap watercolour washes. I would always encourage you
paper fluff up, leading to the colours to use the best quality you can afford.
becoming dull and boring. Artists’ quality paints rather than Student
Bockingford is a great all-rounder of quality will reward you in the long run.
a paper. It is consistent, yet economical Student quality is cheaper because some
enough that you needn’t be worried of the good stuff has been left out and
about mucking things up. For this reason you will find that Artists’ pigments have
I prefer to use loose sheets of paper, more life and respond as they move
t
The way you hold your brush can make
rather than blocks. around on the paper. a radical difference. Try to hold it lightly
I like a NOT or Rough surface – the I am not brand loyal and usually look at the end.
texture adds another dimension. If you for good value in my paints. But beware;
feel you are in a rut, try a new surface different brands of the same named l Cerulean/Prussian blue/phthalo blue
or brand of paper. You may be delighted colour can be totally different. Try to l Burnt sienna
with the results! Generally I would buy big tubes; it is hard to be free with l Raw sienna
recommend painting on the largest piece colour if you only have 5ml of it! If you l Raw umber
of paper you can. The size will give you are going to use Student paints then l Dioxazine purple
the space to breathe and move, and you Cotman from Winsor & Newton is l Viridian/phthalo green
can crop it at the end. While we are good and very economic. l Sap green
talking about paper, I very much believe l A small pot of white gouache
life is too short for stretching. If you use Your palette (opaque watercolour) is useful for
at least 140lb paper it should not cockle. A great starter palette is a warm and missing highlights.
a cool primary, a couple of earth colours Colour is a joy, but don’t try to use
Paper tips and perhaps a ‘treat’ colour. This should too many colours in one painting.
1 Small pieces of paper, with small see you through just about any subject: A limited palette will be more
brushes and tiny dabs of paint will l Cadmium yellow/gamboge/ harmonious. As you gain experience
never encourage expression. quinacridone gold/Indian yellow really get to know your pigments. Are
2 If your painting cockles, once it is l Lemon yellow they transparent? Do they stain? Do
totally dry, spray the back with clean l Cadmium red they granulate? Are they a single
water and weigh it down under books l Alizarin/quinacridone rose/carmine pigment or a mix? Such knowledge
overnight. Alternatively iron the reverse – l French ultramarine/indanthrone blue
t
will make you a better painter.

to leave out. Having decided how to

simplify, be definite in your actions
and always remember what attracted
you in the first place.
Where to begin
Here’s a summary of all the best advice
I’ve been given over the years:
l Paint something simple and well,
rather than complicated and fail.
l What attracted you in the first place?
Make this your focus.
l Look for the main tones. The greatest
contrast will draw your eye so put it at
your focus.
l Paint shapes and patterns, not objects.
l Simplify. You are trying to capture the
soul of the subject not the detail.
l Make room for imagination; you don’t
need to resolve everything.
l Do you need a background? If yes,
plan it from the start.
l Plan for and use as few colours
as possible – six or seven maximum.
l Keep your water clean!
l Mix darks from opposites that you
have used elsewhere in your painting.
l Don’t use a colour in only one place.
l Make a variety of hard and soft edges;
t
The Cow with the Zebra Ear, watercolour on Bockingford 200lb NOT watercolour paper, they create interest and movement.
1334⁄ x1334⁄ in. (35x35cm). Loose paintings require thought and planning – loose is not sloppy. l Don’t fiddle.
l Know when to stop and what to
Watercolour tips it’s a good one. Although sable would leave out.
1 Watercolour is transparent. This sounds be lovely, synthetics have come on in l Stand back from your work to have
obvious, but you can paint dark colours leaps and bounds. Look after them and a proper view. If you are close and the
over light and they will mix on the they should last for ages. And please don’t board is virtually flat, it will be distorted.
paper, but you can’t do it the other way. leave them in your water pot – it is the You will only see what your brain thinks
2 Watercolour dries about 30 per cent quickest way of ruining the point. is there, not what is really on the paper.
lighter than when it is wet. So paint l Sometimes watercolour has a mind of
darker than you intend if you don’t Miscellaneous items its own. These happy accidents can bring
want it to be wishy-washy. Palette I like a daisywheel ceramic palette a painting to life. Perfection can look
for the simple reason that it forces you to boring and smug, whereas a few mistakes
Water choose and limit your colours. The danger appear honest and spontaneous. So when
Water is your friend and brings the of using a box with 24 pans is that you something goes wrong, accept it. Trying
pigment to life. Two large pots of water don’t think about your colours ahead of to correct it rarely improves things.
are essential – one to wash your brush time. Six or seven colours per painting are l Loose paintings generally omit detail
and one to mix up clean colours. Change more than enough. and go straight to the heart of things.
them often and be disciplined about it. Painting board You will need a board Luckily the human eye and imagination
Muddy water will contaminate everything. to support your work. I tend to work at likes to extrapolate and fill in the blanks.
A small water spray bottle is incredibly a ten-degree angle so I prop my board For this reason I like to get 90 per cent
useful too. I mix my colours to a full fat on something like a roll of masking tape. through my painting before taking
milk consistency before I start painting. If you like a clean edge to your painting, a break and considering which details
tape it down all round. A hairdryer can will help and which ones won’t.
Brushes help and paper towels to blot your l Finally, a wise person said that you
Good watercolour brushes can be brush or lift pigment are very handy. have to be willing to make a lot of bad
expensive so what do you really need? paintings before you start doing good
I reckon three or four basic brushes Tips for loosening up paintings.
should see you through most subjects: 1 Stand up to paint if you are able. Next month we will look at the
a large Round No. 16, a small Round This helps you to move your arm and building blocks of painting in a loose
(No. 8) and a Rigger (No. 2). A flat brush shoulder, which encourages loosening up. and confident manner – working wet
is a good add on and you may find you 2 Try to paint with large brushes on big up to wet and wet in wet, as well as
want to work with one all the time as you pieces of paper to help you focus on considering edges and texturing
develop a personal style. The Jackson’s painting large shapes; this also techniques. Then we will put it all
Studio range is good. discourages you from painting details. together in a step-by-step portrait of
Your Rounds should have a good point. 3 Your first mark is often the best so try a cat in the following month. LP
To check, wet it thoroughly, tap it on the to touch the paper only once with your
side of the pot and if it comes to a point brush.
4 Don’t dab. Use your large brush until Liz Chaderton
the painting is nearly complete then move Liz is a professional artist based in
Tip If your tape is too tacky it will tear to a smaller round or a rigger for smaller Berkshire. She runs classes and workshops,
your paper when you remove it. Take shapes and lines. and exhibits across the country. Visit
the stickiness off by rubbing it on your 5 Painting requires thought and skill to her website www.lizchaderton.co.uk for
clothing beforehand. The lint will help make something special. Given that it is details or her blog for tips and ideas
stop the tearing much easier to add to watercolour than http://lizintheshed.wordpress.com/
to subtract, take time to consider what

LP08 41-43 Paul_Layout 1 30/06/2017 12:59 Page 41
Acrylics
An acrylic view
Part 4 Understand the nature of fluorescents and mediums in your
paintbox before following an acrylic demonstration with Tony Paul
LEARNING OBJECTIVES
n Understand the nature of acrylic
fluorescent colours
n How to choose and use mediums
n Turn a watercolour sketch into
an acrylic painting
I ncluded in most manufacturers’ acrylic

ranges are fluorescent colours. These
are useful for signwriting and craft
use, but I have also seen them used in
fine art work – particularly in abstracts.
I understand that their vivid quality can
invigorate a painting, but fluorescent
colours are not suited to fine art,
because they will fade.
Choose your medium

There is also a raft of mediums available
for use with acrylic colours. These will
extend the possibilities of approach.
Besides impasto gels and modelling
pastes that bulk out the colour
specifically to create density, other
texture mediums include pumice, black
lava, glass beads, crackle finish and sand.
Manufacturers also produce gloss and
matt mediums, both of which are
designed to extend the colour and make
it more transparent, which is useful for
glazing techniques as well as increasing
or reducing gloss. Many of the more
exotic mediums, such as the iridescent
and sparkle mediums, are included
primarily for craftwork, for which
acrylic colour excels.
There is a conception among many
students that if they don’t use mediums
they are not painting properly, but this
is a fallacy. Mediums are designed to
achieve certain effects, most of which
will not be needed by the average
painter. As with any other type of colour,
acrylic is perfect to use without any
mediums at all, so there is no need to
buy any, unless you need their effects.
Although acrylic is capable of imitating
t
The finished painting Docks, Mumbai, Liquitex acrylics on Belle Arti canvas panel,
most other wet painting techniques, it 1534⁄ x1134⁄ in. (40x30cm). Turn over the page to paint this scene with Tony.
has a natural tendency to translucency.
In using this effect, it reveals its own the water alight with sparkle and playing The painting worked quite well and
character. on the worn concrete of the dock pier I thought might be worthy of a frame,
with soft and hard shadows. but I don’t like cutting work out of
Your subject At the time I painted the subject in my sketchbooks so I took this opportunity to
For the demonstration painting (above) multi-medium sketchbook. I used the re-work the subject for this demonstration
I worked on a subject that I first saw Canson Mi-Teintes pastel paper section, in acrylic.
from the deck of a cruise ship when my selecting a slightly purplish off-grey. The painting was worked using
wife and I were on a world cruise. The I used watercolour, but as I was working translucent layers, and adding white
view is of the docks in Mumbai, India. on a mid-toned paper I added white occasionally to create opaque effects.
Our ship had docked, it was early gouache to many of the colour mixes The colour was applied thinly – I rarely
evening, and the sinking sun was setting
t
to opacify them somewhat. paint ‘lumpy’ pictures. LP

Acrylics
Demonstration Docks, Mumbai

I began by tinting a Belle Arti canvas panel from Jackson’s and
using Liquitex acrylic colours primed it thinly with a pale honey
colour made by blending white with yellow ochre and red oxide.
You will need

n Surface n Liquitex acrylics
l Canvas panel l White l Napthol
153⁄4x113⁄4in. l Yellow ochre crimson
(40x30cm) l Red oxide l Phthalo blue
l Cobalt blue l Burnt umber
n
l Raw sienna
Rosemary & Co
l Viridian hue
Ivory brushes
l Various filberts
permanent
t
Step 1
Setting the panel on my easel, I placed the sketchbook
alongside for reference.
Step 2
t
With a blend of white, red oxide and cobalt blue I outlined the
elements of the composition and with a medium-sized Rosemary
& Co Ivory filbert brush roughed in the darker elements of the
subject. I used the edge for the drawing and the flat for the
larger shapes. All were scrubbed in thinly.
Step 3
t
1 The first colour lay in was to establish rough colour and

tone areas. See how the cooler areas of the background and
foreground contrast with the warmer, central part of the dock.
2 I retained the use of the filbert, as the gentle spring of the

bristles is good for creating texture with the translucent colour (see
detail, left). This initial layer later received other layers, to build
more texture and vary the colour. Working the sky loosely with a
blend of raw sienna, white and viridian hue permanent, I cut the
colour into the skyline to define the buildings. I then mixed a purple
from napthol crimson, phthalo blue and white, and suggested
buildings over parts of the existing work.

t
Step 5 Step 6
t
On top of this I laid linear I detailed the cranes in a blend

elements to hint at nearer of phthalo blue and burnt umber,
buildings, using a mix of viridian before roughing in the stern of
hue, phthalo blue and white. This the ship and the portakabin at the
put a sense of depth into the area, far end of the dock. I finished this
giving the effect of closely packed stage by working on the diagonal
buildings on the far shore. area of the dock.
t
Step 7 Step 8 The finished painting Docks,
t
Here is the development of the middle ground In the final stage I drew all the detail to the Mumbai, Liquitex acrylics on Belle Arti
dock posts, the trees, huts and their shadows. Then worn concrete of the dock, put sparkle on canvas panel, 1534⁄ x1134⁄ in. (40x30cm)
the windows of the observation tower went in using the sea and added the figure – an important
a black made from napthol crimson and viridian element of the scene. I enjoyed working on
hue. This was applied thinly to ensure it didn’t look
too hard. The final touches in this stage were to
this painting with my Liquitex acrylics. I love
acrylics, and in my recent exhibition noted
Tony Paul
If you have any questions about
strengthen the dock’s concrete areas with layers that about half of the works were in this this series on acrylics, please email
of colour, develop the lines on the dock’s concrete medium. Next month I will begin a series of tonypaulart@btinternet.com
and reinforce the shadow cast by the tower. three articles on how to compose paintings.

LP02 Holiday Goudie_Layout 1 29/06/2017 09:56 Page 38
Reader holiday
Paint in Antibes and September

16 to 23,
the Côte d’Azur 2017
with Lachlan Goudie ROI
Antibes and the Côte d’Azur

The special light, the wonderful warm
Mediterranean colours, an interesting
rocky coastline and the verdant
vegetation on the Cap d’Antibes and
Cap Ferrat, as well as elegant villas and
the attractive fortified town of Antibes
set against a backdrop of the Alps have
appealed to artists over the years and
make the French Riviera one of Lachlan
Goudie’s favourite places to paint.
The painting programme Travel and hotel arrangements

Each day will be spent painting on the Cap Flights are from London Gatwick to Nice.
d’Antibes using local buses for greater freedom Accommodation is in an intimate
Lachlan Goudie’s to access the many different painting locations. 13-bedroomed Provençal Mas (former
work has evolved from the Scottish There will be one day trip to Cap Ferrat to farmhouse) with a secluded garden and
tradition of figurative painting, and sketch in the gardens of the Villas Ephrussi swimming pool.
incorporates portraiture, still life and de Rothschild, Kérylos and fashionable It is conveniently located midway between
landscape, with drama and colour Beaulieu. Lachlan will encourage you to paint Antibes and Juan-Les-Pins. It is approximately
underpinning his work. He has won every day and will assist students with an a ten-minute walk to Antibes old town and
numerous accolades including the organic approach to techniques. He is very the beaches. Dinners are included and will
RSP prize at the Royal Glasgow happy to show individuals how to resolve be in a variety of local restaurants. An
Institute of Fine Arts, the Norman problems and, where appropriate, he will do accompanying travel escort will look after
MacFarlane Prize at the Royal a demonstration, although there will be no you, taking care of all the arrangements
Scottish Academy and the ROI Oil group demonstrations. Lachlan will be and assisting you with local transport.
Painters Award for young artists. He sketching and working in gouache and
regularly exhibits in major exhibitions watercolour, but all media are welcome. This l Price per person £2,995
in London, Scotland and New York. painting holiday is ideal for intermediate and l Single room supplement £350
Lachlan is also a captivating more experienced students. You may choose l Number of painters 10 to 12
television presenter and art critic. to work alongside Lachlan or independently. l Fully inclusive except for lunches
For full details contact 01825 714310

art@spencerscott.co.uk www.spencerscotttravel.com
Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 led by renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, Amsterdam with Ken Howard OBE RA, Belgium
and Holland with Pamela Kay NEAC RBS RWS, southern Italy with Richard Pikesley PNEAC RWS, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP08 45-47 Strode_Layout 1 30/06/2017 13:04 Page 45
t
Formby III, oil on canvas board, 10x12in. (25.5x30.5cm). Different times of day will offer different challenges with the light and
atmosphere of your painting.
Mersey shore
Part 1 Here’s how to find inspiration close to home. Steve Strode discusses his
latest painting project and offers a wealth of hints and tips to help you find yours
a few still lifes and attempted the odd shells, driftwood and seaweed, which
LEARNING OBJECTIVES portrait of the cat, but interest can wane are drawn at home. These finds could
n Focus on observation, note without real focus to your painting. have been drawn in situ, but at home
taking and photography Setting a project outdoors will give you I have more control over the elements,
that focus and can yield a decent body of the background and lighting.
n Improve your wellbeing and work from even the shortest of journeys. Initially I travel light, unencumbered by
your painting We all have a potential project waiting a heavy load, just exploring the landscape
to be mined on our own doorstep. with nothing more than a camera,
E veryone should make an

appointment to reconnect with
nature and their creative side now
and again. The benefits are twofold:
developing a project will see you making
Whether it’s a tract of coast, forest,
woods, a park or a canal, find a patch of
nature that’s easily accessible and begin
exploring it with an open mind.
sketchbook and a small watercolour box
in a rucksack. I may make sketches or
take photographs of whatever takes my
fancy, be it still life, landscape, flora or
fauna. These initial walks allow me to
more paintings than you ever thought Make a start visualise any picture possibilities, or make
possible, and there are benefits to your When you’ve settled on a possible site, notes on what materials I might use in
wellbeing into the bargain. take a couple of walks, but remove any the future to interpret what I see.
An on-going venture of mine is plotting pressure to create a finished painting just
a course along the Mersey shoreline, but yet. Simply enjoy the time to reconnect Photographs
the methods I employ can be used to fit with nature and gather resources that may Take time to stop and look around. Use
most projects so why not give some be used at a later date. Those resources a camera, start big and finish small. Start
of them a try? can be anything from sketches, photos or big by taking pictures of the whole scene
Not knowing what to paint can interesting bits and pieces you’ve picked or subject, and gradually take in more of
sometimes be a problem for painters. up along the way. In my case, walking the details. Sometimes a small detail can
have just as much impact or interest as
t
You’ve painted in the garden, done the strand line on the beach throws up

Inspiration
t
Iron Man, Out at Crosby, oil on board, 512⁄ x8in. (14x20cm)
a sweeping landscape. Once you

start taking pictures, the ideas will
start flowing so write these down in
a notebook or sketchpad.
Back home these photographs, like
drawings and painted studies, will
trigger off starting points for new work.
Sketches and notes

A sketch can be anything from a few
seconds long to a more worked up
drawing that takes a little longer. I might
also make small watercolour studies,
but I bear in mind that these walks are
more about the process of sitting still,
observing and collecting ideas. This time
spent alone is precious so don’t feel
pressurised into producing a finished
painting or concentrating on any genre
in particular, just spend time in the
landscape and be ready to question
what you once took for granted.
The more you begin to look at
what’s there, the better you’ll become at
drawing and painting. Take the time to
observe, and you’ll begin to notice that
the sky is not always blue nor the grass
always green. The value of attending
closely to the experience of looking, and
working from life will no doubt improve
your drawing and painting skills.
Annotating your work with a few
sentences or adjectives can recapture
the moments we spend in the landscape.
t
Pier Head, oil on board, 8x8in. (20x20cm) If you intend to paint at home from the

t
Crosby Dune, oil on canvas board, 8x10in. (20.5x25.5cm). Revisiting quiet places is ideal if you’re uneasy about painting in public.
Alternatively, you may have managed to practise in your own garden (see last month’s issue) and are now growing in confidence.
resources you’ve collected, recording weather conditions or illumination as producing a decent body of work.
what you hear, smell or feel can be a will all point to painting possibilities. The benefits to your art and your health
powerful reminder that helps recapture My Mersey Shore project has seen me that come from setting aside time for
the visual or emotional experiences. produce landscapes, intimate portraits of yourself, even if the daily routine
flora and fauna, and studies of findings suggests none is available, will do you
Start a journal on the beach. Recently I painted on the world of good. Commit to at least
If you’re curious enough you can washed-up bottles and sea-smoothed flat one walk a month, and do as little or
add more interest and further fuel your stones; the possibilities really are as much work as you want.
engagement beyond a couple of studies. endless. French philosopher Gaston Bachelard
Your journal not only becomes an album once said: ‘Each of us should make a
of your work, but also records your Improve your wellbeing surveyor’s map of his lost fields and
experiences, observations and A new buzzword around at the moment meadows. In this way we cover the
reflections. Add maps, snippets of local is ‘mindfulness’, or being in the moment universe with drawings we have lived.’
history, interesting facts, or other artists and aware of the now. Worrying about I believe we all need a place to escape
who have tackled similar subjects. Sir the past or fretting over the future isn’t to, somewhere to put aside commitments
Kenneth Clarke once noted: ‘It is often good for our mental health. Professor and worries, and just relax. I once heard
said that Leonardo drew so well because Mark Williams, former director of the that golf was a good walk interrupted by
he knew about things; it is truer to say Oxford Mindfulness Centre, notes that hitting a ball. Why not try a good walk
that he knew about things because he it’s all too easy to stop noticing the interrupted by drawing, taking pictures
drew.’ world around us, but we can become or writing notes for your journal? Wander
The act of drawing and keeping more aware once we start experiencing and wonder, set about a project, and
a journal will encourage you to want things anew, things we often take for map your own lost fields and meadows.
to know more. Become curious. The granted. He says: ‘This means waking Next month I’ll take you through the
journal might be a new concept to most up to the sights, sounds, smells and painting of one of the scenes I came
painters, but it’s great for enriching any tastes of the present moment.’ across on my travels along the Mersey
project you undertake and underpinning Being in the moment isn’t a new shoreline. LP
your practical work. phenomenon, ask any artist about the
meditative state experienced when
Revisit an old site painting or drawing, no surprise then
Preliminary work done, you’ll have
a better idea of what to focus on when
that the benefits of mindfulness have
been attached to drawing and painting
Steve Strode
Find out about Steve, his work and classes
you next venture out. Repeated visits to of late. The setting of a project and by visiting www.stevestrode.blogspot.com
a site make for a fuller understanding of immersing yourself in nature tick all the or find him on www.painters-online.co.uk
the place. Different painting genres, boxes for health and wellbeing, as well

LP08 Webb_Layout 1 30/06/2017 13:08 Page 48
Watercolour
Take three washes

Part 1 David Webb begins a short watercolour problem-solving series
with a look at the value of tonal variation in your paintings
LEARNING OBJECTIVES
n Achieve clear tonal work
n Understand the difference
between colour and tone
n Practise watercolour techniques
W atercolour is a versatile medium,

which can be used in a variety
of ways to achieve a pleasing
result. My own preference is to work in
the tradition of pure watercolour, which
means that I rely solely on the whiteness
of the paper surface to provide highlights
and lighter tones. This also means that
I don’t use opaque colours or white.
Instead, I depend on a series of
transparent washes to create a range
of tones. Any bright highlights, such
as you might find on reflective surfaces
like glass, are either painted around
or lifted out with a damp brush.
Light to dark
I work from light to dark, in other words
I begin with the lightest washes and add
further, steadily darker washes until the
darkest darks have been achieved.
t
Tonal Scale and Window, ivory black watercolour, 912⁄ x712⁄ in. (24x19cm). A simple
Although there are no strict rules on the monotone sketch comprised of three mainly flat washes of light, medium and dark, plus
number of washes, the more washes you untouched areas for highlights.
apply, the greater is the risk of disrupting
the under washes, which can lead to there may be several more tonal values. be a good idea. For all the sketches
streaks and drying marks. The fewer the However, if we aim for three, it allows you see here, I used Cotman ivory black.
number of washes you apply, therefore, us to approach the process methodically Tonal Scale and Window (above) was
the cleaner and fresher your result. and to have an end result in mind. painted in three washes of light, medium
Most of us, when we take up Watercolour requires that you think a few and dark. I left a few areas of the paper
watercolour painting, tend to err on the steps ahead so it helps to have a plan. untouched in order to achieve a few
side of caution when mixing colours or highlights. You may notice that the
diluting them in a wash. This hesitancy Tonal values darkest tones in this sketch appear darker
can lead to weak and insipid washes, for This month I want to concentrate than the darkest wash in the tonal scale.
which we compensate by applying more mainly on the importance of seeing and I actually used the same wash for both
washes until we think they’re dark interpreting tones and making monotone but, of course, in the sketch of the
enough. This is when our paintings start sketches in watercolour. This is something window, there are already two previous
to look overworked and laboured. Streaks I often do before working in colour. washes underneath, which would make
may appear and those initial lovely bright These sketches allow me to break down the final wash appear darker.
colours turn to mud. the subject into manageable parts by
focusing on shapes and tones, and show First wash
Three washes how these elements can work to make a I invariably begin with a pencil
It is quite possible to achieve paintings pleasing composition, without having outline before I begin painting. I use
with great depth and variety of tones the added worry of mixing colours. a soft pencil, such as a 3B or 4B, as
by using just three washes. These three Of course, you could make these these are kinder to the soft surface of
washes can be simplified into light, sketches in pencil or charcoal, but I find the watercolour paper than any of the
medium and dark. Working from light it makes more sense to adopt the same H grades. My aim here is to draw a
to dark, we first apply the light wash medium that you would use to complete series of large shapes, concentrating
then the medium and finally the darkest. your finished paintings. It requires the on proportions. If I draw too much,
Highlights are left as untouched paper, same method of mixing paint to the it results in a coloured drawing rather
which in effect gives us an extra, required strength. The only difference is than a painting. I prefer my brush to
fourth tonal value. that you use just one colour. So, as long do most of the work.
Obviously, when you look at a subject, as you are able to mix a strong dark tone The first wash represents all the lightest
there are more tones than simply light, with it, you could use black, sepia or tones, apart from highlights, and covers
medium and dark. Between each of these even indigo. Obviously a yellow wouldn’t most of the paper area. A common

t
Locomotive, ivory black watercolour, 10x7in. (25.5x18cm). Simple shapes, highlights and strong tones are all that is needed to suggest
t
the scale and powerful form of this steam locomotive. Some wet-into-wet technique was used to achieve the graded wash on the front.

Watercolour
to increase the strength. This wash

requires a little more care than the first.
Use it to cover all the areas that you
think represent the medium-toned areas
in your chosen subject. Of course, you
must avoid covering any areas that you
wish to represent lights and highlights.
It’s usually at this stage where many
people are tempted to start painting
individual objects in detail. Avoid this at
all costs. Instead, paint large shapes and,
wherever possible, allow these shapes to
join one another, known as ‘lost edges’.
Squint at the subject and you’ll discover
that medium-toned areas become joined
into larger shapes and edges are lost.
If you become lost in fine detail at this
early stage, you’ll lose the freshness and
your painting will become a collection of
little pieces rather than a cohesive whole.
Most likely there will be several grades
of lighter or darker tones that fall
between light and medium, or medium
and dark. Sometimes you’ll see a tubular
or spherical feature that gradually
transitions from light to dark. Where
these occur, I may add water to an
area of the paper and softly blend the
pigment to the required tone, using
a graded wash.
At the end of this stage, the sketch
should be taking on some form and
starting to come to life. Remember,
avoid details and keep in mind the
bigger picture.
Third wash
The third and final wash describes the
darkest tones within the scene. Deep
shadows and dark details can be added
at this stage. Even though this is the
darkest of the three washes, it is still
very important that the wash remains
transparent and is fluid enough to flow
freely like the previous two washes.
It should not become so concentrated
that the paint becomes thick and
causes streaks.
Even in the darkest areas of Guildhall,
Totnes (above right) the whiteness of
the paper is allowed to show through
the three layers. In all the illustrations
t
Sunlight Through Columns, ivory black watercolour, 10x7in. (25.5x18cm). The use of white here, in fact, I’ve kept to the three
paper here, for the highlights, gives the impression of looking into strong sunlight. washes. If you study them, you should
be able to identify the three separate
problem is mixing the correct strength Use this wash to paint all the light-toned washes. In Reflection and Ripples (right)
of wash. How do you avoid it being too areas of your painting, barring the I was careful to leave untouched areas
weak or too strong? The easy answer here highlights. In the past I used masking of the paper when applying the first
is that it will come with practice, but that’s fluid to preserve these areas. However, I lightest wash.
not much help, is it? now prefer to paint around the highlights Small monotone studies are a useful
So, first of all, add water to the mixing instead. I’ve nothing against the use of way of learning the basics of working
well. You’ll have to estimate just how masking fluid, but I tend to put in too from light to dark. Try to use the
much water you’ll need to cover the area many fine details if I use it, simply biggest brush that you can to avoid the
you are painting. In the case of the first because I can. By abstaining from it, temptation of focusing on small details.
wash, this will be most of the paper area. I am forced to make choices of what to Next month, I will again focus on
Now, pick up a little pigment on the end leave out, which produces the loose painting in three washes – this time
of your brush and add this to the water effect I aim to achieve. You may, of we’ll have colour to think about, too. LP
in your mixing well. Mix it in until it has course, prefer to mask out these areas.
completely dissolved then paint a strip
onto a piece of scrap watercolour paper. Second wash
If it’s too weak, add a little more pigment. The second wash represents all the David Webb
If it’s too strong you’ll need to add a little medium tones in your painting; this wash Find out more about David, his
more water. Keep in mind that this is the will be stronger than the previous one. work and his classes by visiting
lightest wash so it is important that you As it is just a monotone sketch, you could www.davidwebbart.co.uk
don’t make it too dark. add more pigment to the previous wash

t
Guildhall, Totnes, ivory black watercolour, 612⁄ x10in. (16.5x25.5cm). The large areas of medium and dark tones in this monotone
sketch help to emphasise the small, but brightly lit area.
t
Reflection and Ripples, ivory black watercolour, 10x14in. (25.5x35.5cm). A straightforward application of light, medium and dark
washes, with reserved highlights, creates a simple but bold monotone painting.

LP08 Parashko_Layout 1 30/06/2017 16:08 Page 52
Oils
Night vision
Part 2 Practise brushstroke techniques as you follow
Elena Parashko step by step through the painting of
a night scene in oils, which is also suitable for acrylics
LEARNING OBJECTIVES
n Practise brushstrokes to
create texture
I f you have ever watched the
movement of the sun and moon
across the sky, you will notice
just how quickly they rise and set.
This month I want to show you the
variety of techniques and colours
I use to paint nocturnes, from how
to create the effect of the moon using
n How to paint perspective Position, colour and light can change titanium white and cadmium yellow
using oils dramatically in an instant. This is a medium to creating perspective for
situation where photographs can a coastal scene, reflections and
n Mix subtle shades to create successfully capture a fleeting atmosphere – all under the cover
a night painting moment to be painted later. of darkness. LP
YOUR REFERENCE MATERIAL

These photos (below and opposite) were taken on Hamilton Island in Australia when the full moon was rising over Catseye Beach. Over a period
of 30 minutes I took a succession of photos as the moon continued to rise and clouds drifted across the sky in changing patterns.
t
When I later studied the photos on my computer, I chose this particular moment to paint because of the appealing cloud formations,
strong reflection in the water, colour in the sky and level of light.

Oils
t
This photograph was taken earlier and shows that it was still t
This photograph, which was taken later, was too dark and
too light and didn’t show an interesting intensity of colour. clouds began to obscure the moon.
Demonstration Moonshine
You will need

n Surface
l Canvas panel
18x21in. (45x54cm)
n Brushes
l Flats Nos. 8 & 2
l Filberts Nos. 6 & 2
n Oils
l Titanium white
l Ultramarine blue
l Cerulean blue
l Blue black
l Permanent mauve or
dioxazine purple
l Cadmium yellow
medium
l Raw umber
l Yellow ochre or yellow
oxide
n Miscellaneous
l Willow charcoal
l Gloss varnish
Step 1
t
1 Draw the basic composition with

willow charcoal. I only deleted the
two wispy clouds next to the moon
as I felt they were a distraction.
2 Paint the lightest blue of the sky brush and the lightest sky colour,
at the horizon with a mixture of paint the moon, keeping the
cerulean blue, titanium white, edges slightly fuzzy. Add
ultramarine blue and blue black. highlights to the upper left side
Work your way up the sky painting of the moon with titanium white,
between the clouds by making this warmed slightly with the smallest
original sky colour darker with amount of cadmium yellow
ultramarine blue. medium.
3 At the very top of the sky add 5 Roughly indicate the shadows
permanent mauve. Do not leave the on the lower right side of the
canvas bare where the moon will go, moon with a dark grey made from
but paint sky colour over this area. a mixture of the dark sky colour,
4 Using a medium-sized filbert blue black and titanium white.
t

Oils
Demonstration continued
2 The three headlands

t
Step 3
are at varying distances 1 For the underpainting of the ocean,
away from the viewer. make a dark, medium and light purple.
The headland on the Begin by mixing the darkest shade first
right is the closest so its with permanent mauve, yellow oxide,
colours are the darkest blue black and titanium white.
and most intense. For 2 Mix a mid-tone shade by adding titanium
the rock face at the white to some of this dark colour.
top of the headland, 3 Make the highlight by adding more
t
Step 2 use ultramarine blue and raw umber. titanium white to the mid-tone.
1 To complete the clouds, mix a mid-tone 3 For the vegetation covering the rest of 4 Apply the darkest tone along the horizon
grey by adding more titanium white to the headland, add yellow ochre into this between the headlands.
the shadow grey then a highlight grey by mix to green it slightly. 5 Paint a strip of the lightest colour only
adding titanium white to the mid-tone grey. 4 For the headland on the far left, which across the middle third section of the ocean
As the moon is reflecting light onto the is a bit further away, add a small amount where the moon will be reflecting its light.
upper right side of the clouds on the left of blue sky colour to the closest headland Apply the mid-tone to most of the ocean then
and onto the upper left side of the clouds vegetation mix. smoothly blend the darkest purple towards
on the right, this is where the highlights are 5 For the most distant small headland, the shoreline.
concentrated. Use a filbert brush to shape use the same mixture lightened and 6 For the underpainting of the sand, mix
rounded forms and blur the edges of blued slightly by adding ultramarine two colours. Make the darkest shade with
clouds into the background sky. and titanium white. raw umber, permanent mauve, yellow
oxide and titanium white and apply in
the foreground. Lighten this colour with
titanium white and apply up to the shoreline.
Step 4
In the moonlight, subtle form is visible on the headlands. For
t
the headland on the right, define the rock face with a small filbert
brush by adding a small amount of titanium white to the brownish
underpainting colour. Indicate the vegetation by adding titanium
white to the underpainting colour of that section.
The same process applies to

t
the headland on the left and in

the distance. Add a small amount
of titanium white to the original
underpainting colours and apply
a hint of form to make up the
valleys, ridges and vegetation
with a filbert brush.

Step 5
t
1 To create the gentle waves of the ocean use all three of the sea
underpainting colours and streak them horizontally across the canvas.
For the more pronounced waves, use the darkest tone then apply the
lightest tone directly above it with a small flat brush.
2 For the reflected moonlight on the water use the moon highlight
colour (titanium white with a touch of cadmium yellow medium) in
a band of horizontal streaks, making sure to leave slivers of purple
underpainting showing through between brushstrokes.
3 Ensure that the reflection of the moonlight on the ocean is directly
below the moon with some lines wider than others. The strongest
moon reflection is near the horizon. Add a cast shadow underneath
the wash meeting the shoreline with a line of the darkest sand colour.
t Step 6
Elena
Add texture to the sand with a lightened Parashko
version of its underpainting colour. Use For information
the edge of a small flat brush to make about Elena, her work
repeated dabbing movements. Apply and classes, visit
more of this lighter colour towards the www.elenaparashko.com
top and central area of the sand.
t
The finished painting Moonshine, oil, 2114⁄ x1734⁄ in. (54x45cm)
www.painters-online.co.uk SUMMER 2017 55

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T H E P R AC T I C A L MAG A Z I N E F O R A R T I S TS BY A R T I S TS – S I N C E 1 9 3 1
professional artists, covering all subject matter
Refresh and media, to inspire, inform and guide your
your style technical and creative development
Ideas to try from Ian Cryer, president of the ROI
PRA CTICAL
SEASCAPES IN ACRYLICS
POINTERS FOR
REALISTIC SEASCAPES
When trying to paint realistic seascapes
it is helpful to split them into three
distinct areas, and to think carefully
about adding other elements such as
figures or boats
STAGE TWO
When planning
the composi
details and lose tion it is all too
marked the main
sight of the bigger easy to concentr
ate on the STAGE THREE
picture. Using Starting with
structural bands, a thin white, the far distance,
interest such as well as the I roughly
as the crest of position of key and colour to I added subtle
The middle distance The foreground two specific the waves. By points of create the form variations in
marks or shapes identifying and of marks were of approaching tone
In my experience this is often the trickiest This is the area around and includingmarks,
the thus avoiding in other areas, plotting one needed to suggest waves. The smallest
I set the scale or breakers. As distant waves
getting carried for subseque I have included beyond the
area to paint convincingly. The repetitive point at which the sea meets the shore and away nt this recedes a small portion
also, by getting of sky, I ensured
nature of marks makes it all too easy to it requires the most attention if you want lighter nearer that
the horizon
switch off and revert to painting from to achieve a more realistic effect. Whether
imagination, painting what you think you see the waves are gently lapping or crashing
as opposed to what is actually there. Whilst it onto the shore, it is important to observe
STAGE FOUR
I concentrated
is not necessary to paint every single mark, how a wave breaks and then recedes only on the middle
pattern made distance, taking
careful observation of both the size and to be overtaken by yet another wave. This by the surf. The care to observe
patterns in this size and shape the
pattern of marks in this area will enable the is where the wave is most transparent and area indicate of the marks
hard and soft a gentle swell, and
edges adds to and a combina
The background viewer to use their own imagination to fill in the colour of the sand or rocks beneath are the feeling of
movement
tion of
This is the area nearest to, and including, any gaps revealed. Similarly, as waves crest and
break, shadows and reflections are created. FINISHED PAINTI
the horizon, specifically where the sea
Summer Surf, NG
meets the sky. The eye is naturally drawn Don’t overdo the white surf, though – acrylic on canvas, 1
Finally I tackled 36 ⁄4⫻48in (92⫻122
to the horizon, so it is essential to control Putting objects in your white can be very opaque and soon
how the water
the foregrou
nd. Particula cm).
r attention was
the size of any marks or objects near it – if seascapes (below right) overpower the image
colours of the
meets the shore:
notice how the given to
you are not careful it is easy to create the Whether you prefer seascapes with or wave changes pattern and
shadow and as it rolls onto
some reflection the sand. A small
feeling of the sea going uphill, or a wall of without objects in them is personal choice. If the wave from s help to
water. Likewise if your horizon isn’t straight you do include other elements you should do the beach. I revisited separate the leading edge
of marks and all areas to ensure of
then the sea can appear to be slipping to so carefully. The addition of a figure or boat that areas were a balance
added the finishing integrated; a
touches few extra highlight
one side, creating a very unsettling effect can provide a point of focus and a sense of s
for the viewer. Depending on atmospheric scale and life to a work, but placed in the
conditions the horizon may appear quite wrong position or at the wrong size they can
clear on some days and barely visible on become a distraction. Mixed messages can
Ocean View, acrylic on canvas, 351⁄2⫻351⁄2in (90⫻90cm)
others; either way, to ensure a sense of make an image confusing to look at and
perspective or depth, keep your tones therefore less successful, and less appealing
closer together and your colours less to the viewer. Consider instead using a
saturated the nearer they are to the cresting wave or area of colour or light or
PLUS!
How to create whites in watercolour
How to paint realistic horizon sparkle to create focal points
DEMONSTRATION Summer Surf

Draw & paint selfies to develop your
key skills
seacapes in acrylics KEY POINTS FOR
SUCCESSFUL
SEASCAPES
Spend time observing
and recording
STAGE ONE
I prepared the canvas with a
couple of coats of mid-tone grey,
Jo Quigley
studied at Winches
Try a new approach to painting Jo Quigley reveals her systematic approach to painting Keep the horizon which allowed me to judge tones and Kingston
ter School of
University, and
Art
painting before taught
summer trees in watercolour realistic seascapes in acrylic straight more accurately and reduced the
amount of more expensive demonstrates
turning professio
to art societies
nal. Jo
Control the size and across the
pigments needed later on. Using a south east of
shape of your marks England – for
more details
Maximise the power of shape & Use a limited palette limited palette including cobalt
blue, brilliant blue, phthalo green,
see www.qu
igleyarts.co.uk
suggestion 28 artist August 2017 www.painters-online.co.uk

Pay attention to the
details burnt sienna, raw sienna and
titanium white, I worked quickly, www.painters-o
Don’t overdo the nline.co.uk
blending colours from cooler
DREAM BIG & become white

nearer the horizon to warmer in
the foreground. Much of this was artist August 2017
WATERCOLOUR ACRYLICS FLOWERS the best painter you can be! painted over in subsequent layers,
but it did help to create a unifying
effect
31
Use warm & cool How to paint a realistic Fun & easy ways to !I N C O N V E R S AT I O N 30 artist August 2017 www.painters-online.co.uk
contrasting colours seascape using a depict flowers with

for impact systematic approach collage, acrylics & oils
A head for heights
Janet Kenyon tells Susie Hodge how she captures both
natural and artificial light and achieves her multi-layered style in her
award-winning watercolour paintings
Receive W
ith her unique and
innovative use of
watercolour, Janet Kenyon is
recognised as one of the
UK's leading watercolourists. She has
won many awards and competitions,
including, on two occasions, the most
prestigious showcase of contemporary
watercolour painting in the UK, Smith &
Williamson Cityscape Prize in the The
Sunday Times Watercolour Competition,
first in 2009 for her painting Northern
6 issues for
Lights, Blackpool and then again in 2016
for Gridlock (Manhattan) (left). As well as
being popular with private collectors in
Britain and abroad, her paintings have
also been exhibited in many leading
galleries, including the Mall Galleries in
London, The Royal Scottish Academy in
Edinburgh and The Lowry Gallery in
Salford.
Early years
Janet grew up in Bolton in Lancashire
and on leaving secondary school she
just £15!
went on to study at Bolton College of
The Golde
Art & Design. In her late teens she on Bocki n Mile, Blackp
ngfor ool, water
moved to Leeds to study at Leeds (53⫻74cm). d 90lb (190gsm) colour
Polytechnic, where she attained a BA ‘I particularly enjoy the Not, 21⫻2 1
Hons in Graphic Design. ‘College gave challenge of Skylight, Manhattan,
‘I was captiv
ated by the
9 ⁄4in
capturing both natural watercolour theoncolours way the
and artificial light and Bockingford 250lb (535gsm)
(53⫻74cm).
Not, 21⫻29
wet autum
1
⁄4in
of Blackp
n evenin
ool's illumi
rain reflec
nations on
ted
how it affects the subject This is a view from the
g.’ a
Gridlock (Manhattan), 2016, watercolour

’ looking across the East
Empire State Building,
River, Manhattan,
Evening
View from
New York City Edinburgh, Salisbury
on Bockingford 90lb (190gsm) Not, 291⁄4⫻21in watercolou Crags,
me time to explore different Not, 29 1⁄4
(74⫻53cm). ⫻21in (74⫻5 r on Bockingford
techniques in a stimulating more. ‘I don't stick to This vista 3cm). 90lb
any particular was painte
This was the winner of the Smith & environment. I'm still combination of colours, Holyrood d in Edinb
learning now.’ Her it all depends Park, urgh's
Williamson Cityscape Prize in The Sunday career path was quite
straightforward:
on the subject and what
I want to north across from Salisbury
Times 2016 Watercolour Competition. It's a convey. I mix all my towards Crags , looking
‘I've always enjoyed colours from just the Firth
painting and was of Forth
view from the One World Trade Centre, especially encouraged six: warm black, bronze,
by my teachers fuchsia,
looking north. ‘My inspiration for painting at primary and secondary medium blue, antique
school. My gold and
this was after a recent trip to New York. Whilst decision to follow an turquoise. I use the
art career was same set of colours
viewing the city from the One World Trade always an easy one.’ for all my paintings but
mix from them Janet
Centre, I was taken by the sheer expanse of all the different shades was born Kenyon
Light, structure and needed for in
buildings all concentrated into a relatively each individual painting. studied art Bolton in Lancashire
reflections For example,
in my painting Gridlock, at and
small area. The way the light and shade (Manhattan) I Design for Bolton College of
played on the structures, all fighting for After working with many used these colours, two years Art &
different but added more attended . In
space, organised, yet chaotic, caught in a materials, Janet discovered contrast to create the
light and shade. gained a Leeds Polyte 1977 she
a love for ‘I have tried many types BA Hons chnic and
gridlock with the only option left but to climb watercolours, largely in Graph
because they are and textures 1980. She ic Design
ever more vertical.’ unpredictable and difficult of watercolour paper, currently in
to control, however I now from her lives and
with some of the best prefer to use Bockingford studio works
results
unintentional or unplanned. being Not because its fine
90lb (180gsm) To see more at her home in Carlis
texture allows my of le.
12 artist August 2017 www.painters-online.co.uk particularly enjoy the
‘I watercolours to flow www.jane Janet’s work visit
challenge of freely. Although tkenyon.co
capturing both natural before starting a painting .uk
and artificial the subject
light and how it affects does matter to me, it
the subject.’ She doesn’t matter as
has continued to push much as the light and www.pain
the boundaries colour that affects ters-o
and explore possibilities it. So prior to putting nline.co.uk
of this difficult paint on paper, I
but rewarding medium have to be inspired,
ever since. perhaps by the
Generally using a restricted way the sunlight is being
palette of caught on the
about six colours, Janet edge of a mountain,
mixes many or the way a neon
light from a building
plays with its artist Augus
Janet Kenyon sketching t 2017
www.painters-online.co.u in New York
k 15
SUBSCRIBE TODAY
artist August 2017
13
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of 6 issues for just £15. Subscribe now at www.painters-online.co.uk/store
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LP08 Martin_Layout 1 30/06/2017 15:36 Page 57
Mixed media
On coloured ground
Make the most of your mixed-media work as you choose
and use pre-coloured surfaces, with Claire Martin
LEARNING OBJECTIVES
n How to choose colours
n Work with mixed media on
unusual surfaces
n How background colours affect
your media
C olour is one of the most important

considerations when starting any
new painting. The overall feel and
success of the completed image can
depend entirely on the colour that stands
out the most. Deciding on what this
colour should be will depend on many
elements; the subject itself often helps
you make the decision. A cold snowy
landscape will suggest blues and greys,
or a summer landscape many greens and
yellows. My subjects are usually animals
so the colours in their coats or the type
of light reflecting from them are often the
beginning of the work.
Similarly the dominant colour will affect
how the viewer feels about the painting.
Is it a dark and serious portrait, or a
friendly, bubbly character sketch? Colour
theory is a big subject, but the basics of
warm versus cool colours and dark versus
light are a good starting point when
deciding on the mood you want for your
painting. Once you have picked your
main colour, how do you ensure that the
colour you have carefully chosen remains
the most prominent? One way to keep
that colour strong and continuous
throughout the work is simply to start
with it! Instead of reaching for a sheet
of crisp white paper, consider beginning
with a coloured sheet (also called a
‘ground’ or ‘support’.)
If you already work in pastel this will
probably be familiar to you. Similarly
oil and acrylic painters may be used to
knocking back the white of the canvas
with a thin layer of diluted colour. Yet
there are so many amazing coloured
papers and cards available, why not give
them a try and experiment with other
t
Bob, pastel and coloured pencil on flecked grey-blue pastel paper, 15x12in. (38x30.5cm).
media? I hope to give some ideas on why Using Artists’ soft pastels as the background gave a softness to the subject.
coloured grounds are worth exploring
and what points to consider before
making a start. to think about the darkest and the lightest A coloured ground will also alter your
areas of the subject. This is where using colours. Often it can intensify them, make
Benefits of colour your coloured ground as your mid-tone them more vibrant or even make them
A coloured ground can save you time and is important. It will set the tonal value of seem tonally much lighter. This can lead
give a more instant result, because half your work. Use the colour of the paper to surprising and bold results and you
the colour is already present, especially if you have chosen to full effect and allow may even start to use a combination
you are working on a piece with limited sections of the ground to show through. of colours not considered before.
colours. This is a quick way to create It will harmonise the whole image and It is crucial to test your paint or pencil
your shapes and tones, as you only need
t
stop you from having to fill in big areas. on a scrap of the paper first. In some

t
Dollar, watercolour, pencil and pastel on Canson pastel paper (stretched), 11 x14in. (28x35.5cm)
t
Waltersgay Kingfisher, watercolour, pencil and pastel on Canson pastel paper (stretched), 11x16in. (28x40.5cm). I used dark, earthy colours,
which were then lifted by small highlights on the muzzle and flank.

Mixed media
cases the colour may not show up at all.

Very pale or very dark colours can look
particularly different to how they appear
on a white ground. You may need to
select stronger or brighter colours than
you would normally feel comfortable
with, but that is not necessarily a bad
thing.
Researching into the effects of colour
will help take some of the mystery out
of the process and help you to make
the right decisions. Other factors, such as
the texture of the paper and the type of
media used, will also play a role in how
the colours will work together. Texture
makes breaks in the colour, allowing the
paper to show. A coloured ground does
not have to be a single or uniform colour.
Many pastel papers, for example, are
textured or flecked, as you can see on
my painting of Bob (page 57).
The surfaces
Handmade papers often feature mixed
and varied colours. Just take a look at the
racks of loose paper at your local art shop
and keep an open mind. Just because it
says pastel paper, it does not mean you
cannot use other media on it, too!
t
Fusion, coloured pencil on grey Canford card, 9x10in. (23x25.5cm). I loved the limited
Remember you can colour your own colour range in this detailed drawing using just coloured pencils.
stretched watercolour or cartridge paper
by adding washes of paint or ink. This
can result in another look, as shown by
my drawing of eyes (right).
In the examples you see here, I
concentrated primarily on pre-coloured
pastel paper and smooth coloured card
on which I tried different media. This
involved stretching some of the papers to
take watercolour washes (as you would
with thinner watercolour paper). Both
the surfaces of Dollar (above left) and
Waltersgay Kingfisher (left) were stretched
ready for a background wash. It is all
about experimenting, as most of the paper
I used for these paintings behaved well.
In most cases, the surfaces stretched flat
and kept the original colour despite not
being intended for this.
Painting process
I begin with a faint pastel pencil outline,
as this is the easiest to remove and the
least likely to alter or mix in with the next
layer. I draw the rough sketch onto t
Eye Studies, coloured pencil on navy blue Canford card and on hand-coloured watercolour
ordinary drawing paper first, as coloured paper, 11x6in. (28x15cm)
paper is often unforgiving to the marks
of an eraser and I don’t want to make
too many corrections on the final piece. as a wash, it can be worked over once A limited range of colour kept it simple
The next stage is to decide on the media dry. Soft pastels can also be applied to and sympathetic to the colour of the
to use. Coloured pencil, pastel pencils, a large area then worked over in the paper. Again the most important thing was
soft pastels and watercolour work best for foreground, particularly with coloured to test it first. I do this for every colour
me. However once the paper is stretched, pencil. Both of these methods allow the and medium then keep to my chosen
other water-based media can be used original colour to show through, range for that piece, limiting myself to five
without buckling the paper. particularly if used in a thin layer. or six colours or less. Remember, the most
It took me a while to begin working For my portrait of Bob I used soft pastel important colour was already there – the
with mixed media in this way, as I had as the background medium, rather than coloured ground itself. LP
always found it messy and disconnected. watercolour, while most of the detailed
Yet I found that a mixture of media gave areas were drawn with coloured pencil.
the most scope to what I could achieve The softer ones worked best; anything
and the coloured grounds held all the too hard did not show up. The very dark Claire Martin
different media together. areas and the brightest highlights (placed Contact Claire at clmartin74@hotmail.com
Watercolour seems the obvious choice last) were soft pastel or paint used straight or keep up with her new work on Facebook
for painting some of the backgrounds, as from the tube so that they sat on the at animal portraits by Claire Martin
it has a receding quality. Applied initially surface of the paper and stood out.

LP08 60-61 Bradley_Layout 1 30/06/2017 15:52 Page 60
t
t
Beginners’ watercolour
Fast-flowing flamenco
Here’s a quick and easy way to convey the movements of a dancer, with Sue Bradley
LEARNING OBJECTIVES Demonstration Flamenco dancer

n Build confidence with
watercolour
n Mix flesh tones You will need
n n n
n Enjoy practising splattering and Surface Brushes Miscellaneous
l Saunders Waterford l Rosemary & Co l Support board for paper l Water pots
using a straw
NOT 140lb High White Series 42 Round l Masking fluid l Kitchen towel
watercolour paper squirrel No. 18 (Schmincke blue) l Putty eraser or
l Fiona Peart l Masking tape
I love the drama, vibrancy and passion

of flamenco, but how to capture
it in watercolour? I like to keep
everything simple, select vibrant colours
n
l
16x12in. (40.5x30.5cm)
Artists’ watercolour
Permanent rose
l Raw sienna
Pointer brush (or
Round with a
good point) No. 8
l HB pencil
l Palette with large wells
(e.g.muffin well palette)
Blu-Tack
l Gold pen or PVA
glue and
Schmincke aqua
and employ loose techniques to convey l Rosemary & Co l Toothpick or fine tool
l Burnt sienna
bronze rich gold
the movement of the dancer. I often Detail brush
l Indigo
for applying masking powder
elongate the dancer’s skirt, and understate Series 313 No. 4
l Cerulean blue
fluid
facial detail and form in favour of a
minimal approach. As someone who finds
it hard to resist a bit of bling, I often add
a hint of gold for the grand finale!
Tip Try the vibrant, transparent
t
quinacridone colours: quinacridone
Step 1 red and quinacridone magenta.
Begin with a simple drawing with a HB
pencil. Draw only the top half of the figure.
Keep the pencil marks light so that they
won’t be visible through the transparent
Step 2
t
flesh tone of the paint. If necessary, dab

1 Attach your paper to a board using masking
the pencil lines lightly with Blu-Tack or
tape around the edges and place the board
a putty eraser to lighten them.
at a slight angle. I like to work at a 30-degree
slant. If you wish, apply masking fluid to save
a few speckles of white paper in the flower
in the dancer’s hair and the frill around the
top edge of the dress.
2 Paint the hair with a wash of indigo and
burnt sienna, using much less water. When
this is dry, use permanent rose to paint
the flower in the dancer’s hair.
3 Using the pointer brush loaded with
a flesh colour mixed from raw sienna and
permanent rose with plenty of water, paint
the face and back of the dancer, gently
lifting out highlights with a piece of slightly
damp kitchen towel.
4 While the face is still damp, use the detail
brush to apply the indigo and burnt sienna
mix to the hair area so that the dark hair
colour diffuses gently into the skin wash
around the forehead and neck. Turn the
painting upside down when doing this so
that gravity works against the paint flow.
This prevents the hair colour seeping too
far into the face area. Leave to dry.
Step 3
t
1 Prepare a generous amount of permanent rose for the dress. By now the flesh colour
on the dancer’s back will probably have dried. Re-wet the area with clean water so that
the area is just damp and, using the detailer brush, paint the shoulder straps and the frill
around the top edge of the dress. The damp paper will encourage the formation of a soft
edge where the dress meets the skin as the dress colour diffuses slightly into the flesh area
2 Use the same flesh colour to paint the dancer’s arms, again lifting out highlights with
kitchen towel. If the dress straps are still damp, a soft edge should again form where
they meet the arms.

LP08 60-61 Bradley_Layout 1 30/06/2017 15:53 Page 61
Step 4
t
1 Apply the paint fairly quickly to keep the
wash flowing when painting the dress. The
aim is to keep the wash wet for the rest of
this step. Swap to the pointer brush and
paint the back of the dress down to the
waist with the permanent rose wash.
2 Take the large brush loaded with the same wash and
t
Step 5
paint the skirt using big, bold brushstrokes, sweeping down Flick more paint
towards the hem. from the brush
3 Load the pointer brush with clean water and flick this into below the dress,
the wet paint to create water runs. Encourage the colour to directing it outwards
bleed slightly into the dancer’s hands using a damp brush. to emphasise the
This produces a link between the hand and the skirt rather swishing motion of
than a hard line. If you have applied plenty of paint and water, the dress fabric. Now
droplets will gather toward the hem of the skirt. If not, add relax with a cup of
more or tilt the board to a steeper angle. tea while the painting
4 Take the straw and blow these droplets out towards the dries. This will also
edges of your page. Don’t worry if drips and runs occur – prevent you from
it all adds to the feeling of movement. too much fiddling!
Step 6
t
Add a hint of the

facial features with
the detail brush.
I used the indigo and
burnt sienna mix for
the eyebrows and
lashes, blotting them
gently with kitchen
towel to soften, and
permanent rose again
for the cheek and
lipstick. I applied
the slightest hint of
cerulean blue for eye
shadow. The nostril
and ear are tiny
specks of burnt
sienna.
t
Step 7
With a stronger mix of permanent rose (less water),
add shadow to the left-hand side of the body and use
the detail brush to add a few frills and folds to the skirt,
softening and blending the lines using the pointer brush
slightly dampened with clean water. When completely
dry, remove the masking fluid from the flower and the
frill by gently rubbing with your finger or Blu-tack.
Sue Bradley t
The finished painting Flamenco, watercolour, 16x12in. (40.5x30.5cm)
Sue tutors watercolour classes in Kent and is
available for workshops in the south east of England.
t
Step 8
Visit www.suebradleyart.co.uk for details. She also You can also adorn your dancer with an earring and bracelet using a gold gel
tutors on art holidays for Dalvaro Holidays, Spain pen, gold paint or paint the fine loop with a little PVA glue diluted with water
(www.dalvaro.co.uk) and the Watermill at Posaro, and sprinkle on gold powder before leaving to dry. I have experimented with
Italy (www.watermill.net). various backgrounds but have found the colour of the dress against a stark
white background is the most effective.

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closing date 7th September 2017
LP_FullPage_AUG2017.indd 1 20/06/2017 15:22:58
LP August 2017 Books p63_News 1st 29/06/2017 10:41 Page 6
Books
WHAT TO READ THIS MONTH
A world of
watercolour
In his introduction
to Painting with
Watercolour, David
Howell writes:
“Painting isn’t
Visit www.painters-online.co.uk/store and click meant to be easy
on the link to books to buy the latest practical and watercolour
art books available from LP’s online bookshop can offer more than
a few challenges
but it is deeply
Small acrylics satisfying if you get
Previously published in it somewhere about
2015 as Little Ways to right”. Based on 70
Learn Acrylics, and years’ experience of
complementing Wil watercolour
Freeborn’s Learn to Paint painting, David
in Watercolour with 50 gives us an insight into the practical ways of working with
Small Paintings, comes the medium to ensure that your work is lively, painterly
Learn to Paint in Acrylics and constantly moving forward. Materials are
with 50 Small Paintings by comprehensively covered, including paint boxes and
Mark Daniel Nelson. This palettes, brushes and paper. Information on drawing and
super book offers a sketching, composition and colour are interspersed with
complete course in acrylic David’s beautiful and inspiring watercolours. Separate
painting. Progressing chapters covering landscapes, marine subjects and
through the book, each townscapes follow, each with a short demonstration, and
technique covered is illustrated by a mini painting – no more the book closes with a chapter on ways to put life into
than 5in. square – which you are encouraged to copy so that, by your paintings.
the end of the course, not only have you learnt the techniques of Painting with Watercolour by David Howell. Crowood Press,
acrylic painting, but you also have 50 paintings to show for it. (s/b), £16.99.
Subjects range from simple colour mixing exercises to flowers,
street scenes, still lifes and abstracts.
Learn to Paint in Acrylics with 50 Small Paintings by Mark Daniel Nelson.
Search Press, (s/b), £12.99. Pencil
portraits
Colored Pencil Painting
Portraits is a thorough
Flowers for and comprehensive
beginners guide to painting ultra-
Watercolour Flowers by realistic portraits by
Leisure Painter experienced artist and
contributor, Julie tutor, Alyona Nickelsen.
King, is part of the Using the precise and
‘Take Three Colours’ flexible qualities of
series from Search coloured pencils,
Press (also includes Alyona shows us how
Watercolour to make the most of
Landscapes by Geoff the medium using
Kersey), which aims to layering tools and
encourage beginners techniques to create luminous lifelike portraits. A chapter
to start painting, covering the tools of the trade is followed by one on developing
using just three colours, three brushes and nine easy a plan for your work, based on oil painting practices, such as
projects. Julie’s book starts with a very simple picture of imprimatur, underpainting, and layers of colour. The book
a tulip and works up to a more complicated rose. moves on to look at techniques for the colour pencil artist,
Jargon-free and pared down to the absolute essentials, controlling colour, composing your portrait, as well as chapters
this is the perfect book to get you started, with clear on specific areas of portrait painting – skin tones, hair, facial
advice and excellent step-by-step photographs. features, hands and feet. Five step-by-step demonstrations bring
Take Three Colours: Watercolour Flowers by Julie King. everything you’ve been taught together, with detailed stages for
Search Press, (s/b), £8.99. you to work through.
Colored Pencil Painting Portraits by Alyona Nickelsen. Watson-Guptill,
(s/b), £22.99.

LP August 2017 Art clubs p64-66_News 1st 29/06/2017 11:53 Page 2
Art clubs
North Somerset BS21 6AH from 19 to 28
August, 10.30am to 6pm daily; 2 to 6pm on
Sunday. Visit www.clevedonartclub.co.uk
n Cookham Arts Club
76th annual exhibition at Pinder Hall,
Cookham Rise SL6 9EH from 15 to 27
OVER TO YOU FOR THE LATEST NEWS ON CLUB August. Open daily, 10am to 6pm; closing
at 5pm on final day.
EXHIBITIONS AND ACTIVITIES n Derriford Art Club
Annual exhibition at Clearbrook Village
CLUB EXHIBITIONS Hall, near Plymouth, Devon from 11 to 14
August. Open daily, 10.30am until 4pm.
n Artlink Pound Lane, Burley BH24 4EB from 19 to
n Friendly Society of Artists
Summer exhibition at Ibsley Village Hall, 29 July. Open daily, 10am until 5pm.
Annual exhibition at the Peveril Centre,
n
Ibsley Road, Hampshire BN24 3NL from 24 Canford Heath Art Society
to 28 August. Open daily, 10am to 5pm. Castleton, Derbyshire (opposite Peak Cavern
Enquiries to lmr.artlink@gmail.com Annual exhibition at The Gallery Upstairs, Car Park) on 12 and 13 August. Visit
Upton Country Park, Poole, Dorset BH17 www.friendlyartists.co.uk
n Blandford Art Society 7BJ from 3 to 14 August. Open daily, 10am
n Herne Bay Art Group
Open exhibition at the Corn Exchange, to 5pm. Visit www.thegalleryupstairs.org.uk
Summer exhibition at the Baptist Church,
n
Blandford, Dorset from 14 to 19 August. Chandler’s Ford Art Group
Visit www.blandfordartsociety.weebly.com 105 High Street, Herne Bay, Kent CT6 5LA
Summer exhibition at Kings Court Masonic from 21 to 27 August, 10am to 4pm daily.
n Brixham Art Society Centre, 81 Winchester Road, Chandler’s
Annual exhibition at Scala Hall, Brixham Ford, Hampshire SO53 2GG from 21 to 28 n Hythe Art Society
from 19 to 25 August, 10am to 6pm daily. August. Open daily, 10.30am until 4.30pm. Exhibition at the Tin Tabernacle, Hythe,
Opening at 11am on the first day and Visit www.chandlersfordartgroup.com Kent from 8 to 15 July, 10am to 5pm daily.
n n
closing at 4pm on the final day. Clevedon Art Club Lechlade Art Society
n Burley Art Club 61st open exhibition at The Science Atrium, Exhibition at the Pavilion, Lechlade, 25 to
Annual exhibition at Burley Village Hall, Clevedon School, Valley Road, Clevedon, 29 August; www.lechladeartsociety.co.uk
Gillian Hein Borough Market, mixed Dorking RH5 6AA from 14 to 27 August,
t
media, 24x20in. (61x51cm) on show at the 9.30am to 5pm. Entry and parking is free
annual exhibition of the Epsom and Ewell
Art Society at Denbies Wine Estate in and there is a café available on the
Dorking from 14 to 27 August ground floor.
n Horncastle Art Exhibition
n Broadstone The Horncastle Art Exhibition takes place
Art Society at Stanhope Hall, Boston Road,
The Broadstone Art Society’s Horncastle, Lincolnshire LN9 6EJ from
summer exhibition will take place 18 to 20 August, 10am to 4pm daily.
at Church House, High Street, Paintings, crafts, cards, tombola, art
Wimborne, Dorset BH21 1HT, equipment and refreshments will be
opening at 2pm on Sunday 27 available for sale. Enquiries to Anne Harris
August and running from Monday 01507 610604,
n
28 August until Saturday 2 Lindley Art Club
September, 10am to 5pm daily; The Lindley Art Club will be celebrating
closing at 4pm on final day. This its 50th birthday with two exhibitions in
year the special theme will be ‘A 2017. The first at Salendine Nook Baptist
Window on Wimborne’. Church, Moorhill Road, Salendine Nook,
n Dartmouth Huddersfield HD3 3SS on 11 and 12
Art Society August, 10am to 4pm daily; and the
Dartmouth Art Society’s summer second at St. Stephen’s Church, Lindley
exhibition takes place in the on 9 and 10 September, where the club
Dartmouth Masonic Hall, Lower started in 1967.
Street, Dartmouth from 6 to 18 n Llandrindod Wells Art Club
August. Open daily, 10.15am to The annual exhibition of the Llandrindod
5pm, there will be original Wells Art Group takes place in the Garden
Highlights paintings by local artists available to buy Room of the Metropole Hotel,
n Association of Marine Artists as well as a special ‘Adventures in Llandrindod Wells, Powys, Wales from 19
Open-air exhibitions take place on the Monochrome’ section. For more information to 28 August, 10am to 8pm daily; closing
East Pier, Dublin Bay throughout the visit www.dartartsociety.wix.com/townstal at 3pm on final day. The exhibition
summer months. The next exhibition will n Epsom and Ewell Art Group coincides with the Victorian festival
run from 5 to 7 August. If you are interested The Epsom and Ewell Art Group will be running in the town during the last week
in exhibiting go to www.dlharbour.ie and search holding a late summer exhibition at of August, with plenty of events to get
‘exhibitions’ for a downloadable entry form. Denbies Wine Estate, London Road, involved with. Visit www.metropole.co.uk

n Norfolk Watercolour Circle

Exhibition at St. Andrew’s Church Hall,
Eaton, Norwich NR4 6NW from 7 to 12
August. Open on Mondays and Wednesdays,
2 to 4pm; 10am to 12noon and 2 to 4pm
on Tuesdays; 10am to 2pm on Thursdays;
12noon to 4pm on Fridays and 11am to
4pm on Saturday.
n Ringwood Art Society
49th annual summer exhibition at
Greyfriars, 44 Christchurch Road, Ringwood
BH24 1DW from 10 to 28 August. Open
Monday to Saturday, 10am to 4.45pm;
1 to 5pm on Sunday. Visit
www.ringwoodartsociety.org
n Romney Marsh Art Society
Exhibition at the Marsh Academy, Station
Road, New Romney, Kent TN29 8TL from 27
July to 11 August. Open daily, 10.30am to
4.30pm. Visit www.rmartsociety.com
n Rossetti Art Group
Exhibition at the Rossetti Hall, Holmer
Green, High Wycombe on 19 and 20 August.
n Salisbury Group of Artists
Artist’s Eye exhibition at the Five Rivers
Leisure Centre, Hulse Road, Salisbury SP1
3NR from 19 to 30 July. Open daily, 6am to t
Margaret Gill SW Scotland Solway Coast, oil on canvas, 231⁄2x231⁄2in. (60x60cm) on show at the annual
10pm. Admission free. exhibition of the Salisbury Group of Artists, at the Five Rivers Leisure Centre in Salisbury from 19 to 30 July
n Sidmouth Society of Artists

The Sidmouth Society of Artists will be
holding an outdoor charity art exhibition
at the Connaught Gardens, Peak Hill
Road, Sidmouth, Devon EX10 8RZ on
Saturday 26 August from 10am to 5pm.
The exhibition is in aid of Force and
Kennaway House. Enquiries to 01395 514533.
n Wannock Artists
The Wannock Artists will be holding its
annual art exhibition at Wannock Village
Hall, Jevington Road, Wannock, East
Sussex BN26 5NX over the Bank Holiday
weekend from 25 to 28 August. The
exhibition will be open from 7 to 9pm on
Friday, 10am to 5.30pm on Saturday and
Phil Draper Dream of the Gold Auk, acrylic,
t
Sunday and from 10am to 4pm on
36x24in. (91.5x61cm) winner of the People’s
Choice Award at the annual exhibition of the Monday. Free entrance, parking and
Spalding Arts & Crafts Society. For more disabled access. Refreshments available.
information go to www.saacs.org.uk The group meets on the last Friday of the
t
Janet Cheary Morning Glory, watercolour, month between 7 and 9pm at the village
n Lymington Arts Group 271⁄4x231⁄4in. (69x59cm) hall, for artists’ talks and demonstrations.
The Lymington Arts Group will be For more information visit
exhibiting paintings and crafts at Art on n St Albans Art Society www.wannockartists.co.uk
the Green in Milford on Sea over the The annual exhibition of the St Albans n Warwickshire Watercolourists
weekend of 19 and 20 August, 10am to Art Society is on show at the Upper The Warwickshire Watercolourists will be
5pm each day. Dagnall Street Baptist Church Hall, St exhibiting their work at Berkswell Reading
n Pateley Bridge Art Club Albans, from 26 to 29 July. More than 200 Rooms in Berkswell CV7 7BE from 26 to
The Pateley Bridge Art Club’s annual works will go on show, covering a wide 28 August, 10am to 5pm daily. A wide
summer exhibition will take place at St. range of subjects and media, including selection of work will be available for sale,
Cuthbert’s School, Pateley Bridge from landscapes, still life, abstracts and along with cards and prints. There is
18 to 21 August as part of the NiddArt seascapes. The exhibition is open daily parking and disabled access available with
Trail. Open daily, 10am to 5pm. For more from 10am until 6pm. For more information free admission, plus tea, coffee and cake
details go to www.pateleybridgeartclub.org visit www.stalbans-artsociety.org.uk throughout the exhibition.
t

n Stratford upon Avon Art Society

Exhibition at King Edward VI School, Chapel
Lane, Stratford upon Avon CV37 6HB from
12 to 28 August, 10am to 6pm daily. Visit
www.stratforduponavonartsociety.co.uk
n Swanage Painting Club
Exhibition at Catholic Hall, Rempstone
Road, Swanage from 29 July to 6 August. News t
The Tuesday Art Group with their ‘little’ painting challenges
Open daily, 10am to 5.30pm. Painting challenge
n Tuesday Paintings Club of Rye The Tuesday Art Group, which meets in Mansfield, has been taking part in
54th annual exhibition at St. Mary’s Centre, The Little Painting Challenge – its own take on the BBC series The Big Painting
Lion Street, Rye from 3pm on 18 August Challenge. In one afternoon members had to complete, mount and cellophane wrap
until 28 August. Open daily, including a little painting (8x6in.) ready for a panel of judges who then awarded four prizes.
Sundays, from 10am to 5.30pm.
All paintings were later sold at a coffee morning in aid of the charity Action on
n Thringstone Art Group Hearing Loss. For more information visit www.tuesdayartgroup.com
Annual exhibition at Thringstone
Community Centre, The Green, Thringstone,
Near Coalville, Leicestershire from 19 to 28
August. Open weekdays 3 to 9pm; Events
Saturdays 1 to 5pm; Sundays 2 to 5pm and Bedford Art Society Virginia Water Art Society
Bank Holiday Monday from 1 to 5pm
Popular artist, Hashim Akib, will return to Joe Dowden will give a watercolour
Enquiries to Julie Rowe 01530 838662.
the Bedford Art Society to give a Wildlife demonstration to the Virginia Water Art
n West Wycombe Art Group in Acrylics demonstration on 8 September Society at the Community Centre,
Summer exhibition at West Wycombe (7.15 pm for a 7.30pm start), at Putnoe Beechmont Avenue, Virginia Water,
Village Hall, from 25 to 28 August. Open
Heights Church, Bedford MK41 8EB. Entry Surrey GU24 4EY on Wednesday 2 August.
Friday and Monday from 10am to 5pm;
Saturday and Sunday from 10am to 6pm. is free for members; £5 for visitors. Telephone Visitors are welcome; £5 entry. Visit
Visit www.westwycombeartgroup.com Jean Patterson on 01234 307210 for details or www.virginiawaterartsociety.blogspot.com
n Windermere Art Society visit www.bedsartsociety.co.uk Hipperholme & Lightcliffe
Annual exhibition at the Ladyholme Centre, Brighouse Art Circle Art Society
Windermere Road, Cumbria from 31 July to Artist, Clive Wylie, will give a Richard Gawthorpe will show members
12 August, 10.30am to 5.30pm daily. demonstration to the Brighouse Art Circle of the Hipperholme & Lightcliffe Art
Enquiries to 015394 42514. on tackling perspective in buildings on Society how a change of style could
n Worksop Society of Artists 10 August at Waring Green Community benefit their work, on Tuesday 1 August
Exhibition at Sparken Academy, Sparken Centre, Brighouse at 7.30pm. For more (7.30pm.) at Brighouse Rest Centre in
Hill, Worksop, Nottinghamshire S80 1AW information telephone Geoff on 01484 712947 Park Row. Non-members welcome. For
from 29 July to 6 August, 10am until 4pm. or visit www.brighouseartcircle@yahoo.co.uk more information visit www.handlas.co.uk
Profile
William Barnard has been selected as the William Barnard
t
featured artist in this year’s annual Lost and Found,

ceramic, 14x71⁄4in.
exhibition of the Stevenage Arts Society. (35.5x18.5cm)
The exhibition at the Denington
Galleries, Springfield House, High Street,
Old Town SG1 3EJ, runs from 22 July until art (sculpture).
5 August and includes a wide range of He is currently
paintings and ceramics by members. The studying graphic
society is unusual in that it has its own design at
pottery, which members can use and Bedfordshire
William makes use of it regularly. University,
Born in Stevenage in 1955, William entering his third year of study and
attended evening classes in the early hoping to major in printmaking and
1980s at North Herts College under typography. “The society has a busy year,”
master potter, Bob Crossley and he writes, “with three exhibitions at the
renowned ceramicist, Abdo Nagi. society’s on-site galleries as well as
Following redundancy from British members’ works being displayed at venues
Railways in 1993, William won a around town.”
The society welcomes new members. If you are
scholarship to attend the City & Guilds of
interested, go along to the private view of the
London Art School where he studied fine
forthcoming exhibition on Friday 21 July at
William Barnard Mermaid, screen print, 111⁄2x51⁄4in. 7.30pm to meet members and enjoy a glass of
t
(29x13cm) wine and nibbles.

LP August 2017 Gallery p67_Layout 1 29/06/2017 12:04 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.
t Haltemprice Art Group Frances Stoner Bygone Days,
watercolour, 12x16in. (30.5x40.5cm). The Haltlemprice Art

Group celebrated its 70th anniversary this year with a special
display of paintings of the East Riding as part of its annual
exhibition of members’ work. The group meets every
Tuesday evening at Cottingham High School from September
to May, with outdoor painting sessions during the summer
months. For more information telephone Pat 01482 352840.
Lichfield Rayleigh Art Group Roy Bull Beach Pebbles, acrylic,

t
Society of Artists 10x12in. (25x30cm). The sun shone for the annual exhibition
Joan Rollason The of the Rayleigh Art Group, attracting more than 300 visitors
Winter Gardener, over the weekend. The group meets from 7.30 to 10pm on
graphite pencil, alternate Wednesdays at the Cedars Centre, Castle Road,
203⁄4x163⁄4in. Rayleigh for a lively programme of events. New members are
(52.5x42.5cm). always welcome. Visit www.rayleighartgroup.wordpress.com
Established in
1945, the Lichfield How you can join in
Society of Artists To participate in our best in show feature, arrange for the
now has 130 voting to take place at your next club exhibition, then
members who send Leisure Painter a photograph, transparency
meet for monthly or jpeg of the chosen painting. We can only accept
demonstrations, sharp, high-resolution (300dpi) images for reproduction
painting evenings, and excursions to museums and galleries. There purposes. Attach details of the artist, title, medium and
are two exhibitions each year – in spring and autumn. Visitors to this dimensions, along with details of the club itself. LP also
year’s spring exhibition were in agreement about their favourite welcomes art exhibition listings, profiles, events, letters
work, selecting Joan’s drawing, not only as their favourite in the and news. Send to Jane Stroud, 63/65 High Street,
exhibition, but also awarding it the Margaret Newman-Smith Award Tenterden, Kent TN30 6BD; or email jane@tapc.co.uk
for Portraits. For more details visit www.lichfieldsocietyofartists.co.uk

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• Highly professional tutors
• Friendly house-party atmosphere 27-30 Jul Come and Paint Experimental Flowers in Keiko Tanabe, Paul Weaver & many more
Mixed Media
• Delicious food and wine 1-4 Aug Sketching is an Art in Itself!
• All accommodation en-suite 5-8 Aug Cliff Top Painting - Look East and West
• No single supplement
• Stunning locations - easy walking
12-15 Aug Sketching Buildings with Pen and Wash
studio based
Somerset, Exmoor National Park,
• All abilities and non-painting 21-24 Aug
6-11 Sep
Loosening up with Watercolour
The Four Stages of Watercolour
North Devon Coast, North
partners welcome
• Well equipped studio 15-20 Sep Seascapes and Harbours
studio based Cornwall, Lake District, Wye
• Small numbers to ensure
individual attention
26-29 Sep Painting Dorset Skies- acrylics or
watersoluble oils
Valley, Provence, France & The
20-23 Oct Watercolour - the Basics and Beyond
studio based
Western Algarve, Portugal
Picture by David Webb
SUPER P
23-27 Dec Christmas Art Feast
EU And much, much more!!

DOUBL AVE
DEAL S WINTER WARMERS
with all-inclusive holidays
£169
Two full days’ tuition in our cosy studio from 10am to 5pm,
light lunch and delicious dinner plus bed and breakfast
all for only £155 Why not pamper yourself and add Friday
and/or Sunday night dinner, bed and breakfast at the ovely ainting oliday dventure
special painters’ rate of £55 per night? Most people do!
7 & 8 Oct
14 & 15 Oct
Use Colour and Shape Like Matisse
Swift Lines and Singing Colours
01934 733877
31 Oct & 1 Nov Come Paint and Print Your  All Art Materials included on selected holidays
Christmas Card  Non painters & All Abilities Welcome
11 & 12 Nov A Seasonal Splash of Acrylics
25 & 26 Nov Spring Flowers in Line and Wash  Studio & Location based courses in all media
2 & 3 Dec Spring Flowers in Line and Wash  Stunning Views and Amazing Locations
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
Boscombe Manor, Nr Bournemouth BH5 1HR
lp CLA aug_NEW.indd 68 30/06/2017 09:22:56

August 17 Holiday of the Month_Layout 1 29/06/2017 13:45 Page 3
Holidays & Courses
painting holidays
Where better to develop your painting skills than in beautiful Pembrokeshire
Professional tuition for all levels

3 and 5-day full board residential courses
Superb home cooked cuisine
4 Star en-suite accommodation
S mall groups, large studio space
...be inspired painting partners welcome
non
t: 01348 840 177 Andrew and Maggie Brown

e: info@indigobrown.co.uk w: www.indigobrown.co.uk
Brush up your art skills! Framing

Expressive mixed media
painting holidays, Holiday of the month AshcraftArtists
Framing
workshops and short Frames
courses, UK and abroad. SHORLAND OLD FARM - Save money on framing
- Complete or self-assembly
Top class venues at
- Plain wood or painted
affordable prices with... - Inlay frame specialist
- Large, standard and bespoke sizes
Exclusive - St Ives/Nicholson style
Regular contributor to frames available on-line
‘The Artist’ magazine and
UK Canson Ambassador Call 01427 787318 or visit
www.ashcraftframing.co.uk/store
For further details visit
www.rdcreative.co.uk
or call 0113 2252481 Art Groups
Art
rt
r breaks
bre
re
r aks
ks
k in Exmoor
Ex
E moor Friendly Art Group
Benington Art Group meet every
www.shorlandoldfarm.co.uk
w
ww
ww.
ww
w.shorlandoldfa
f rm.co.uk
fa Monday 10am-2pm at
Benington Village Hall, near Stevenage.
Friendly, well established group, keen to
welcome new members of all abilities.
S
f l locat
Beautifu
Beautiful
fu a ion
location
at Our aim is to enjoy what we do. A tutor
et in its own 14 acres, Shorland Old Farm is home to Mark
ffood
Good fo od attends on alternate weeks covering
and Sandy Aylen from where, for the past five years, they a variety of subjects and mediums.
aatmosphere
Friendly at mosphere have been running painting holidays and tutored courses. Refreshments provided, free parking.
Courses fofforr all abilities The 17th century listed farmhouse nestles amongst ancient beech Join us for free ‘taster’ session contact
trees, ponds, streams and rolling hills just outside the village of Rosalind on 01992 892588.
r ners welcome
Non-painting part
partners
rt Challacombe, on the edge of Exmoor in North Devon. The
Ready-made groups also welcome farmhouse accommodates up to 14 people and has a spacious
and airy well-equipped studio, as well as a guest lounge and
beautiful dining room, where guests enjoy home-cooked meals
together.
Call Sandy or Mark 01598 763505 A broad range of art holidays and breaks is offered, led by
Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa professional artists and tutors. These vary in length from three to
seven days and are based either entirely at the farm or with
optional trips out to paint in some of the beautiful locations Art Shops
nearby. “It’s about learning something new, and enjoying yourself
at the same time,” says Sandy. Tutors for 2018 courses include
Watershed Studio Annie Monk, Hashim Akib, Paul Weaver, Carol Kibble, Sue Ford,
Anne Kerr, Anthony Barrow and Bill Lupton who, between them,
Celebrating our 16th year will be covering watercolours, pastels, sketching, acrylics and
• Proven reputation for quality courses mixed media. As well as the tutored courses, Sandy and Mark also
• Warm welcome & home-cooked food provide accommodation for art clubs and societies and for artists
• Rural studio in its own grounds who wish to bring their own groups with them – there’s even a
• Excellent local accommodation useful guide to arranging your own group holiday available to
• High profile, popular tutors download from their website. Mark and Sandy are happy to tailor
Tim Fisher, Carole Massey, breaks to suit individual groups. The number of people who
Laura Reiter, Keith Morton, return to the farm year after year is a sure sign of its success.
Charles Evans and many more…
Call Allison Bond for details:
01255 820466
Contact Mark and Sandy Aylen at Shorland Old Farm, Barton Pegasus Art Shop
Lane, Challacombe, Bratton Fleming EX31 4UB; telephone Shop Online for Fine Art Materials
Email: allison@watershedstudio.co.uk
01598 763505; email enquiries@shorlandoldfarm.co.uk; www.pegasusart.co.uk
www.watershedstudio.co.uk www.shorelandoldfarm.co.uk
St Clere’s Hall Lane, St Osyth, or call 01453 886560
Clacton on Sea, Essex, CO16 8RX
lp CLA aug_NEW.indd 69 30/06/2017 10:25:32

LP August 2017 Online Gallery p70_News 1st 29/06/2017 12:14 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
T he subtleties of the colour green attracted me to this

month’s gallery artists. Both have concentrated very
carefully on tonal values to give them the effects they were
looking for – in Sophie’s case, it was to suggest depth and the
vigorous growth of the rambling clematis, while Les was keen
to capture the hallowed quality of stained glass as light filtered
through the tree canopy. If you would like to see more of their
work, post a comment or upload your own images to our free
online gallery, visit www.painters-online.co.uk
Addictive challenge
Les Trewin attended Falmouth School of Art before training as
an art therapist. Today he works as a director of mental health
services in Gloucestershire, but continues to paint as much as
possible. “Harmony,” he explains, “is an image inspired by the
landscape of Batsford Arboretum, just outside Moreton-in-Marsh.
This year I set myself a challenge to improve my painting of trees,
which often looked rigid and failed to capture the random
essence of nature. To this end I took up membership of the
arboretum, which is just a short drive from my home. Confronted
with this challenge, I wanted to describe the light and form that is
in a constant state of change as the forest moves through the
seasons. Filtered light and dancing shadows create a sense of
mood and drama. I used photographs to help with the
t
Les Trewin Harmony, acrylic, 2312⁄ x2312⁄ in. (60x60cm)
composition and fleeting changes of light.
“I wanted to capture the dappled light which gave the effect of and ground added structure, but the tree canopy was much more
light through a stained glass window. It was an interesting free. The challenge became quite addictive, which may explain
challenge to get the balance of light and shadow the way I why I have extended my membership for another year. I can
wanted it and I had to paint over areas several times until I was guarantee that on each visit I will see a new scene that will serve
happy. In some ways it’s a semi-abstract work. The tree trunks to inspire the next piece of work.”
Tonal balance
Cornwall-based Sophie Penstone works from her studio
at home, predominantly in watercolour, but occasionally
using acrylics too. “My paintings are often seasonal,” she
writes, “as I am inspired to paint what is currently growing
in the garden and the hedgerow along the coast or inland.
Climbing Clematis was a challenge, as I wanted to create a
sense of depth behind the trellis whilst ensuring the plant
looked as though it was sprawling around it. I started off
with a basic sketch and concentrated on laying down the
intensity I wanted in the background first, choosing a
mixture of dark blues and greens to make the lighter green
leaves in the foreground stand out. I enjoyed including as
much shadow details as I could from neighbouring leaves
to create a three-dimensional effect. The main flower was
left for the white of the paper to shine through with a few
simple colour lines added for detail.”
Sophie Penstone Climbing Clematis, watercolour, 1212⁄ x1534⁄ in.

t
(32x40cm)

LP08 20-23 Fisher copy_Layout 1 26/06/2017 15:47 Page 1
PAINTERSONLINE
and St Cuthberts Mill Competition
PaintersOnline, the online
home of Leisure Painter and ENTER NOW
The Artist, has teamed up
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20 Bockingford A3 pads please visit:
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We have 20 Bockingford A3
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PAINTERSONLINE
and ProColour Competition
PaintersOnline, the website for
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magazines, has teamed up with
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Incorporating Leisure Painter

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Contents AUGUST 2017

16 Focus on gardens 41 An acrylic view

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Painting holidays in enchanting Maramures a

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Philip E. West Showtime, oil, 283⁄4x283⁄4in. (73x73cm)

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