close

Вход

Забыли?

вход по аккаунту

?

Leisure Painter - July 2017

код для вставкиСкачать
LP07 1 Cover_Layout 1 05/05/2017 14:50 Page 1
THE UK?S BEST-SELLING LEARN-TO-PAINT MAGAZINE
Our
50th
year!
STEP-BY-STEP wisteria
in watercolour
JULY 2017 �20
IMPROVE YOUR
composition and
perspective skills
BE INSPIRED
by line and wash
DEVELOP YOUR
TONAL WORK
Focus on acrylic
palettes and
supports
DAVID BELLAMY
on painting in
the Arctic
DRAWING
Practice
makes perfect!
FIRST STEPS
Paint an owl
in detail
TOP TIPS
for painting
from photos
Paint loose
and lively
landscapes
!
How to paint a
portrait in pastel
Lear? to Draw & Paint
? Val Cansick Studio? Opens in Herts
Formerly known as Churchgate Gallery in Hitchin, Hertfordshire, Val has moved
her teaching studio and exhibition space to pretty Halls Green in Weston, Hertfordshire
within Fairclough Hall Farm. Set in hundreds of acres of beautiful North Hertfordshire
countryside, the demand for courses prompted a search for a rural location that would
support plein air painting within easy reach of the studio for finishing outdoor work,
as well as a selection of regular workshops and courses through the year. All the tutors
are experienced and professional artists who have their own expertise to bring to the
studio and all levels of ability are welcome. Choose from illustrative to impressionist
most genres are covered, so whatever your preferred medium or style there is something
for everyone. Whether you just want to have a new hobby, to de-stress, or trying to
become a more skilled artist, you will find something to help you pursue your aims.
Val also runs week long courses at her base in Cornwall, located on the edge of
the beautiful Camel Trail, loved by artists, walkers, and cyclists alike, who like to explore
the variety of landscape and seascapes available on the Cornish Peninsula. Her cottage
studio is within easy walking distance of the River Cam and the Camel Trail that ends
in Wadebridge after meandering through the old railway route into the town.
Contact the studio for a brochure and/or see the website for further information
on dates of workshops and courses.
Prices begin from � for a half day workshop or � for one day workshops,
to �5 for 3 day courses and �0 for intensive 5 day courses.
Contact details: call: 07544 343749 or visit: www.artvalcansick.co.uk
p02_lpjuly17.indd 1
09/05/2017 09:36:27
July welcome_Layout 1 08/05/2017 15:04 Page 3
Incorporating Leisure Painter
and Craftsman
and Creative Crafts
VOLUME 51/7
ISSUE 561
www.leisurepainter.co.uk
www.painters-online.co.uk
ISSN 0024-0710
JULY 2017
Editor
Ingrid Lyon
Contributing Editor
Jane Stroud
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
Tony Paul STP
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk)
Advertising Copy
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk)
Accounts
creditcontrol@warnersgroup.co.uk
Events Manager
Caroline Griffiths
Subscriptions & Marketing Manager
Wendy Gregory
Subscriptions
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
Online Editor
Dawn Farley
Designers
Alison Renno
Sarah Poole
Leisure Painter is published
every four weeks by:
The Artists? Publishing Company
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden,
Kent TN30 6BD
(Tel: 01580 763315)
Publisher
Dr Sally Bulgin, Hon VPRBSA
Publication of an article or inclusion of
an advertisement does not necessarily
imply that TAPC is in agreement with
the views expressed, or represents
endorsement of products, materials
or techniques. TAPC does not accept
responsibility for errors, omissions
or images received in good faith
Annual subscription rates:
UK �.99 (includes Northern Ireland);
USA $80; Canada $92; EC member
countries ?67; all other countries
(sterling rate) �
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of �
Welcome
from the editor
L
ast week?s judging day for this year?s
Open Competition, which included
professional artist and tutor, Liz Wood
and professional artist, David Curtis, was the highlight of the year.
We saw a superb variety of subjects and media, including more
mixed-media and oil work than ever before, and the standard
continues to rise year by year. We noted many good subject ideas
and strong compositions, but the ranges of tone and contrast were
sadly lacking in some of the paintings that were shortlisted, but not
chosen for exhibition. Liz recommends drawing six small graphite
reference squares, ranging from darkest to lightest tones and
ensuring your paintings show at least some of these tones.
?In the same way that composers write refrains in music to hook
the listener in,? she continues, ?so should we use a repetition of tone,
shape and colours throughout a painting. Repetition of shape and
colour is especially appealing. Van Gogh, C閦anne and Matisse all
took shapes and invested them in different areas of the composition.
Look at their work for guidance, especially Turner?s paintings of
Norham Castle and Van Gogh?s seascapes with boats.?
David Curtis comments on this year?s entries: ?I get a clear sense of
steady improvement in technique and subject awareness in both the
familiar names and some new contributors to the competition. I am
sure this in no small part can be attributed to the informative articles
and content the artists derive from this magazine. Especially, I see
very capable application of the watercolour technique in all its forms
and, it seems, an increasing use of the oil medium, which appears to
be on the ascendency in both the Leisure Painter and The Artist
categories.?
The Leisure Painter exhibition opens at Patchings Art, Craft &
Photography Festival on 13 July and closes on 20 August (see page 71
for details). See you there!
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
Newstrade distribution by
Warners Group Publications plc
(Tel: 01778 391000)
INGRID LYON Editor
SUMMER 2017 issue on sale 16 June
www.painters-online.co.uk
JULY 2017
3
LP05 4-5 Contents_News 1st 08/05/2017 14:32 Page 4
Contents
JULY 2017
12
55
5
36
24 Arctic adventures
IN EVERY ISSUE
7 Diary
64 Art clubs
Things to do this month
News, highlights and
exhibition listings
8 Exhibitions
Some of the best shows
around the country
10 Letters
70 Online gallery
Jane Stroud chooses a
pastel painting of a boat
from PaintersOnline
In an extract from his new book,
David Bellamy describes his experiences
of sketching in cold and remote places
28 An acrylic view
Part 2 Tony Paul discusses palettes, supports,
priming and colours as he continues his fourpart series on painting with acrylics
32 Wisteria in focus
From materials and techniques to drawings and
a finished painting, follow Rachel McNaughton
as you paint a spring favourite in watercolour
Your tips, suggestions,
ideas and questions
36 A true likeness
FEATURES
12 Coastal waters
On the cover
Tim Fisher Mermaid Street, Rye,
pen and wash, 10x14in. (25.5x35.5cm).
Practise pen and wash techniques with
Tim this month on pages 40 to 43
4
JULY 2017
Part 2 Martin Ash completes the portrait of
a small child step by step in pastel pencils
and soft pastels
Hints and techniques for painting beaches
and coastal scenes through the seasons in
oils, with Christine Pybus
40 Line and colour
17 Painting project
44 From photo to painting
Part 2 Follow Jem Bowden step-by-step
as he paints a loose and lively spring
landscape in watercolour
Part 7 How to extract different ?stories? from
one photograph and change the background,
with Elena Parashko
21 Drawing project
49 Close encounter
Part 2 Build your drawing and painting
skills as you produce two versions of the
same scene, by Anne Kerr
Part 1 Take preliminary steps to painting a
portrait of an owl, practising a variety of
watercolour techniques, with Paul Hopkinson
Part 2 Make every line count as you practise
line and wash techniques, with Tim Fisher
www.painters-online.co.uk
6
LP05 4-5 Contents_News 1st 08/05/2017 14:38 Page 5
Coming
next month
5
Learn to draw and paint with confidence.
Here are just some of the highlights to be
found in the summer issue of Leisure Painter
61
OFFERS, NEWS AND COMPETITIONS
6 How to win Artists? pen sets from Staedtler, worth
�.50
11 Enter Leisure Painter?s 50th anniversary competition
for your chance to win a � voucher from GreatArt
20 Save money when you subscribe to Leisure Painter
this month
48 Take advantage of the latest offers on practical art
books in LP?s online bookshop at PaintersOnline
54 Join Lachlan Goudie as he paints in Antibes and
the C魌e d?Azur in September
Tony Paul Bathers in the Frome
at Moreton, Dorset, acrylic on
board, 10x8in. (25.5x20cm).
Tony Paul continues his latest
series by looking at three
different acrylic techniques.
LEISURE PAINTER
ON-SALE DATES
Issue
Summer
August
September
October
On sale
16 June
14 July
11 August
8 September
69 Paint alongside Hazel Soan in India this year
71 The latest news from Patchings Art, Craft and
Photography Festival in July ? who?s on the schedule
and events to pre-book
55 Loosen up!
More from the brush of Wendy Jelbert as she paints a lively
farmyard scene step by step
58 Go green
Richard Holland focuses on strong composition, perspective and
mixing greens as he paints buildings in the landscape in oils
61 Sunlight and shadow
Follow Colin Joyce as he demonstrates how he infuses his work
with tonal changes to create depth and drama
www.painters-online.co.uk
t
6
ON SALE 16 JUN
n Try three different
approaches to
painting with acrylics
n First steps to painting
a harbour scene
n Paint a nocturne in
watercolour
n Beginners? botanical
studies
n Complete your
detailed portrait of
an owl in watercolour
n How to use
watercolour pencils
n Explore coloured
grounds for drawing
projects
n Be inspired to paint
in your garden
n Step-by-step oils
n Seasonal landscapes
in acrylics, oils and
watercolour
n How to overcome
shyness when
painting in public
n And much more!
t
58
How to overcome your fear of painting in public, with Michael Fenner
JULY 2017
5
Call for entries
Portrait Prize 2017
At the RBSA Gallery
1st
P
� rize
000
rtists are invited to enter portraits in all media*.
Artists
Only digital file(s) of original work can be entered
for selection.
Deadline to enter Wed 7 June, by 4pm.
Exhibition on show Thu 27 July - Sat 19 August.
+ Download the interactive application pack at rbsa.org.uk.
LP07_WebcompS_Layout
1 03/05/2017 14:15 Page 1
* Except photography. � Image - John Williams, Winter, Oil (detail). Highly Commended award in 2015.
Royal Birmingham Society of Artists
RBSA Gallery, 4 Brook Street, St Paul?s, Birmingham, B3 1SA
T 0121 236 4353
W www.rbsa.org.uk
Registered charity no 528894. Registered company no 122616.
PAINTERSONLINE
and STAEDTLER Competition
PaintersOnline,
the online home of
Leisure Painter and
The Artist, has teamed
up with STAEDTLER
to offer you the chance
to win one of five tins
of 50 triplus colour
fibre tips worth
�.50(rrp) per set.
Discover the comfort and ease of
writing and drawing with a triplus
triangular shaped pen from STAEDTLER.
Ergonomically shaped for a relaxed grip,
triplus pens remain comfortable to hold
even when in use for long
periods - ideal for any adult
colouring addicts.
Available in 48 intense
colours, the triplus colour fibre
tip has a stable, pressureresistant tip for durability and
a line width of approximately
6
p06_lpjuly16.indd 6
JULY 2017
ENTER NOW
To win one of five tins of
50 triplus colour fibre tips
from STAEDTLER please visit:
www.painters-online.co.uk
1mm. It contains water-based ink that
washes out of most textiles and has a
ventilated cap for safety. The ink is also
?Dry Safe? which means it won?t dry up
if accidentally left uncapped.
For complete drawing and
colouring爁lexibility, the colours of
the triplus fibre tip match those of
the triplus fineliner and broadliner
perfectly so the different pens can
be mixed and matched for use in
artwork. For more information
visit www.staedtler.co.uk
the online home of
and
magazines, and click on the links
to competitions. Closing date
for entries is July 30, 2017.
Winners will be selected at
random from all online entries.
When completing your details please
make sure you opt in to receive our
great regular email newsletters so that
we can keep you up to date with what?s
new at PaintersOnline, including the
latest features, images in the galleries,
new competitions and other great offers.
www.painters-online.co.uk
05/05/2017 10:57:48
LP July 2017 Diary p7_News 1st 08/05/2017 09:41 Page 6
Diary
THINGS TO DO THIS MONTH
Open studios
n
t
David Thomas
Cranesbills and Book,
oil, 113?4x13in.
(30x33cm). David will
be taking part in the
2017 North Yorkshire
Open Studios
Over 200 artists and artisans will be
showcasing their work in this year?s
Derbyshire Open Arts, which has been
extended to run from 27 May until
4 June. Full details of all the
participating artists are available from
www.derbyshireopenarts.co.uk
North Yorkshire
From fisherman?s cottages to
Victorian workshops, 129 artists will
be opening their studios for on of
the largest open studios event in the
country. The North Yorkshire Open
Studios takes place over two
weekends in June ? 3 and 4; and 10
and 11 (10.30am to 5.30pm daily).
To find out more go to
www.nyos.org.uk
Open for Art
Eighty artists in the Dorchester,
Weymouth, Portland and
Abbotsbury areas of Dorset, including
Leisure Painter?s editorial consultant,
Tony Paul, will be opening their
studios between 20 May and 7 June
as part of Open For Art. Brochures are
available detailing all the exhibitors
and the 42 venues that will be showing
solo and group shows. For details
email osadmin@artwey.co.uk
Tony Paul Riders in the Frome at Moreton, acrylic,
113?4x153?4in. (30x40cm). Tony will be showing his work
as part of Dorset?s Open for Art open studio event
t
n
Derbyshire
n
Surrey
Over 148 studios will open their doors
in locations throughout Surrey and its
borders for 16 days from 3 to 18 June.
Surrey Artists? Open Studios began in
Always learning
Linda Birch
Leisure Painter contributor, Linda Birch
will be leading her 16th Summer
School at Hampsterley in the North
Pennines from 3 to 7 July. Full details
are available direct from Linda at
lindajoycepitt@aol.com
Plein air for beginners
Artists Joanne Weaver and Fran Russell
are running plein air oil or acrylic
classes for beginners at various
locations in Kent on 5 and 16 June,
and 3, 14 and 21 July. Visit
www.franrussellart.co.uk or telephone
Joanne on 07415 891098.
t
Fran Russell The Royal Military Canal at
Appledore, oil on board, 12x8in. (30x20cm)
www.painters-online.co.uk
Janet Mayled The Visitor, dye, acrylic and
pastel, 211?4x29in. (54x74cm). Janet will be showing
her work at the Derbyshire Open Arts event
t
n
2001 and provide an opportunity to meet
and talk to artists in their studios, watch
demonstrations, buy artwork and get
involved in creative workshops. For full
details visit www.surreyopenstudios.org.uk
Show your work
NWAG Wildlife Art
The Natural World Art Group is
inviting entries to its NWAG
Summer Exhibition of Wildlife
Art. Selected work will go on
show at the Natural World
Gallery at Banham Zoo, Norfolk
from 15 July to 17 September.
All two and three-dimensional
work is acceptable as long as the
subject is wildlife, wild
landscape or botanical. The
closing date for entries is 1 July.
For details, email Viv Rainsbury:
viv.rainsbury@virginmedia.com;
telephone 01493 440972 or visit
www.naturalworldartgroup.co.uk
JULY 2017
7
LP July 2017 Exhibitions p8-9_Layout 1 08/05/2017 09:44 Page 2
Exhibitions
JANE STROUD RECOMMENDS
LONDON
n Bankside
Gallery
48 Hopton Street SE1. 020 7928 7521. ?The
Society of Graphic Fine Art?, 5 to 18 June.
?Above and Beyond?: paintings by Natalia
Avdeeva celebrating the countryside and
coastline of Great Britain, 20 June to 2 July.
n Jonathan
Cooper Park Walk Gallery
20 Park Walk SW10. 020 7351 0410. Still lifes
by James Gillick, 8 June to 1 July.
n Llewellyn
Alexander Gallery
124-126 The Cut, Waterloo SE1. 020 7620
1322. ?Bruce Yardley?: one-man show, until
24 May. ?Not the Royal Academy 2017?: a
Salon des R閒uses, featuring the best of
work submitted to the Royal Academy
Summer Exhibition, but not hung, 13 June
to 19 August.
n Mall
Galleries
The Mall SW1. 020 7930 6844. ?Minerva
2017?: featuring the work of 200 Japanese
artists, 30 May to 2 June. ?Wildlife Artist of
the Year 2017?: hosted by the David
Shepherd Wildlife Foundation, 28 June to
2 July.
n The
Marylebone Gallery
25 Devonshire Street W1. 020 7935 0530.
?Frazer Price?: watercolours, photographs
and glass sculpture, 25 to 27 May.
n Messum?s
28 Cork Street W1. 020 7437 5545. ?Wilfrid
Gabriel de Glehn 1870-1951?: focusing on
de Glehn?s classical subjects and Arcadian
landscapes, until 26 May.
n National
Gallery
Trafalgar Square WC2. 020 7747 2885.
?Michelangelo and Sebastiano?, until
25 June.
n Royal
Academy of Arts
Piccadilly W1. 020 7300 8000. ?America After
the Fall: Painting in the 1930s?, until 4 June.
?Summer Exhibition?, 13 June to 20 August.
REGIONAL
n Attenborough
Arts Centre
The University of Leicester, Lancaster Road,
Leicester. 0116 252 2455. ?A Brush With
Colour?: marking the 20th anniversary of
the arts centre, the exhibition in the
Balcony Gallery will showcase over 500
postcard-sized works by 50 of the centre?s
Creative Learning artists working to a brief
set by tutor, Jenny Gravette, 9 June to 6
August.
John Singer Sargent Spanish Fountain, 1912, watercolour and pencil on paper, 21x1312? in. (53.5x35cm)
t
Watercolour brilliance
A major exhibition of watercolours by the Anglo-American artist, John Singer
Sargent comes to the Dulwich Picture Gallery this summer. The exhibition is
arranged thematically and will include landscapes, architectural subjects and
figurative scenes, focusing on the artist?s use of unusual perspective and arresting
poses. This exhibition of nearly 80 works is the first major UK showing of Singer
Sargent?s watercolours since 1927. The exhibition can be seen at the Dulwich Picture
Gallery, Gallery Road SE21 from 21 June until 8 October. Telephone 020 8693 5254
for opening hours or visit www.dulwichpicturegallery.org.uk
8
JULY 2017
n Falmouth
Art Gallery
Municipal Buildings, The Moor, Falmouth,
Cornwall. 01326 313863. ?Artists Afloat ?
Tuke and Hemy at Sea?, until 17 June.
?Winifred Nicholson: Liberation of Colour?,
24 June to 16 September.
n Harbour
House
The Promenade, Kingsbridge, Devon.
01548 854708. ?Drifting into Plein Air?:
paintings by Jolanta Bogdan, until 31 May.
?Swansong?: paintings by Simon Dobbs,
23 May to 4 June.
www.painters-online.co.uk
LP July 2017 Exhibitions p8-9_Layout 1 08/05/2017 09:44 Page 3
n Hilliers
Gardens
Jermyns Lane, Ampfield, Romsey,
Hampshire. ?Off the Wall?: work by a diverse
group of local and internationally-known
artists, including Leisure Painter contributor,
Wendy Jelbert, 9 to 28 June.
n The
Jerram Gallery
Half Moon Street, Sherborne, Dorset.
01935 815261. Paintings by Katherine
Swinfen Eady featuring Salisbury Plain, the
west coast of Scotland, France and Italy, 10
to 28 June.
n Tate
Liverpool
Albert Dock, Liverpool Waterfront. 0151 702
7400. ?Portraying a Nation: Germany 19191933?, featuring the work of painter Otto Dix
and photographer August Sander, 23 June to
15 March 2018.
n Victoria
Art Gallery
Bridge Street, Bath. 01225 477233. ?Bath
Society of Artists 112th Annual Open?, 20
May to 15 July
All information given here is correct at the
time of going to press, but you are advised
to check details and opening times with
the galleries prior to your visit in case of
unavoidable alterations to their
exhibition schedules
Stephen Thomas Hope Cove, oil, 15x151?2in. (38x39.5cm)
t
Contemporary Passions
Contemporary Passions is an annual exhibition at
the Harbour House Gallery in Kingsbridge, Devon
featuring new work by ten members of the South
Hams Arts Forum, including that of Stephen
Thomas (above). The exhibition runs from 6 to 18
June. For more information telephone 01548
854708 or go to www.harbourhouse.org.uk
New English
Founded in the later part of the 19th century, the
New English Art Club now boasts around 90
painters working in a variety of media, but all
with a concentration on direct observation and
the human figure. Its annual exhibition takes
place each year at the Mall Galleries in London
and features works by members as well as
paintings, drawings and prints selected from an
open submission.
The annual exhibition of the New English Art
Club can be seen at the Mall Galleries, The Mall,
London SW1 from 16 to 25 June. Telephone 020
7930 6844 or visit www.mallgalleries.org.uk.
Readers of Leisure Painter are offered free entry
for two on mentioning the magazine at the
gallery desk.
t
Melissa Scott-Miller Summer Back Garden with the Artist and
Family, oil on canvas, 48x36in. (122x91.5cm)
www.painters-online.co.uk
JULY 2017
9
June letters_News 1st 09/05/2017 10:22 Page 11
Letters
YOUR TIPS, SUGGESTIONS,
IDEAS AND QUESTIONS
reading my last two copies of
Leisure Painter, I have started to paint
in pen, line and wash. I am 81 years
old and it?s great to try something new.
I haven?t tried acrylic or oil painting
yet, but there?s plenty of time to learn
them later.
David Parkes
Painting with disabilities
I was interested in the letter from
Maisie Taylor (Leisure Painter, June)
and was sorry to hear of her
difficulties.
I have a problem with my hands,
owing to arthritis. I recently tried
working with pastels and have found
them easier than using a brush. I was
also interested to read the report by
Tim Fisher in the May issue on Caran
d?Ache Neocolor II water-soluble
pencils. These can be used as pastels
and/or watercolour. I found them
easier to use and less messy than soft
pastels. I think these pencils may be
of some help to Maisie.
Moira Jones
Experiments with paper
In reply to Marlene Griffin?s letter
(Leisure Painter, May) on the place
of digital art in our exhibitions,
may I suggest support for all forms
of mark making, which can be
recognised as art? I enjoy painting
with acrylics, which I believe met
with early criticism, and drawing
with ink, but more recently have
also experimented with ArtRage
on an iPad. A recent en plein air
sketch I made of Skiddaw can be
seen above.
Dennis Donald Skiddaw, plein-air sketch
made using ArtRage on an iPad
t
Digital art
The tablet is so convenient to use,
and cleverly emulates real oil and
watercolour paint, charcoal, pastels
and ink. Skill and technique are
involved; it certainly isn?t paintingby-numbers.
At around �for the app, why not
give it a go? You?ll receive several
hundred pounds? worth of
?equipment?!
Dennis Donald
I recently purchased Yupo paper to
try out and was looking for some
inspiration when I came across a
beautiful painting of koi carp by
Alison Fennell in April?s issue. So I
thought I?d give it a go with this paper.
It?s a fun, but strange paper to work
with and I was wondering if other
readers have used it and whether they
can pass on any tips on technique?
Steven Foster
From the editor: Ev Hales
(Leisure Painter, June) advises that
students try as many different types
of surfaces as possible. See two of Ev?s
paintings on Yupo in the June issue.
We would love to hear from readers
of their experiences using this and
other unusual surfaces.
Send your letters to
Storage for art materials
Further to the question about storage
solutions for materials by Mary Hawking
(Leisure Painter, May), I thought I would
pass on my own way of storing my work.
In common with most of us, I suppose,
I don?t have a lot of spare cash and have
made a smashing job of using the boxes
I receive every time I order my
Fisher400 paper. Used flat, they can be
10
JULY 2017
made into plan chests for my paintings.
You could also decorate them to match
your taste or to look better when stored
in a room.
Angela Gilbert
Changing style
I was a draughtsman when I first started
work and have found the loose style of
painting difficult to achieve. After
Leisure Painter, 63-65 High Street,
Tenterden, Kent TN30 6BD.
Alternatively, email the editor at
leisurepainterletters@tapc.co.uk.
All letters published here win art
materials, courtesy of DalerRowney. For details of all
Daler-Rowney products visit
www.daler-rowney.com
www.painters-online.co.uk
Laid-back activity holidays for artists and adventurers
If you enjoy painting, then why not take your hobby on the road and do it in some of the world?s most scenic
locations? At Authentic Adventures, our goal is to help our guests flourish in their chosen passion, whether
that?s painting, singing, walking or sightseeing, with the assistance of enthusiastic tutors and knowledgeable
guides. Join us on tour from as little as �099 and find out what you can do.
Castles in the Air
Between Sea and Sky
A serene agriturismo and a charming
medieval village each present their
own charms on this wonderfully
varied Umbrian painting holiday.
Take in the colourful coastal
landscapes of northern Italy?s
Cinque Terre, the very same which
have stirred the souls of wandering
artists and poets for centuries.
Date
6 Jun
Date
7 Oct
Exc
�999
Single Supp.
�5
PAINTING WALKING
June AnnivComp halfh_Layout 1 04/05/2017 09:37 Page 58
Exc
No single supplement!
� 1,549
SINGING
Colours, canoes, rivers
and reflections | 2018
When we say Kerala is a colourful
destination, we mean it ? prepare
paintboxes with a rainbow of hues.
Date
20 Jan & 17 Feb
Exc
�695
Single Supp.
�5
SIGHTSEEING HOLIDAYS
BOOK NOW
info@authenticadventures.co.uk
+44 (0)1453 823328 www.authenticadventures.co.uk
& 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
JULY?S COMPETITION
PRIZES
Be inspired by the season and
Rachel McNaughton (pages 32 to 35) as
you paint late spring flowers or a scene from
your garden this month in the medium and
style of your choice. Please upload your
entry by 12 noon on Thursday 10 August.
We are delighted to announce exclusive
sponsorship by GreatArt throughout
this year?s anniversary competitions
Each month?s winner will receive �
worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt?s new
shop at Kingsland Road, London E2
JUDGES
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor, Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be
accepted. Only original work
will be considered and paintings
based on reference photographs
must have been taken by the
artist or used with the permission
of the photographer. Only one
painting per artist each month
will be accepted.
1 Online digital entries must
be sent via our website at
www.painters-online.co.uk.
www.painters-online.co.uk
p11_lpjuly17.indd 11
Click through the Current
Painting Competition links
to Anniversary Competitions
2017. You must be registered
and logged in to PaintersOnline
before you can upload an image.
2 Upload your July entry by the
closing date of 10 August at
12 noon.
3 Entries will be judged after 14
August and the winning entrant
will be informed later in August.
4 You will be invited to send a
high-resolution image of your
winning entry to Leisure Painter
for publication in the magazine
in spring 2018.
5 All work entered will be
featured on our website at
www.painters-online.co.uk.
6 The judges? choice will be final.
No correspondence will be
entered into.
JULY 2017
11
05/05/2017 11:02:46
LP07 12-15 Pybus1_Layout 1 05/05/2017 11:24 Page 12
Girl in a Red Beret, Sketch at Sandside Caf�, oil on board, 6x8in. (15x20cm) A favourite drawing and painting place of mine, beachside
caf閟 have an abundance of colour, interest and let?s not forget, coffee and cakes. What more civilised place could there be to sit with
a sketchbook or paints?
t
Coastal waters
Spring Take a stroll by the coast with Christine Pybus as you
pick up hints and techniques for painting the changing seasons
LEARNING OBJECTIVES
n
n
n
Develop compositional skills in
any medium
Practise mark making with oils
Work through the oil-painting
process from sketch to finished
painting
W
ith no daffodils, leaves,
lambs or snowdrops, what,
you might well ask, is the
difference between winter and spring
on the beach? On the face of it, the
changes are less obvious, but pause
for just a moment to look and you?ll
find that they?re far more significant
than you might imagine.
The mood of the sea has changed
from the malice and anger of those
12
JULY 2017
winter waves to, whilst still
unwelcoming, a more structured and
business-like demeanour. Gone is that
wild energy and turbulence of those
winter storms and the sun, now higher
in the sky, has changed both the
colour and tone of the sea. From a
hard, steely grey it?s now turned to
a distinctive, soft turquoise and whilst
still well short of the crispness, sparkle
and colour of its full midsummer
plumage, the sea at this time of year
is a delight to paint.
Moving ashore, that still low sun
sends long purple shadows reaching
searchingly across the beach. Then
there are people, often lots of people.
Not just those hardy few, wearing
layers of thermals and dark
waterproofs that just a month ago
were trudging wearily along battling
the elements. No, these, whilst still
requiring warm clothing, are people
with energy, movement, colour and
vibrancy.
It?s also very easy to be blinkered and
to see just the three options: beach, sea
or beach and sea. However, beginning
to spring into life at this time of year are
a multitude of other unique, exciting
and interesting subjects clinging to the
coastal peripheries, all of which can be
incorporated into a composition: caf閟,
beach huts, and those aforementioned
figures to name but three.
Beach and sea aren?t all about strong
colour, equally there?s a beauty to be
found in these soft, muted, early
morning, complementary colours. Yes
complementary; the opposites on the
colour wheel. Sparkle is achieved by
using short staccato marks of varying
hues of blues and yellows placed next
to each other. LP
www.painters-online.co.uk
LP07 12-15 Pybus1_Layout 1 05/05/2017 11:24 Page 13
Sandsend from the Old Railway
Line, oil on board, 6x8in. (15x20cm).
This is another of my little
?immediate? sketchbox oils. These
studies are often much livelier and
fresher than the larger, more
considered works. The compositional
possibilities are endless at this time
of year when there?s no leaf cover,
long shadows and light sparkling
through the branches. Adding this
detached, almost intrusive, extra
dimension to an otherwise ordinary
beach scene is just one of those
numerous possibilities.
t
www.painters-online.co.uk
Spring Sunrise, East Row Beck, oil on board, 11x15in. (28x38cm). This was painted rapidly and
much the better for it, due to the fast changing light. The sky, background and foreground had to
be blocked in immediately with a big brush. I could then concentrate on the subject: the sparkle
and figure in the middle distance.
JULY 2017
t
t
TIP Keep your sketchbook to
hand and not just on the beach,
but also at airports, railway
stations and whilst on holiday.
Find somewhere where you?re
not overlooked and can sit or
sunbathe. A day on the beach
or a wait for your train or
flight can then be whiled away
sketching figures. Inevitably
immobile, people are
concentrating on their books, the
departure board, or simply laid
out on the sand, seats or floor.
They?re the finest source of
models available. Always select
your subject as they sit down,
which usually gives you at least
a guaranteed five minutes.
13
LP07 12-15 Pybus1_Layout 1 05/05/2017 11:25 Page 14
Oils
Demonstration Surfers at Upgang
You will need
n
l
Surface
Gesso-primed MDF board
10x12in. (25x30cm),
washed with burnt sienna
or ground colour of your
choice. Alternatively use
an oil board, pad or
canvas
n
l
n
Rosemary & Co brushes
3 Long Flat Hog oil
brushes, between Nos. 2
and 8
l Rigger No. 2
l Watercolour-type brush
No. 2
l
Daler-Rowney Artists? oils
Naples yellow 1, lemon yellow
(hue), yellow ochre, raw sienna,
burnt sienna, light red,
ultramarine blue, cerulean
blue, cobalt violet (Student
quality colour is more
affordable). Plus the thicker
Roberson?s or Mike Harding?s
titanium whites are preferable,
particularly for seascapes
n
Miscellaneous
A large clean cloth
l Turpentine or low-odour
Sansodor. To keep brushes
clean only; not used for mixing
l
The original idea, with
notes, which was much
changed in the finished
picture (below right)
t
t
Step 1
Put down a few tentative
marks, essentially a rough
line drawing then establish
first those darkest areas,
whilst at the same time
considering the
composition. Nothing at
this stage is fixed so you
still have the option to
stand back, look at the
layout, change your mind
and to alter or amend
elements until they feel
comfortable.
TIPS FOR STEP 1
1 Composition The description
?comfortable? is a strange choice perhaps,
but then that?s the main criteria for a
good composition. Is it easy to look at and
does your eye flow through the picture?
More importantly, and you?ll know
immediately if this is the case, does it jar
when you look at it? If so, stop, take a
piece of paper and sketch alternative
ideas until you feel it?s working. The word
you is important here; it?s your painting.
2 Figures Painting figures can be offputting for many, however a group of
surfers in black, walking either towards
or away from you is a good starting point.
They have no detail whatsoever and are
14
JULY 2017
simply silhouettes, which at this stage are
roughly suggested, as they will be refined
later. In this picture the main group of
three figures are at the thirds point ? the
focal point ? and where the eye goes to
first. They lead to a secondary group, next
to the more distant figures and finally out
to a ship on the horizon. The whole
composition therefore forms a fluid S
shape. There is still (smudged) evidence of
other figures that I removed, as they were
confusing to the composition.
3 Direction of light With the direction of
light from the left, the cloud shadows can
be established, followed by just a few of
the lightest lights. All other tones must
now lie between those darks and lights,
and using this approach makes it so much
easier to judge them.
4 Brushmarks The wave and lighter sea
colours are at this stage simply a series of
marks put next to each other. This way
they will retain their freshness; mix them
together and they?ll turn to mud. At a
later stage those gaps left can be filled in,
still retaining many of these initial marks
without losing their luminosity. Note that
the reflections on the wet foreground
beach are painted in broad, downwards
strokes and even at this early stage look
wet. Add a few coloured, single
brushmarks to suggest the surfboards.
www.painters-online.co.uk
LP07 12-15 Pybus1_Layout 1 05/05/2017 11:25 Page 15
t
Step 2
1 Establish the sky colour, working from darker at the top to
lighter towards the horizon. Note the vigorous, dynamic
brushwork and regular changes of colour and tone in that blue.
Use bigger brushmarks at the top (nearer) and smaller towards
the more distant horizon. To achieve movement in the sky, it
must be painted rapidly, perhaps better thrashed, scrubbed or
lathered on, as opposed to painted.
2 Once the sky is established the wet sand into which it reflects
can be suggested using broad, downward marks. That then
essentially is the board covered and you can now go on to
Step 3 which is to refine it as much or as little as required.
Over refining, of which we are all often guilty, will quickly dull
that freshness and light so carefully established early on.
t
Step 3
1 Initially, soften those obviously too
dark cloud shadows along with their
corresponding reflections, a few soft,
distant clouds on the horizon will add
depth too. Add the braking waves using
titanium white straight from the tube
with just the tiniest amount of lemon
yellow added to crisp it up. This paint
isn?t brushed on, but more put or laid on.
Overworking these marks will kill all the
light and impact from them.
2 To lift the subject, a white wave is put
behind the dark figures and it?s at this
stage, using white paint, that the figures
can be
refined.
Paint out the areas that you don?t
want with white and leave what you
do want dark.
3 A little ?action? can be added to the
foreground using warm and cool colours,
just breaking up those harsh vertical
marks and adding a suggestion of sand
beneath the surface.
4 With gaps in the waves filled in, using
crisp marks on the wave tops, softer at the
bottom, the figures can now, if required,
be toned down using blues and purples
and the boat on the horizon reduced to
a suggestion. Look at the overall picture
and ask yourself: Does any mark or area
jump out? Is it too harsh? If it is, adjust
accordingly; if not, leave well alone.
Christine Pybus
Find out more about Christine and her
work by visiting www.pybusfinearts.co.uk
The finished painting Surfers at Upgang, oil on board, 10x12in. (25x30cm)
t
www.painters-online.co.uk
JULY 2017
15
ARTISTS?
VALUE
BRUSHES
Cover Competition
2017
Available through a select group of stockists
www.artistsbrushes.co.uk
�0 worth of Winsor
for full information on ranges, sets, prices.
Great value! Big savings!
& Newton art materials
to be won.
Winning entry will
feature on the cover of
our new catalogue.
NOW OPEN FOR ENTRIES
Entry deadline Friday 7th July
visit our website for entry details and guidelines
artsupplies.co.uk/covercomp
April17_Digital_Layout 1 04/05/2017 10:17 Page 1
Sponsored by
tapc-advert-covercomp17.indd 1
27/04/2017 11:22:31
magazine
is available
digitally
Watercolour
Step 5
1 I always begin with the eye of a bird, as this is
where painting comes alive. Using a No. 3 brush,
wet the eye and drop in a thin wash of French
ultramarine, avoiding the highlight areas and
the edges of the eyes.
2 Let this dry then do the same with a mix of
French ultramarine, lamp black and alizarin
crimson, being careful not to go too wide around
the eyes.
3 Once dry add a touch of the same colour but
watered down to the light areas to the sides of
the eyes.
4 With the No. 00 brush add a tiny second
highlight within each eye by using tiny circular
motions then, whilst wet, lift off the area with
a point of a piece of kitchen roll.
5 Let it dry again then add the details to the
bottom and top of the eye with a mix of raw
umber, burnt umber and burnt sienna. Use a little
white watercolour to add the highlight.
TIP Dab your brush once on a piece
of kitchen roll, just to take off
surplus paint.
Step 6
1 Now we need to put down a couple of
washes onto the face. Begin by mixing a very
weak wash of French ultramarine and lamp
black. Wet the face with clean water, avoiding
the eyes, and drop in the weak wash around
the edges of the face and around the bottom
of the eyes towards the beak.
2 Whilst still wet add a weak wash of raw
sienna to the sides of the beak, adding
a faint outline to the beak so you know
where things go at a later stage. Let it dry.
l Easy access to paid-for past
and present issues
l All issues stored in one place
l Subscriptions and single
copies from just �99
l Try it FREE. Sample issue
is available to download
16
p16_lpjuly17.indd 16
JULY 2017
Step 7
l Instant acccess to your
magazine
l View any time, anywhere
1 Using the No. 00 brush, paint the
fine feathers within the face, using a
mix of French ultramarine and ivory
black. Add in a touch of raw sienna
around the eyes and beak. Keep a
constant check on the direction of the
feathers and the curves of the lines.
Some areas are darker than others so
add more detailed layers to these parts.
2 Use the same process with the
brown areas underneath the eyes with
a mix of raw sienna and burnt sienna.
3 Add the details around the heartshaped face with the same blue-grey
colour, adding a touch of raw sienna
to some of the outer edges.
4 Wet the beak with clean water and
add a light wash of raw sienna. Whilst
wet, paint the outline with the French
ultramarine and lamp black mix,
allowing the paint to blend towards
the centre of the beak. You may
need to strengthen this once dry.
52
JULY 2017
www.painters-online.co.uk
Go to www.painters-online.co.uk and
click on the ?Subscribe? tab, search for
Leisure Painter magazine at these
stores or scan the QR code
www.painters-online.co.uk
05/05/2017 11:06:53
LP07 17-19 Bowden_Layout 1 05/05/2017 11:49 Page 17
The finished painting Spring Landscape, watercolour, 15x22in. (38x56cm)
t
Painting project
Part 2 Paint spring greens in the landscape, with Jem Bowden
n
n
How to loosen up your style
Paint loose and lively
watercolours
Practise mark making
I
n the first part of this painting
project last month we looked at how
to simplify and emphasise the best
aspects of our composition to arrive at
The photograph that introduced the spring landscape last month
t
www.painters-online.co.uk
I?d like to focus on the painting method
as we go along. It is aimed at being fresh,
energetic and, if anything, underworked.
This approach generally involves some
risk-taking, but I think helps to convey
the nature of our subject, which really
is spring itself.
It may help you to work on a smaller
scale, but still try to be swift and use
large brushes. Prepare your mixes in
advance, think through the process
then be fearless! I hope you enjoy the
following challenge. LP
The finished tonal sketch of the scene
t
n
a working tonal sketch (below right)
based on our spring reference photograph
(below left). I also suggested some mixes
for greens, primarily aiming to avoid
gaudiness!
In this half of the project we?ll paint our
watercolour, aiming to replicate the tones
in the sketch and use those colour mixes
you practised last month, along with a
few others for the sky, grasses and other
areas of the landscape. Please refer to part
one in the June issue for a description of
the green colour mixes mentioned here.
t
LEARNING OBJECTIVES
JULY 2017
17
LP07 17-19 Bowden_Layout 1 05/05/2017 11:52 Page 18
Watercolour
Demonstration Spring landscape
n Saunders Waterford
200lb Hot-Pressed,
15x22in. (38x56cm)
n Winsor
& Newton
Professional
Water Colours
l Winsor blue (red shade)
l French ultramarine
l Indian red
l Light red
l Raw sienna
l Cadmium yellow
l Burnt umber
n Brushes
l
Large squirrel
hair mop
l Black Sheep brush ?
a medium-sized
adapted Chinese
calligraphy brush
(available from
my website,
see below)
n Miscellaneous
l
l
t
You will need
Step 1 Mark out the composition in simple terms
First, draw out lightly the main shapes of the composition. Think in
terms of scale and correct placement, but don?t be fussy about the
small stuff. If you take ages on a perfect drawing, you may become
too precious to take those risks I mentioned!
8B (or soft) pencil
Soft putty eraser
t
Step 2 A breezy sky ? fast into action!
1 The sky process needs to be fast and loose to achieve an effect of
whispy clouds catching the sun in places. With the large mop brush
quickly place a few pale patches of light red, dispersing across the sky area.
These can be rough. Don?t worry about their shape at all; variation in
placement is more important and speed is of the essence.
2 Then load the mop with Winsor blue, greyed slightly with a small
amount of light red (pre-mix this so you are able to act swiftly). Quickly
skirt your brush all around the edges of the cloud ?patches?, touching into
them in places, but in other places leaving small areas of white paper
around their edges, especially on the tops. Where the paint merges allow
the colours to run. Try not to fuss, but move on swiftly.
3 Pale your wash away towards the bottom of the sky with clean water.
t
Step 3 Background and mid-ground washes
1 Once the sky is dry place dabs of the blue
sky colour along the top of the distant hill.
Join the dabs with a more purple mix of
French ultramarine and Indian red. Throw
in a couple of dabs of the pale raw sienna
mix (see last month). Allow the colours
to merge on the paper, wet against wet.
Resist the temptation to stir it all together.
2 Once dry, begin on the trees. At the left
is a dark, quite thick, cool mix of the grey
and raw sienna mix (see last month). Look
at the sketch to judge your tone correctly
and try to make it dark enough first time
so you won?t need to overpaint later. This is
important in retaining the freshness we?re
aiming for.
3 Vary the colour towards the warmer mix
(using extra raw sienna) as you move along
the hedgerow, with the exception of the
sparse purple tree (Indian red and
ultramarine).
4 Use the cadmium yellow-based mix (see last
month) against the sky on the right. Use the
raw sienna mix again for the field with Indian
red added at the base while it is still wet.
TIP Concentrate on your brushmarks.
Use the brush briskly on its side (and
the tip for branches). With as few
strokes as possible aim for marks that
have energy and movement. Sometimes
you?ll want quite a dry brush, but mix
these with wetter strokes for variety.
Take risks, but be careful not to fill
those important gaps in the foliage.
18
JULY 2017
www.painters-online.co.uk
LP07 17-19 Bowden_Layout 1 05/05/2017 11:50 Page 19
t
Step 4 The foreground
Suggest the ground foliage with a range of
loose marks, including some strong tones
(thick paint) set against white paper in places.
I used a little burnt umber dropped into one
part wet in wet for a spot of warmth. The
colour used to the left is the greyer mix
shown last month. Keep the far right very
pale. The whole area is slightly dappled with
light and shade, and can remain vague.
t
Step 5 The main tree
Here the foreground tree is shown half
completed. Use thicker blends of the
cadmium yellow and grey mix with yet more
vigorous brushmarks to suggest foliage. The
trunk uses a thick mix of French ultramarine
and Indian red. A few branches are scraped
out at the top ? light against dark ? with
a fingernail while the paint is damp.
t
Stage 6 Finishing touches
Take a break from your painting and return
with fresh eyes. Towards the end it really
pays to spend more time looking and
considering than actually painting. I wanted
to judge carefully how much of the foliage
and thin branches coming down from the
top of the painting would be needed. This
involves more risk taking and a less-is-more
approach so take your time and perhaps
practise tone, colour and marks on a scrap
sheet first. In the end I added a few extra
brushstrokes to complete the main tree,
placed a solitary bird in the sky to help
draw the eye deep into the scene, and
slightly darkened the left foreground to
give a better idea of shade. See what your
own painting needs ? then be brave!
Jem Bowden
Jem is a full-time artist and
watercolour tutor, providing
one-to-one tuition,
demonstrations, workshops,
weekly classes, and residential
painting holidays, including
the Wye Valley in Watercolour
(9-14 July) with Alpha Painting
Holidays (www.alphapainting
holidays.co.uk). For more
details, and to see a blog and
galleries of his work visit Jem?s
website at www.jembowden
watercolour.co.uk, email
jembowdenwatercolour
@gmail.com or telephone
0117 9711735.
t
www.painters-online.co.uk
The finished painting Spring Landscape, watercolour, 15x22in. (38x56cm)
JULY 2017
19
LP07 20 Subs_Layout 1 05/05/2017 16:07 Page 1
SAVE 30% on the shop price*
THE UK?S BEST-SELLING LEARN-TO-PAINT MAGAZINE
Our
50th
year!
STEP-BY-STEP wisteria
in watercolour
JULY 2017 �20
l SAVE
over 30% on the shop
price and enjoy FREE postage
postage
l Something for you to look
forward to receiving every 4 weeks
l Over � worth of magazines from only �.99*
l FREE exclusive transfer to our sister magazine
The Artist at any time
Focus on acrylic
palettes and
supports
DAVID BELLAMY
on painting in
the Arctic
How to paint a
portrait in pastel
Paint loose
and lively
landscapes
TOP TIPS
for painting
from photos
DRAWING
Practice
makes perfect!
FIRST STEPS
Paint an owl
in detail
PLUS
DEVELOP YOUR
TONAL WORK
ONLY
�92
and enjoy
FREE
BE INSPIRED
by line and wash
IMPROVE YOUR
composition and
perspective skills
!
A subscription to
is
like having your own personal tutor.
Receive �.60 worth of magazines over
the coming year, each one brimming
over with ideas, help and advice,
for only �.99*
Free delivery applies to UK addresses. Savings for delivery overseas vary depending on the country but are always lower than the UK shop price. CUT OR PHOTOCOPY
R
START SAVING TODAY. Call 01580 763315 and quote offer code LP1707 or go to
www.painters-online.co.uk/store and enter offer code LP1707. Offer ends June 30, 2017.
YES! I would like to subscribe to
PAY JUST �92* AN ISSUE WITH FREE DELIVERY
n �.99 SAVE 30% by annual Direct Debit* BEST PRICE
UK
n �.99 SAVE 20% 13 issues by cheque, debit or credit card
UK
Overseas n � 13 issues by cheque, debit or credit card
Your details:
Title:
Address:
Initials:
n I would like to pay by Direct Debit
BEST PRICE
Instruction to your Bank or Building
Society to pay by Direct Debit
Service User Number
Please fill in the form and send it to TAPC Ltd,
FREEPOST RTJE-RCXY-UAXL, 63-65 High Street,
9 4 8
Tenterden TN30 6BD
Name and full postal address of your Bank or Building Society
3 7 8
To the Manager (Bank/Building Society)
Surname:
Address
Postcode
Postcode:
Telephone:
Name(s) of Account Holder(s)
Email:
Delivery details if different:
Title:
Address:
Initials:
Bank /Building Society account number
Surname:
Postcode:
n Please debit my n Visa n Mastercard n Maestro
Card no.
Expiry date: ___ /___
Issue no./Valid from ___/___
3 digit security no. (on the back of your card): ___ ___ ___
n I enclose a cheque made payable to TAPC for the amount of � __________
Branch Sort Code
Reference Number (Internal use only)
Instruction to your Bank or Building Society
Please pay The Artists? Publishing Company Limited Direct Debits from the account detailed in this
instruction subject to the safeguards assured by the Direct Debit Guarantee. I understand that this
Instruction may remain with The Artists? Publishing Company Limited and if so, details will be
passed electronically to my Bank/Building Society.
Signature(s)
Date
Banks and Building Societies may not accept Direct Debit Instructions for some types of accounts
UK bank account required to pay by Direct Debit
Post to: TAPC Ltd, FREEPOST RTJE-RCXY-UAXL, 63-65 High Street, Tenterden TN30 6BD
Online www.painters-online.co.uk/store
Call 01580 763315 Monday to Friday 09:00 to 17:00
The Artists? Publishing Company Ltd (TAPC) will hold your details to fulfil your subscription order. We never share your information with any third party.
Occasionally we may have an offer or news that we would like to share with you. If you would like to receive this information tick the boxes for your
preferred methods of contact: by email [ ] by post [ ] by SMS please add your mobile telephone number here ............................................................. LP1707
$
when you subscribe
to
LP07 21-23 Kerr_Layout 1 05/05/2017 12:01 Page 21
Drawing
Drawing Project
Part 2 Complete your drawing of this Mediterranean town scene
using graphite and pen and wash techniques, with Anne Kerr
LEARNING OBJECTIVES
n
n
n
How to work from photos
Build confidence with your
drawing skills
Ink drawing and pen & wash
techniques to follow
L
ast month we looked at the
photograph I had taken whilst
visiting the beautiful little
Mediterranean town of Montenegro
(below). I also included the greyscale
version of the photograph (page 22)
to help you to distinguish the light and
dark tones. Using this photograph as
our reference picture, I suggested
several ways of tackling the project
using drawing materials of your choice.
I suggested you might like to mix up
the types of drawing materials to give
new and interesting effects. Remember
there are no rules when it comes to art.
The materials I used were:
l Arches Hot-Pressed (HP)
watercolour paper, 111?2x81?4in.
(30x21cm)
l Micron permanent ink
drawing pens, Nos. .02
and .05
l Winsor & Newton
Professional Water Colours:
ultramarine blue, burnt
sienna, raw sienna and
phthalo turquoise
l A large watercolour brush
and palette.
Before I began, I checked that
the ink in my drawing pen was
waterproof, as I intended to
add watercolour washes to the
drawing. The following steps
show the three-pass method
I used to build up my picture:
an initial outline sketch,
followed by additional detail,
and finally the dark tonal values
and texture lines added to the
centre of interest.
I hope you enjoy following
drawing and painting along
with me over the page. LP
Demonstration
Montenegro
You will need
l
Arches Hot-Pressed (HP)
watercolour paper,
111?2x81?4in. (30x21cm)
l Micron permanent ink
drawing pens, Nos. .02
and .05
l Winsor & Newton
Professional Water
Colours: ultramarine blue,
burnt sienna, raw sienna
and phthalo turquoise
l A large watercolour brush
and palette
t
www.painters-online.co.uk
t
The photograph that introduced last month?s painting project: buildings in Montenegro
JULY 2017
21
LP07 21-23 Kerr_Layout 1 05/05/2017 12:02 Page 22
Drawing
Demonstration continued
This black-and-white version of the scene
will help you to produce a fully tonal drawing
t
Step 1 Drawing from the inside out
t
I completed an outline sketch of the scene
beginning with the largest shapes and working
my way down to the smallest shapes, which
enabled me to place the picture accurately on
the paper without running out of space. I kept
many of my drawn lines broken and slightly
uneven to give the picture movement and
interest. The little market stall and the chair did
not add anything to the ambience of the scene
so I replaced the market stall with additional
foliage. I went straight in using ink (without a
pencil drawing first) and decided to treat the
picture rather like a vignette so that filling the
whole of the paper was not important to me.
t
Step 2 Power pointing
With the outline complete I concentrated
on adding the dark tonal values and texture
lines to the centre of interest. I deliberately
made the outside areas of the picture less
interesting with fewer tonal values so that the
viewer?s eye would be drawn to the centre of
interest, which comprised the doorway, steps
and supporting wall. The lighting effect in the
original photograph was not particularly strong
so I reminded myself that the light was coming
from the left by adding a large arrow on my
drawing board. I chose to enhance the effect
of the light so that it lit up the end of the street,
casting a strong shadow from the building on
the left of the drawing. Notice how the surface
of the street has been suggested with only a
few stones and pebbles. Likewise, the walls of
the buildings only have a representation of
the textures that make up these features; the
brain will fill in the rest of the story. There?s
no need to draw every brick and stone.
22
JULY 2017
www.painters-online.co.uk
LP07 21-23 Kerr_Layout 1 05/05/2017 12:03 Page 23
t
Step 3 Colour washes
1 Having completed the drawing
I was ready to add colour using light
watercolour washes. I was conscious
that this was a line and wash picture,
not a pure watercolour painting, and
loose, gentle and unfussy washes of
colour were all I needed. It didn?t
matter if the colour ran over onto
nearby features; this all added to
the loose and spontaneous look to
the picture. My first washes were
wet in wet:
Sky Ultramarine and a little
burnt sienna.
Buildings on the right of the picture
Raw sienna and burnt sienna.
Building to the left of the picture
Ultramarine and burnt sienna.
Central wall and house Raw sienna,
and leaving small white patches.
Road Ultramarine and burnt sienna
with a little pure burnt sienna
dropped into the foreground.
Windows Any mixture already on
my palette with a little turquoise
dropped into the central windows
to draw the eye.
Foliage Ultramarine blue, raw sienna
and a touch of burnt sienna.
2 Once the first washes were
completely dry, I added the shadows
to the picture using various mixtures
of ultramarine blue and burnt
sienna, wet on dry.
t
The finished painting
Montenegro 1, pen & wash,
1112? x814? in. (30x21cm)
SAME SUBJECT, DIFFERENT MEDIUM
I tried the same picture using
alternative drawing media to achieve
a totally different effect. I completed
this using a selection of Derwent
Graphite pencils in 2B, 4B and 8B on
an A4 piece of smooth Bristol Board.
Once again this was completed using
the three-pass method: an initial
outline sketch, followed by additional
detail and finally the dark tonal
values and texture lines added to
the centre of interest.
If you have been following this
series of six articles on drawing, you
have now probably decided on your
favourite medium. I do hope you
have been inspired to tackle regular
drawing, especially if it is something
you hadn?t tried before. It has been
a pleasure to introduce you to just
a smattering of techniques and ideas
over the past six months. I would love
to know how you got on; you can
always contact me via my website.
Anne Kerr
t
Anne teaches on painting holidays in the UK, Italy and Spain She gives talks
and painting demonstrations to local art groups and runs classes at her home
studio. Full details can be found on her website www.annekerrartstudio.com
www.painters-online.co.uk
JULY 2017
23
LP07 24-27 Bellamy_Layout 1 08/05/2017 15:27 Page 24
Tasiilaq harbour iced up
t
Arctic adventures
Join David Bellamy and fellow artist, Torben Sorensen, as they
venture deep into the Arctic to find inspiration and colour everywhere
LEARNING OBJECTIVES
n
n
n
How to paint in cold climates
Techniques and ideas for
sketching with water-soluble
media
Be more flexible with your work
T
Iceberg in Sermilik Fjord, Greenland. The mist came and went, so I sketched rapidly with
water-soluble pencils to capture the dramatic atmospheric effects caused by the changing scene.
t
24
JULY 2017
he morning sun was casting silver
sparkles across the ice, but it was
ice-cool sitting on the sledges
waiting to go. Dog teams leaped
excitedly about, barking with eager
anticipation of a morning run across the
frozen wastes. Torben was sitting on the
back of another sledge, and we each had
an Inuit driver, who normally sat at the
front, cracking his whip and giving the
odd guttural command to the huskies.
With a jerk we were away. Across the
soft snow, the ride was smooth and
dream-like. In the clear light, one could
see great distances and happily sketch
distant peaks without any need to hurry.
The Greenland sledge is an excellent
sketching platform while the going is
smooth. Many times I drew Torben?s
sledge as a focal point in a sketch of
the savage landscape. Eight to 12
dogs massed together can look like a
shapeless mess in a drawing if you are
not careful. Two or three heads are
www.painters-online.co.uk
LP07 24-27 Bellamy_Layout 1 05/05/2017 13:05 Page 25
Icebergs Caught in the Evening Glow. Tense moments sketching as the light faded, while imagining a host of hungry polar bears about
to emerge out of the gloom.
t
sufficient, with the blurring of flying
powder snow an excellent device to
lose most of those racing legs.
When something really exciting
demanded a more considered drawing,
I called a stop and we often took the
opportunity for a hot drink as we
sketched. After sitting for some time
on the sledge, it was always welcome
to stretch the limbs and follow the dogs?
example of jumping about a bit to
warm yourself up.
Travel arrangements
www.painters-online.co.uk
David sketching with a spotter scope. Photograph by Torben Sorensen.
evil-shaped rocks sticking out of the
snow.
Sledging across hard sastrugis ? ice
ridges sculpted into the surface by the
wind ? can be likened to riding a road
drill at high speed, as the ice is rock
hard. At one point we stopped to check
whether Bent, Torben?s driver, had
caught any seals in a net he had set a
day or two earlier. A post driven into
the sea ice marked the spot and the
Inuit dug down until a patch of dark
water was revealed. Sure enough, when
Bent?s friend, George, hauled the net in,
a small ringed seal had been caught.
Torben had the pleasure of its rather
smelly companionship on his sledge
for the rest of the day.
Sketching foray
In the evening we felt a desperate need
to stretch our legs, so, clad in down
jackets and snow boots, we emerged
from the hotel and hiked across deep
snow towards the fjord. Once away from
the building, thoughts immediately
sprang to mind of polar bears hiding
behind every large icy eminence, waiting
to jump out at us. We had no rifles, my
largest weapon being a No. 10 sable
brush to fend off any bear attacks. Where
land ended and the fjord began was not
obvious, but we hoped the fjord ice was
thick enough to take our weight. The
evening was clear, with a sunset in the
offing. Huge icebergs lay frozen into
Ikaasaartik Fjord, waiting for the summer
JULY 2017
25
t
t
Our route lay across fjords, up mountain
slopes and down the far side to the next
fjord. There was no sign of life, no birds
or beasts to relieve the grey desolation.
Visually the weather ranged from sunny
and benign to moisture-laden indigo
nimbus broken here and there with
white strands; the snowstorms obligingly
keeping well into the distance. In this
landscape dominated by blacks and
whites, especially in flat lighting that
tends to diminish colour, the starkness
of the contrasts was striking. An artist
has to be careful to seek out those
nuances of intermediate tones that are
present, but this was difficult to see
against glaring white snow. I had to
look hard for colour here, while at the
same time watching out for rocks ahead
that might overturn the sledge. I had
lost enough pencils already ? they flew
out of my hands as we swerved, took
off over an ice hummock or crashed
into a snow bank. Huskies appear to
have little concept of how annoying it
can be to see your sketchbook
disappear down an icy crevasse. At
times I imagined the lead dog must
have a grudge against artists, as so often
he seemed to head directly for the most
LP07 24-27 Bellamy_Layout 1 05/05/2017 13:06 Page 26
Huskies in full cry. The original pencil sketch holds a fleeting memory of hurtling down a steep slope while looking backwards at the
following sledge, holding myself in position with legs straddling the sides, then bouncing off the sledge onto a snow bank and back on
again, still with sketchbook in one hand and pencil in the other.
t
knew full well that if one did appear,
we would have no hope of reaching
the hotel before it was upon us. The
icebergs glowed a fiery red in the
evening light, so watercolours were
obligatory. The water was kept in a
container in a neoprene pouch inside
my jacket and as I poured it out, it
turned into an icy sludge. Quickly
I dipped a large brush into the sludge,
flicked it into the paint and applied it
to the sketchbook, but the brush hairs
were already rock hard. I discarded the
brush for a second
one, just managing
to get a wash over
part of the
This article was adapted
background before
from David Bellamy?s
the hairs froze. The
Arctic Light (Search Press,
washes instantly
�). Save �when you
reticulated on the
buy this book from our
paper as they iced
bookshop at www.paintersup. Normally, for
online.co.uk. Turn to page
rapid-fire sketching
48 for details. Meet David
like this,
at Patchings Festival in
I work into the wet
July (see page 71 for
washes with a
details) and find out more
watercolour pencil,
about David by visiting
but here it simply
www.davidbellamy.com
rattled across frozen
reticulations, leaving
26
JULY 2017
a coloured line, but not the intense
one I would expect working into a
damp surface. The temperature was
falling rapidly. Still no bears in sight.
Torben was working away nearby and
we exchanged howls of laughter at
our pathetic efforts.
Over the years, experience has
taught me that however hopeless a
sketch may be, something positive
always accrues from the work. Simply
by looking at the marks you have
made, however wild and incoherent,
you find so much detail of the scene
flooding back into your memory.
Completing well-remembered or
repetitive details immediately you
return to tent, hotel, or wherever,
will further enhance the sketch,
although it can be self-defeating if
you overwork it.
As we packed our pencils away,
the light was fading, so it was time
to return to base. Into the Arctic dusk
we hiked, through deep snow, our
thoughts enlivened by the imaginings
of a whole host of polar bears in hot
pursuit, as we continually glanced
over our shoulders. LP
Into the misty icebergs
t
thaw to release them. Beyond the fjord,
the snowbound slopes of Iperajivit
were turning pink in the evening glow.
To the west rose a range of sharply
defined peaks. From where we stood,
no sign of civilisation was visible,
simply raw Arctic scenery.
Stopping near what we thought was
the edge of the fjord, we extracted our
sketching gear and began drawing.
Removing a glove reminded me
how cold it was. Another bear check
revealed none in sight, though we
www.painters-online.co.uk
LP07 24-27 Bellamy_Layout 1 05/05/2017 13:06 Page 27
Inspiration
Old Church, Tasiilaq. To increase the rock textures in the foreground, I stuck small pieces of oriental paper in place. The church is now a museum.
t
www.painters-online.co.uk
JULY 2017
27
t
LP07 28-32 Paul_Layout 1 05/05/2017 13:10 Page 28
Acrylics
An acrylic view
Part 2 Tony Paul discusses palettes, supports, priming and colours
as he continues his four-part series on painting with acrylics
LEARNING OBJECTIVES
n
n
n
Understand acrylics
Make the right choices for
palettes and supports
Tips and techniques for painting
portraits
T
his month I want to look at
polythene, disposable and staywet palettes to help you make
the right choices then go on to discuss
supports and how to prime them.
Finally, we?ll look at how support,
priming and colour palette come
together to produce a portrait.
Polythene makes cheap and easy-to-use palettes for acrylics. Colours shown from left
to right: phthalo green, burnt umber, cobalt blue, phthalo blue, burnt sienna, cadmium
red, alizarin crimson, yellow ochre, cadmium yellow, lemon yellow and titanium white.
Polythene palettes
When acrylics were introduced, starter sets
were often supplied with small polythene
palettes. Polythene?s greasy feel is ideal to
give the strongly adhesive acrylic resin
little to grip on to. These 9x6in. palettes
were suitable for small paintings only,
particularly as the thumb hole reduced
further the available mixing area.
On a recent visit to Ikea I noticed that
lids were sold separately to the shop?s
polythene storage boxes so I bought a
39x28cm lid. This is reasonably light and
can be hand held if necessary, but I tend
to put it on an adjacent table or chair.
The design I have has a raised central bar
along its length and recessed areas to
either side. I adopted the regime of setting
out my palette on the bar, leaving the
adjacent wells for mixing. These can hold
a considerable amount of liquid paint
if required.
Cleaning the polythene palettes is
simplicity itself. After cleaning off the wet
mounds of paint with kitchen roll, place
the lid on a horizontal surface and, with a
jug, pour warm water until the lid is filled
to its top edge. Add a dash of washing-up
liquid and hey presto, in less than a
minute the residual paint will begin to
wrinkle as the water creeps beneath it.
Drain off the excess water and wipe off
the loose skin of paint with more kitchen
roll. Any obstinate bits can be rubbed off
with the residue loaded kitchen roll.
It may be difficult to remove acrylic from
some hard plastic or wooden palettes.
Unvarnished wooden palettes are really
unsuitable and should not be used.
t
Disposable palettes
Tear-off palette-shaped paper pads,
complete with thumbholes, come in two
types: those made of greaseproof paper
and those, again of paper, which have
a plastic-coated mixing surface. The
former, older type tends to wrinkle and
distort and, if worked fairly wet, can
end up in an unholy mess. The plastic
laminated type (right) is more stable
and therefore easier to use.
Stay-wet palettes
Winsor & Newton plastic laminated disposable palette, 912? x1412? in. (24x37cm)
t
28
JULY 2017
These are basically vacuum-formed
plastic trays into which dampened
absorbent paper is laid. Over this is placed
a membrane of greaseproof paper on
which you mix the colour (top right).
Acrylics dry by evaporation. As the water
begins to evaporate, the paint draws water
through the membrane paper to replace
the water lost so, in theory, the paint
www.painters-online.co.uk
LP07 28-32 Paul_Layout 1 05/05/2017 13:10 Page 29
should never dry out. This process is
known as osmosis. However, on hot
or windy days the evaporation can be
so rapid that the absorbent paper under
the membrane dries out, causing the
colour to dry on the palette. It is a good
idea to take a mister bottle with you to
occasionally re-wet the absorbent paper.
The painter?s palette
t
What colours do I choose in acrylics?
Well, if you use other media you will
by now have found a range of colours
you like using. Most, if not all, will be
available in acrylics. However if acrylics
are your introduction to painting, the
following advice may be useful.
Try to cover the spectrum with your
colour selection. You will need a cool
and warm version of the three primary
colours ? perhaps lemon yellow and
cadmium yellow, cadmium red and a
lightfast alizarin crimson, cobalt blue
(or ultramarine) and phthalo blue (or
cerulean blue). To this you should add:
titanium white (unless you are using
a pure watercolour-style method); an
earth yellow ? perhaps yellow ochre;
an earth red ? burnt sienna; a dark
brown ? burnt umber; and a green ?
phthalo green. These 11 colours will
enable you to mix any colour you need.
But, of course you can add favourites
of your own to the list. I love Naples
yellow and red oxide, as I find them
universally useful.
This Daler-Rowney Stay-Wet Palette is useful when using acrylics in the open air
Canvas textures
Linen canvas
t
www.painters-online.co.uk
t
Acrylic is an excellent adhesive. It is also
elastic, although it does become less so
as it ages. It is better tempered than oil
when used on stretched canvases, its
elasticity far more able to cope with the
tightening and loosening of the canvas
as the seasons or humidity change.
Any non-greasy or non-water repellent
surface can be used for painting on
without needing a primer. But beware:
some linen canvases are oil primed and
unsuitable for acrylics and so are the
famous Daler boards. Increasingly what
is known as universally primed or acrylicgesso primed canvases or boards are
marketed as suitable for oil or acrylic
use ? these should be used.
The surface finish of a painting in
acrylic will depend on the texture of
the boards or canvases and the quality
of the colours used. Cheap acrylics
painted on a smooth board will probably
have a greasy, plasticky appearance, with
brushmarks reduced almost to nothing
if painted thinly.
As acrylic dries by evaporation the
paint shrinks in thickness, so the impasto
needs to be a little heavier than you
desire and it is sensible to use a support
which itself has a reasonably textured
surface. The broken texture of the
support will break up the light reflection
and give the painting greater character.
Linen canvas (above right) has an
attractive slub texture, more characterful
than that of cotton canvas (right), the
effect of which is more mechanical.
Cotton canvas
t
Supports
JULY 2017
29
LP07 28-32 Paul_Layout 1 05/05/2017 13:11 Page 30
Acrylics
t
Acrylic gesso should be applied
generously and randomly to give a
broken texture. Remember, acrylic?s
thickness shrinks as it dries.
Two primed canvases in my usual
colours ? raw umber (for portraits and
interiors) and red oxide (landscapes)
t
t
In this sight-size drawing of Lesley,
I painted over a failed watercolour with
the raw umber tinted acrylic gesso.
I used just two brushes ? a No. 6 Rigger
and a No. 12 golden synthetic filbert,
both by Rosemary & Co.
I painted the model using just three
Golden Open pigments ? titanium white,
burnt sienna and phthalo green. This mix
gave a greyish green, which was sympathetic
against the beige of the toned-in background.
t
30
JULY 2017
www.painters-online.co.uk
LP07 28-32 Paul_Layout 1 05/05/2017 13:11 Page 31
However linen canvas is more
expensive than cotton.
Many professional artists make their
own supports for smaller paintings,
usually based on MDF panels. MDF
(medium density fibreboard) is similar
in appearance to hardboard, but is
smooth on both sides. It is available
in several thicknesses. The 3mm is
ideal for small paintings of up to about
10x12in. (25.5x30.5cm), but for larger
paintings of up to 12x16in.
(30.5x40.5cm), you could use the 4mm.
For paintings larger than this, 6mm
should be used. In sizes over 30x20in.,
MDF becomes fairly heavy so perhaps
then canvas is a better option.
Priming your support
In contrast to the drawing of Lesley (left), this is a full-colour portrait from a similar
viewpoint using a wider palette of the Open acrylics.
t
Once cut to size the surface of the
panel should be sanded slightly to
give a key to the primer. Cut and
sand in the open air as the dust in
some variants can be carcinogenic.
Artists? acrylic gesso is the perfect
primer for acrylics (far left). Don?t
use leftover emulsion from the garage,
as it is not made to have the longevity
of artists? materials. Emulsion often
has a slippery surface, causing
adhesion problems.
Acrylic gesso is generally found as
white and can be used straight from
the tub. For those who like a tinted
surface, add pigment to the gesso.
I mix a batch up and keep it in a
redundant M&S cocktail sausages tub.
I make two colours - raw umber and
red oxide (above left) ? the first I use
for portraits and interiors, the second
for landscape work. The raw umber
is the complementary colour to flesh
and the pinkish colour complementary
to landscape greens. Pigments are
available from Great Art and Jackson?s
at reasonable prices.
The addition of pigment gives the
gesso more body, increasing the
texture and absorption. Bear in mind
that there will be a colour shift as it
dries so make it paler than you think
you?ll need to allow for this. You can
always add a dash of pigment, stir it
in well then put a thin sample on to
a scrap of paper and dry it with a hair
dryer, repeat the process until the
tone is satisfactory. White should
read clearly against it.
Next month I will be demonstrating
different approaches to painting with
acrylics. The open studio at my home
is up and running and will close on 4
June ? all Leisure Painter readers are
welcome. I hope to see you here. LP
Tony Paul
www.painters-online.co.uk
Note in this close-up how the texture of the board and the brushstrokes combine for
a painterly character.
t
To find out more about Tony?s workshops,
email tonypaulart@btinternet.com.
Tony will also be opening his studio for
the event ArtWey, which runs from 20
May to 4 June (10am to 4pm; open
Mondays from 2pm).
JULY 2017
31
LP07 32-35 McNaughton_Layout 1 05/05/2017 13:21 Page 32
Watercolour
Wisteria in focus
From materials and techniques to drawings and a finished painting,
Rachel McNaughton takes you through the painting of this spring favourite
LEARNING OBJECTIVES
n
n
n
Colour-mixing practice
Make the right choices for your
materials
Learn a new loose and lively
method with watercolour
A
few years ago I made a conscious
decision to loosen up my painting
style. Until then I had been careful
to paint almost every petal. My painting,
as a result, had become predictable and
no longer excited me. Many, many sheets
of paper later and I evolved my paint-itand-mess-it-up technique.
Having spent many years painting
flowers in a more controlled and detailed
way was a big advantage to loosening
up. I have a wealth of flower shapes and
colours locked in my head and as my
new technique of painting doesn?t involve
drawing, my mental filing system is
invaluable. However, it is easy to make
assumptions about any subject if you
haven?t taken time to really look at it.
The best way I know of making myself
look closely is to spend time on drawing
my subject in pencil. Obviously it is better
to do this from the real thing but, if the
subject isn?t available, photos are the
next best option. I use my own photos
as well as ones found on the internet.
I have a word of caution here. If you
are using internet material, use it as a
starting point only. Copying a photo is
as much an infringement of copyright as
copying someone?s painting. In any case,
why would you wish to make a copy of
a photo? It is far better to be creative and
produce something original. However,
if you are unsure what a flower, bud or
leaf looks like then photos are a great
resource. Build up a library of images
you can call on when necessary, and
look, look and look again. Really looking
will open your eyes to things you have
never noticed before.
Your materials
I hope the following will be useful to
you as you choose your own materials
for this project:
Paper My favourite paper is Saunders
Waterford High White 425gsm, mainly
because it is so white and clean and I
like a rough surface to help with texture.
Colours I use Winsor & Newton
watercolours in tubes. It is much easier to
mix large washes from soft paint in tubes
than to make enough from pans in a
paintbox. I prefer Artists? quality paints
for their clean colours and this is
especially true of Payne?s grey. In the
Winsor & Newton Professional Water
Colour range, this paint is much bluer
than others and it makes good strong
greens when mixed with most yellows.
For wisteria my colour choice is: Winsor
violet, cobalt violet, cerulean blue,
permanent rose, a little opera rose and
white gouache. Stems and leaves tend to
be fresh, clean yellow-greens, which
I mix from aureolin and Payne?s grey.
However, the time that wisteria is in
flower, there are few leaves on the plant.
Palette I am fond of the muffin tray-type
palette I use. I can mix strong dark
washes and the deep wells keep the wash
liquid longer than the flatter palettes.
Brushes I love to use the Da Vinci liner
brush Series 17, No. 8. It has a good
reservoir for plenty of colour, but comes
to an incredible point so I can make both
fine lines and larger areas.
A water spray is another useful piece of kit.
If I find myself becoming too detailed a
quick spritz of water loosens it up again.
Magic eraser You can find these among
the cleaning products in the supermarket.
A small piece torn off and dipped in
clean water is great for removing hard
lines where you don?t want them or
for blurring outlines and blending. And
I always have kitchen roll and a paint
rag to hand as well.
A new technique
My paint-it-and-mess-it-up technique
begins with a fairly careful painting of
a few of the individual blossoms on the
hanging racemes of wisteria. Before the
paint has time to dry completely, I clean
the brush and with it slightly damp, drag
it gently and lightly through the painted
flowers. I then go onto painting more
blossoms and repeat the process,
splattering a little whenever the fancy
takes me. LP
Demonstration Wisteria
Wisteria has to be one of my favourite
floral subjects to paint. Although its
flowering period is short, it is spectacular
while it lasts. That profusion of purples
and chalky mauve is irresistible! There is
no drawing on the watercolour paper, but
it is a good idea to make a few sketches
first, just to acquaint yourself with the
structure of the flower. You really need to
have a good mental picture of your subject
as well as photographs and the real thing!
Think carefully about your composition
before you commit to paint. Off centre is
generally better than a flower placed in
the middle and you need to have different
lengths and movements. All the same size
and all perfectly straight is boring to
look at and unnatural, too.
t
Build up your own reference library
of your favourite subjects
32
JULY 2017
www.painters-online.co.uk
LP07 32-35 McNaughton_Layout 1 05/05/2017 13:21 Page 33
Watercolour
t
Colours used
You will need
l
Surface
Saunders Waterford
High White 425gsm
paper 17x9in.
(43x23cm)
n
Watercolour
(see colours, right)
Winsor
violet
t
Look hard at your subject and make a
variety of preliminary drawings of wisteria
Cerulean
blue
Ultram
arine
Cobalt
violet
Step 1
1 Begin by making the following
washes: cobalt violet; Winsor violet and
ultramarine; and a creamy mix of aureolin
and Payne?s grey (to make a yellow-green).
2 Starting away from the centre and using
the Winsor violet and ultramarine wash
paint a few individual flowers at the top
of a spray of wisteria. Add more with
cobalt violet and allow the colours to
run into each other.
Aureolin Opera
rose
t
n
Payne?s
grey
Step 2
1 Keep adding more, varying the colour
each time and allowing the washes to run.
2 Before everything dries, rinse your brush clean
and take excess water from it by gently wiping
on a rag. Drag the damp brush through your
painting lightly to create ragged areas of colour.
This is my paint-it-and-mess-it-up technique.
Use it sparingly. Too much messing up makes
a big mess! Repeat this sequence until you
have a spray of wisteria.
t
t
Step 3
With the creamy mixture of
green and a fine brush, such
as a Rigger, add a few stems
and calyces. If the flower
colour is still wet and the green
runs in so much the better. It
makes a connection between
the flower and the stem.
t
Step 4
t
1 As the painting dries,
introduce darker florets with
a stronger (using less water)
mixture of the original washes.
2 When it is completely dry use
negative painting to suggest
lighter coloured florets.
(Negative painting is painting
the area around the flower,
not the flower itself.)
3 Repeat this process until
your first tassel of wisteria
is complete.
www.painters-online.co.uk
JULY 2017
33
LP07 32-35 McNaughton_Layout 1 08/05/2017 15:17 Page 34
Watercolour
Demonstration continued
t
Step 5
t
t
1 You can now begin another either
higher or lower than the first. If the
second runs into the first that is to
be encouraged, but if it doesn?t
happen, that?s fine, too. Make sure
your second blossom is of a different
length and shape from the first.
Avoid rigid, straight stems; a little
more curved is more relaxed and
natural.
2 Splatter purples and pinks from
your paintbrush then use a water
spray to soften them if necessary.
The magic eraser comes in handy
here if you need to soften hard
outlines.
3 A third spray of wisteria can now
be painted. The second and third
spray of flowers should be left a little
more unfinished and indistinct to
give depth to the painting. Use the
water spray to blur outlines a little,
and paint more clearly defined
flowers on dry areas. It isn?t always
necessary to give every flower a stem.
Leave something for the imagination
to fill in. It makes a more interesting
painting and helps to create an
overall loose effect.
Step 6
Dilute the creamy mix of green with water and add a
little more yellow if necessary. Use this to paint an
area of leafy foliage above the flowers. Suggest
veining in the leaves with the point of a cocktail
stick while the paint is still wet.
Step 7
1 Spend a little time looking at how
the paint has settled and dried on the
wisteria flowers. Pick out areas where the
34
JULY 2017
shape resembles flowers. Use both
positive and negative painting to define
them, adding dark green stems
sometimes and a little splatter.
2 Notice how stems pass over some flowers, pushing
them to the back and creating depth. Take your time
and work over the
whole painting,
moving on when an
area becomes too
wet to continue. Use
darker flowers to set
off the pale ones
and don?t become
overwhelmed with
unnecessary detail.
Look at the two
images here of
largely the same
area of flowers.
Notice how more
florets have been
suggested in the
right-hand image
without overdoing
the detail.
3 Use both hard and
soft edges to ensure
a more interesting
painting for the
viewer.
www.painters-online.co.uk
LP07 32-35 McNaughton_Layout 1 05/05/2017 13:22 Page 35
Watercolour
Rachel McNaughton
The finished painting Wisteria, watercolour, 17x9in. (43x23cm)
t
www.painters-online.co.uk
Find out about Rachel, her work
and her classes by visiting
www.artbyrachel.co.uk
JULY 2017
35
LP07 36-39 Ash_Layout 1 05/05/2017 13:27 Page 36
Pastel
A true likeness
Part 2 Follow Martin Ash step by step as he paints
a portrait of a child using pastel pencils and soft pastel
LEARNING OBJECTIVES
n
n
n
How to paint pastel portraits
Practise pastel techniques
suitable for all subjects
How to produce a realistic
likeness of your subject
I
hope that last month?s look at materials
and techniques for achieving pastel
portraits has been useful and that,
having practised with your own pastels,
you?re ready to follow my demonstration
of the painting of Darcie (below).
Young children hardly stay still long
enough to be photographed, let alone
painted! If your subject is an active toddler
you have no choice. In 15 minutes I took
133 photographs of Darcie, a very alert
and lively three year old. Of those photos,
50 were blurred, with the face turned
away or just not the right expression ?
and the latter ones show she became
bored. I printed a shortlist of 36 images,
12 to a page for easy side-by-side
comparison. This is a vital exercise if
you have a lot of similar pictures, and
Darcie?s parents narrowed this to 12,
which still made a difficult choice.
You have to know and be able to take
what you need from photographs to
make them suitable as reference material.
A word of warning: photographs taken
too close to the subject will distort the
face into what I call the back-of-spoon
effect. I therefore photograph a face from
several feet away using the zoom facility.
This puts the whole head within the depth
of focus, is less distracting to the subject
and so results in a more natural
and unselfconscious pose. Numerous
photographs provide alternative
viewpoints and light sources and, of
course, limitless time to study your subject.
Colours used
Although I name the main colours and
brands used in this painting below, there
are similar colours in all the brands. The
named colours are not always used pure,
but are often mixed, and here and there
I touch in tiny amounts of other colours
to make subtle adjustments. This may be a
heresy, but I often feel that, within reason,
colours need only to be approximate
anyway. It is more important to pay
attention to careful draughtsmanship.
CarbOthello ivory 105 pastel pencil The
basic foundation colour underlying all the
Demonstration Darcie
t
36
JULY 2017
t
Step 1
This is the initial sketch drawn life-size to establish the
simplified structure of the head within the mass of hair. Draw
a centre line to indicate how much the head is tilted from the
vertical and how much it is rotated from directly facing the
viewer. By careful measuring establish the positions of the eyes
and mouth within the depth of the head and draw parallel lines
through them, again to confirm the tilt of the head. Indicate
the main shapes of the hair, neck and shoulders.
Step 2
This shows the basic drawing transferred to the chosen support ?
Colourfix soft umber primer on white mountboard. The light and
dark lines indicate where light and dark areas are located in the
painting. As we work through the next stage of blocking in the
main areas of tone and colour, these rather bold ?landmarks?
will be lifted out using Blu-Tack.
www.painters-online.co.uk
LP07 36-39 Ash_Layout 1 05/05/2017 13:27 Page 37
CarbOthello caput mortuum 642 and 645,
and Derwent burnt carmine 65f pastel
pencils Used for the lips and tongue, and
to introduce a certain amount of ?rouging?
to the cheeks and into shadows.
Derwent Chinese white pastel pencil used
for the teeth, eye highlights and to mix
with and modify other colours.
CarbOthello light flesh tint 681 pastel
pencil To add warmth to the cheeks and
neck. Use sparingly and beware of any
colour purporting to be flesh tinted; very
little skin is actually that pink.
CarbOthello leaf green middle 570 pastel
pencil A light green base colour for
Darcie?s eyes.
CarbOthello leaf green deep 595 pastel
pencil Dark blue-green for the dark parts
of the irises.
CarbOthello cobalt blue 425 pencil was
used for Darcie?s shirt.
Rembrandt white supersoft soft pastel was
used to apply a lot of light pigment to
create the blended highlights in the face.
Daler-Rowney red-grey soft pastel was
used in the skin shadows.
Step 3
t
1 Block in the light areas using the flat side of the sharpened tip of
a CarbOthello ivory pastel pencil.
2 Use CarbOthello bister (sepia) pastel pencil to confirm the position of the
eyelids, nostrils, the shape formed by the lower edges of the teeth and the
dark shape within the mouth. These dark items are useful in establishing
the likeness and are a much-needed confidence builder as we feel our way
into the painting. It is important to make them right, as faults in
draughtsmanship can show up at a later stage and cause disappointment.
www.painters-online.co.uk
Useful aids for pastel painting Fan and
small stiff brushes, ready-made torchons,
cotton buds, Blu-Tack, which can be
modified to any shape for lifting and
cleaning, and a mahl stick.
useful blender in any medium, and
a short stiff brush can be used to carefully
scrub out unwanted pigment for a major
amendment.
There is also Blu-Tack. Keep a piece
warm in your non-painting hand; it is
always useful for picking out unwanted
pigment, lifting out small areas and
cleaning the area around the image.
Finally, to keep hands and cuffs off
the painting, I use a mahl stick ? a piece
of dowel with one end padded with rag
or kitchen roll, which can be rested on
the painting with the padded end away
from the image. Your wrist or hand is
supported and steadied by the stick,
enabling you to work closely on detail.
When the pad becomes grubby just
add another piece of kitchen roll. LP
Step 4
Here a little more pastel has been added to strengthen the light
areas above the eyes, around the mouth and on Darcie?s neck
and cheeks. Note the light area added down the profile of her
right cheek, which will be the basis of an area of reflected light.
Also note that, at this stage, no blending has been attempted.
All the pigment in the roughly blocked-in area, including the
blue shirt, will eventually be rubbed into the surface to become
the foundation for the next application of pastel.
JULY 2017
37
t
To delineate dark items, for instance,
eyelids, nostrils and within the mouth.
Also used in the hair and skin shadows.
The smooth skin tones in my pastel
portraits involve a lot of blending and
mixing of colours, both within the
painting and on test strips of the same
paper. I also stray into the spare space
at the edge of a painting that will
eventually be covered by the framing
mount.
I use a variety of aids. First is the tip
of my little finger. Other useful tools are
torchons, which are ready-made pointed
sticks of compressed fibrous paper used
to apply and blend colours. I also make
my own by cutting a 6in. piece of
blotting paper, tapering from 2in. deep
at one end to 1in. at the other. Rolled up,
this produces a tapered stick, which can
be soft or hard by choice, depending on
how tightly it is rolled. Pigment mixed
on test strips can be picked up on the
torchon and applied to and blended
into the painting.
Cotton buds can be used either to
blend or wipe out pastel. The shadows
below Darcie?s eyes, for instance, were
gently wiped out to allow soft umber to
show through a light coating of red-grey.
So many skin colours are indefinable,
but reddish-grey occurs a lot; look at the
shadows on your hands. I also use oil
painting brushes. The fan brush is a
t
CarbOthello bister 635 (sepia) pastel pencil
Blending and mixing
t
skin tones and much modified with other
colours. Also used for the hair highlights.
LP07 36-39 Ash_Layout 1 09/05/2017 09:41 Page 38
Pastel
Demonstration continued
t
Step 5
1 Add more pigment to the light areas and colour to the lips
and tongue and Darcie?s right cheek, using tints of CarbOthello
caput mortuum (642 and 645) and Derwent burnt carmine and
Chinese white.
2 To anticipate the iridescent irises lay a foundation of pale
green (CarbOthello leaf green middle 570), which will be overlaid
with dark bluish-green (CarbOthello leaf green deep 595) for the
shadows in the upper irises and the dark edges of the irises.
3 Apply dark blue where the collar of the shirt will be in the
shadow of Darcie?s hair.
4 I emphasise the need to think ahead while painting to decide
how you are going to produce a certain effect, as in the eyes, or
where there are going to be light items overlaying dark areas, for
instance, the hair. Pastel, of course, has the advantage of being
corrected easily, either by brushing out with a hog?s brush or by
lifting out with that essential stand-by, Blu-Tack.
t
Step 6
From this angle, Darcie?s right cheek is seen in profile, while
her left cheek, the inner area of her right cheek, left upper
lip and left sides of her chin and nose tip are convex surfaces
facing the viewer. To create this illusion and to achieve a
balance with the apparent volume of the right cheek, you need
to emphasise those surfaces so must add a significant amount
of light tone. To apply enough pigment you need a soft pastel
stick and I used Rembrandt white supersoft. This close-up shot
shows what appears to be an alarming crudity of application,
which, in earlier years, I might have thought had ruined the
whole image. But this seeming overload of pigment will be
blended easily into the surrounding areas and any
superfluous medium can be brushed away.
t
Step 7
1 I?ve now started to soften the whole face by blending the
pastel with my fingertip. The foundation layer was well rubbed
into the surface, as I don?t use fixative and need to be sure that
it will not be disturbed when overpainted. This picture shows
the skin tones, which are smoother than in Step 6, and the
work done on the eyes ? detailing the eyelids and blending
the colours in the irises.
2 Very little of the whites of the eyes, even of an innocent
child, are actually white and here I used a warm grey
(CarbOthello 706) to model the spherical shape of the eye. Note
the shadow cast by the eyelids over the upper part of the eyes.
3 I can never resist putting the highlights into the eyes quite
early, as these bring the eyes to life and help, along with the
position of the pupils, to establish the direction of the gaze
and the personality of the subject.
4 I also started to rub in the different areas of hair tones in
a mix of sepia and ivory, again to form a foundation layer
over which to finally detail the hair.
Martin Ash
Martin offers tuition to individual students and art
groups, and for many years has tutored adult education
art classes for East Sussex County Council and Adult
Colleges for Rural East Sussex. For information, please
telephone 01892 853536 or 07759 925087 and email
martinashartist@btinternet.com
38
JULY 2017
www.painters-online.co.uk
LP07 36-39 Ash_Layout 1 05/05/2017 13:28 Page 39
t
The finished painting Darcie, pastel on mountboard primed with Colourfix soft umber, 14x11in. (36x28cm)
t
Step 8
1 The final stages involve modelling of the
skin tones. Add more colour to the shirt and
model the folds. To avoid them becoming too
dominant, keep the colouring of clothes fairly
muted in a head and shoulders portrait.
2 I erased and redrew Darcie?s teeth, showing
that they recede into shadow.
3 Finally, work on the hair. While you need
www.painters-online.co.uk
accuracy to achieve an unmistakable likeness
in the face, you can be a bit freer with this
area. I like children?s hair to be tousled in
a portrait. A young child lives in the moment,
unselfconscious of appearance and Darcie?s
hair was like this. To achieve this effect, rub
in more base tones then stroke in the
individual hairs with continually sharpened
ivory and sepia pastel pencils. You need a
light touch to avoid disturbing the foundation
layer. Note lighter tones where the hair
curves outwards and allow some light over
dark and vice versa. Where the hair flows
over the shirt, lift some of the dark blue but
it is possible with practice to put in fine
light hair with a few deft strokes.
JULY 2017
39
LP07 40-43 Fisher_Layout 1 05/05/2017 15:04 Page 40
Staithes Harbour, pen & wash on 270gsm cream-coloured paper, 11x16in. (28x40.5cm)
t
Line and colour
Part 2 Develop your sketching skills with ink and watercolour washes as
Tim Fisher discusses materials and how to use them with confidence
LEARNING OBJECTIVES
n
n
n
Know your materials
Learn good practices for line &
wash techniques
Practise colour mixing with a
limited palette
W
My pen & wash kit To keep everything streamlined I prefer a limited palette of five tubed
colours, contained within a pressed-steel Sennelier palette. The colours (all Sennelier) are
French ultramarine blue, French vermilion, primary yellow, yellow ochre and Venetian red. The
travel brush is a Jackson?s No. 12 Arctica. This is a large synthetic brush, which comes to a good
point and is handy for large washes and detail. If a smaller size brush is needed then a natural
hair brush will give the best service as it is so much more absorbent than synthetic. Water is
carried in a small bottle or sourced nearby. I carry a small collapsible water pot as a container.
t
40
JULY 2017
hen going away on holiday,
I?ll pack an assortment of
art materials that I can bring
into use as I see inspiring subjects.
Often I pack far too much, which is
cumbersome to carry around and at the
end of the day I enjoy the convenience
of a sketchbook and ink pen, which
fit easily into a backpack. There are
occasions though when using colour
to record a subject can provide good
practice for using a medium and provides
a useful reference for future paintings.
Sketchbooks, although fine when
applying graphite or ink, don?t perform
as well when liquid colour is applied.
www.painters-online.co.uk
LP07 40-43 Fisher_Layout 1 05/05/2017 15:05 Page 41
t
The paper tends to be absorbent and will
buckle easily. Recently, I was introduced
to a new range of sketchbooks made by
Stillman and Birn (available from Jackson?s
Art Supplies), which are ideal for dry and
wet media, including watercolour and ink.
The books come in a range of weights
and I use the A4 Delta series, which
contains 270gsm cream-coloured paper.
The off-white colour offers the extra
opportunity of applying white ink or other
media for highlights. The heavy-weight
paper also stays firmly in position when
painting under slightly breezy conditions,
whereas normally I would need an elastic
band to hold the paper in position.
For drawing I pack a Faber-Castell Pitt
Artists? fine waterproof drawing pen and
a retractable 2mm 3B clutch pencil.
Retractable pencils save disappointment
when finding the pencil tip has broken
upon arrival at the sketching site. They
often also contain a sharpener at the
opposite end to help keep a sharp point.
Finally, a packet of disposable tissues
always comes in handy for mopping up.
All these items pack compactly into a grip
seal bag, which is especially useful to
prevent suitcase leakages when travelling.
Working process
My method of working is to stand when
sketching and work rapidly with pen onto
the surface with no preliminary pencil
work. When combining ink with colour
while standing, the ink line becomes
www.painters-online.co.uk
looser and more fluid. I begin working
quickly with a lighter line so that mistakes
can be rectified more easily. Towards the
end I reinforce some of the ink lines to
give more of a feeling of depth to the
work. When the drawing is complete and
if the weather?s not too good, I will retire
to more comfortable surroundings to
complete the work in colour. A digital
photo is handy for later colour references.
I also avoid adding ink shading or other
unnecessary detail, which saves time
when producing the sketch.
For the view of Staithes (above left),
I was fortunate to be able to perch on
the harbour wall tucked out of the wind
blowing in from the sea. Once the sketch
was complete, I added the colour:
Sky Ultramarine blue, diluted at the edges
for softer clouds. A little Venetian red was
added to the mix for the stormier clouds.
Distant hill A mix of primary yellow and
ultramarine blue, varying the proportions
of the two colours as I worked across
the paper.
Orange rooftops A mix of primary yellow
and French vermilion.
Shadows (all the buildings and across
the road) Ultramarine with a touch of
vermilion. Shade was added to the darker
parts of the stored lobster pots and the
harbour wall and bridge to the left.
The next sketch shows the remains of
Pharaoh?s garage in Ravenglass (above).
I stood to sketch the old petrol pump and
the cottages receding into the distance. As
with the last sketch, I worked across two
pages of the open sketchbook to give
me a large panorama.
I noticed the windows were quite dark
and so in places added black pen into the
openings. This was quite a complicated
subject, but it was helpful to visualise the
shape the sky made as a negative shape
against the buildings. I also worked lightly
outwards with the pen from one point,
drawing each adjacent shape, as this way
of working makes the scale easier to
control.
Once the drawing was complete,
I applied the colour. The sky was a
wash of ultramarine into which grey was
added ? mixed from Venetian red and
blue for darker clouds. The buildings
were washes of yellow ochre and pink
using diluted French vermilion. The
foliage was a mix of primary yellow
and ultramarine blue.
At the very end of the painting, I
added the shadows. It was a dull day, but
including shadow gave the painting more
volume and a three-dimensional effect.
I kept the direction of shadow consistent
with a light source chosen from the left.
Generally, working out of doors means
that the paint is much slower to dry and
so a little planning is required as to where
to place the next wash. Even so, I still
encountered back runs where wet paint
met damp and formed a hard edge. Back
runs are difficult to remove so I tend to
leave them as a reminder of the day. LP
JULY 2017
41
t
Pharaoh?s Garage, pen & wash on 270gsm cream-coloured paper, 11x16in. (28x40.5cm)
LP07 40-43 Fisher_Layout 1 05/05/2017 15:06 Page 42
Pen & wash
Demonstration Mermaid Street, Rye
Mermaid Street, Rye is a
demonstration of my working
method. This classic view (right)
is well worth a visit if you
are in the area. Looking down
a sloping and curving street
containing a number of
buildings can present quite
a challenge to the viewer.
You will need
n
l
Surface
Arches 140lb Rough
watercolour paper
10x14in.
(25.5x35.5cm)
n
Sennelier watercolour
French ultramarine
blue
l French vermilion
l Primary yellow
l Yellow ochre
l Venetian red
l
n
Faber-Castell Pitt
Artists? fine waterproof
drawing pen
A reference photograph of the scene
t
t
Step 1
Visualise the shape the buildings make against the sky and
the shape of the foreground road. Sometimes it?s a help to
add the outline lightly with pencil before beginning to draw.
t
Step 2
Begin drawing directly onto
your paper with the pen,
working about two-thirds of
the way into the paper on the
furthest building down the
street, gradually adding all
the buildings on the left-hand
side. Then add the right-hand
building without trying to be
too precise on the spacing of
the timbers and the windows.
You can always add marks
later if you want extra detail.
Strengthen some of the lines
with pen to distinguish the
buildings at the end of the
street from the distant
hillside.
42
JULY 2017
www.painters-online.co.uk
LP07 40-43 Fisher_Layout 1 05/05/2017 15:06 Page 43
Pen & wash
t
Step 3
1 Add a wash of yellow ochre over the sky, allowing some of the
colour to wash over the building rooftops and walls. Reserve the
white buildings as dry paper. Whilst the wash is still wet, add
diluted French ultramarine blue and allow it to drift downwards.
2 Add the distant hill with a mix of ultramarine and vermilion.
Mix a green from ultramarine and primary yellow and feed it
into the base of the wash.
3 Paint the rooftops on the left-hand buildings. This is a greengrey mixed from ultramarine and Venetian red then separately
primary yellow and ultramarine. Add these mixes in turn and
allow them to blend on the paper.
4 Thoroughly mix these two sets of colours for a brown-grey and
paint the building fronts in the far distance, varying the strength
of the wash to give the impression of light at the end of the
street. Continue with this colour to fill the street between
the buildings.
5 Mix Venetian red with a touch of ultramarine and use this
brick colour on the left side of the street and for the impression
of cobbles on the road. Reserve white paper for some of the
buildings. Continue the wash into the building on the right.
6 Add the darks for the timber frames, windows and gutters
using a mix of Venetian red and ultramarine. Leave the painting
overnight so that it is completely dry before adding the shadow.
t
Tim Fisher
Step 4
1 Using a soft squirrel brush and a large
mix of ultramarine blue with a touch
of French vermilion, sweep the mixture
over the buildings on the right and across
the street. Add corresponding shadows
to the buildings across the street.
2 To finish, strengthen washed-out
darks and add others where needed,
especially around the windows and
gutters, using a blue darkened with
Venetian red and applied with
a fine brush.
Meet Tim at Patchings Art, Craft and Photography
Festival in July. Visit him on his stand or watch
his demonstrations on Sunday in our marquee.
See page 71 for details. Visit www.timothyfisher
artist.co.uk for details of Tim?s work and courses.
The finished painting Mermaid Street, Rye, pen & wash on Arches 140lb Rough watercolour paper, 10x14in. (25.5x35.5cm)
t
www.painters-online.co.uk
JULY 2017
43
LP07 44-47 Parashko_Layout 1 08/05/2017 15:21 Page 44
Inspiration
From photo to painting
Part 7 Elena Parashko nears the end of her eight-part series
by looking at how you can interpret and work from one photograph
n
n
n
How to tell a variety of ?stories?
using just one photograph
How to modify, add and omit
information from photos
How to change the background
T
his month we are looking at small
sections of a photographed scene
to select which story you would
like your artwork to tell. Remember that
the information you leave in is just as
important as the details you leave out.
We also explore ways in which to use
a photo of a subject but change the
background, how to use a great photo of
a background and add different subjects,
and how to combine ideas from multiple
photos to create your own composition.
t
44
Whether you intend it or not, every
piece of art you create tells a story. The
subject, focal point, angle, colours, mood
and format you choose will guide the
viewer towards a particular interpretation.
Whether you are looking at a vast
landscape or a complex interior scene,
your paintings will be more successful
if you narrow down your focus to telling
one specific story rather than trying to
include absolutely everything you can see.
best ? portrait, landscape, panorama or
square. Then you can photograph this
small part of the total scene to use as
a reference.
Change of background
It is common to find a fantastic photo of
a subject you are inspired to paint, only to
be disappointed with a boring background
t
LEARNING OBJECTIVES
Helpful tool
ONE PHOTO, FIVE STORIES
When searching a vista for subject
matter to draw or paint, a viewfinder
is a useful tool to help isolate exactly
which story you want to tell. To make
one, cut two L shapes from a piece of
cardboard then hold them up in front
of you and look through the window to
frame the scene. Move the position of the
two L shapes to test which format works
If you already have reference photos
that contain too much information,
you can still isolate different stories
in different parts of the photo. Let?s
explore how we can tell five stories from
this one scene of an old homestead on
a country property, depending on which
aspects are focused on and the format
used for the artwork.
Original scene of country property
JULY 2017
www.painters-online.co.uk
LP07 44-47 Parashko_Layout 1 05/05/2017 15:22 Page 45
t
Inspiration
Zooming in
on the house
creates a more
personal story
t
The unconventional portrait format
of a landscape tells the story of the
relationship between the house with
its inhabitants and the sheep
t
t
Story 3
t
A portrait of a sheep
t
Story 1
t
Zooming in slightly creates a more intimate feel and establishes a stronger
connection between the people who live in this house and their livestock, as
the focus is no longer on the vast property. The traditional landscape format
(where the top and bottom of the image are longer than the sides) lends
itself well to a nostalgic scene like this.
Story 5
This portrait format (where the sides
of the image are longer than the top and
bottom) shows only a sliver of sky and
ground. By removing a lot of the context,
the story focuses on the homestead and
sheep and the relationship between
them. Even though it is a traditional
subject matter, the use of the portrait
format rather than landscape format
is not conventional and adds interest
to a simple subject.
Story 2
A panoramic
format tells the
story of a big
sky and immense
landscape
t
Story 4
t
This story is all about a herd of grazing sheep: how they interact as a
group, their proximity to each other, the direction they are facing, and their
behaviour and mood. This can even be about the play of light and shadow
on simple forms. When the painting does not tell the complete story ? such
as the location of the sheep ? the viewer has a chance to interpret the story
in their own way, depending on past experience and memories.
www.painters-online.co.uk
This is a
simple story
about a herd of
grazing sheep
t
t
By cropping most of the land and creating a low horizon, the focus shifts
to the sky. The viewer?s attention is drawn to the subtle cloud patterns that
may not be noticed if other information is included in the painting. The
wide panoramic format tells of huge open spaces in the country where the
presence of humans in the small house is dwarfed by the immense sky.
This is a simple portrait of a sheep
centred in a square format with no
other distractions. The story focuses on
the sheep?s anatomy, texture of wool,
play of light and shadow over its form
and the mood conveyed by the expression
on its face. Again, with the context almost
completely cropped, the story asks rather
than answers questions. What is the
sheep looking at? Where is it? Is it alone?
What?s going to happen next?
JULY 2017
45
LP07 44-47 Parashko_Layout 1 05/05/2017 15:16 Page 46
Sea Horse, oil on canvas, 20x24in. (51x61cm) was inspired by the photograph of the horse below
t
or one completely inappropriate for a
successful painting. This is when you
can use the photo to paint the subject and
your imagination to paint a background of
your own choosing. This is how I created
the painting Sea Horse (above).
On a day at the races I took lots of great
photos of thoroughbreds being exercised
before and after their races. The animals
were all magnificent but the wire fences
and concrete stalls were very unattractive.
As my favourite landscape to paint is
the sea, I thought it would be fun to
incorporate the horse subject into an
imaginary seascape and be playful with
the painting title at the same time.
Change the subject
Reference photo for the painting Sea Horse
t
46
JULY 2017
The same principle applies when a
photo of an inspiring background needs
an interesting subject to complete the
composition. When you superimpose
a subject onto a foreign background
first ensure that the direction of light
and shadow is consistent between the
background and the subject. Then make
sure the size of the subject is in correct
proportion to elements in the background.
To make this easy, print out a photo of
the subject to scale and place it onto the
dry background painting to determine
the exact position and to check the size
before committing it to paint.
www.painters-online.co.uk
LP07 44-47 Parashko_Layout 1 05/05/2017 15:16 Page 47
Combine ideas
Sometimes a situation or location sparks
the imagination that goes way beyond
what?s actually there. That?s when we can
deliberately construct a story from many
fragmented sources of inspiration with the
use of multiple reference photos. The
demonstration of Boomerang next month
takes you through my process of using
t
This is how I painted Hamilton Days
(below). I had a great photo of the
landscape and I wanted to capture the
busy water sport activities of the beach
but I didn?t have one photo with all the
action I wanted to depict. Instead,
I looked through all my photos and
selected images I liked of people sailing,
paddle boarding, swimming, kayaking
and walking on the beach. I then cropped
and printed out these images in what
I guessed would be appropriate relative
sizes. Remember the rule of perspective:
the people in the distance would appear
smaller than the people in the foreground.
I then moved the photos around on the
completed and dry background painting
until I had a pleasing and balanced
composition. I was then able to draw
all the subjects in these positions. If the
direction of light falling on the subjects
was inconsistent with the light source
coming from the left in the landscape,
I made appropriate adjustments to the
light and shadow on the subjects and their
cast shadows in the painting process.
Background painting of Hamilton Days (below) with photos of subjects placed on top
five separate reference photos taken in
different locations to create a harmonious
painting that tells an interesting story.
An artist is not a camera. Our job is not
simply to copy what we observe in the
world around us or in photographs. Even
though reference photos are a great way
to document observation, by also making
creative decisions that depart from the
facts presented, we add so much more
meaning and subtlety of emotion into a
work of art along with our own unique
interpretation of life. By using the
techniques explored in this eight-part
series, I hope you will have the
confidence to use photographs effectively
as an artistic tool and paint creatively
from them. LP
Elena Parashko
Elena is an award-winning artist, teacher
and writer from Sydney, Australia. She will
be leading plein-air painting holidays in
Tuscany, Italy (14-21 October) and Fiji
Islands (10-17 June). For details visit
www.elenaparashko.com
The finished painting Hamilton Days, oil on canvas, 3112? x47in. (80x120cm)
t
www.painters-online.co.uk
JULY 2017
47
The online home of
and
magazines
n all
o
2
�
Save featured
of the and enjoy
books K P&P using
U
17
FREE o code JUL
prom Closing date:
7
ly 201
5th Ju
RRP
RRP
�.99
�.99
�.00
�.00
RRP
RRP
�.99
�.99
�.99
�.99
RRP
�.99
�.99
RRP
�.99
�.99
RRP
RRP
�99
�99
�99
�99
RRP
�99
�99
Available from
www.painters-online.co.uk/store
and follow the link to books
closing date 5th July 2017
LP_FullPage_JULY2017.indd 1
25/04/2017 13:06:38
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:30 Page 49
Watercolour
Close encounter
Part 1 Learn how to take and use photographs of wildlife, before you begin painting
a barn owl using a variety of watercolour techniques, with Paul Hopkinson
LEARNING OBJECTIVES
n
n
n
How to work from photographs
Build your watercolour technique
repertoire with confidence
How to paint detail in
watercolour
W
ith any detail work, a sharp,
large and clear photo is ideal.
It?s difficult to imagine the
detail so you need to be able to see
everything you would like to paint.
Of course some areas will be in
shadow, but we are looking for the
main parts of an animal, such as the
face, eyes, ears and nose. For those
of you with iPads or other tablets and
computers, zoom into the detail so you
can see how the hairs or feathers are
knitted together. You will also be able
to see the colours that will make up
the image much easier.
If you prefer to work from a print and
have photo-editing software on your
computer, crop the large photo and
print off sections, such as the eyes,
nose and ears, or any tricky area you
can?t quite make out.
Taking photos
www.painters-online.co.uk
This lovely photograph of a
barn owl, which is the reference
material for the following twopart project, was taken by
photographer, Phil Winter. See
more of Phil?s photographs at
https://goo.gl/8GXpqy
t
A close-up of the face of a barn
owl shows the kind of detail you
need to study
t
on an overcast but bright day.
If the sun is in front of you the
photos will be dark and the
birds silhouetted, but if it?s a
very dull day the photo may
be grainy and blurred. Timing
is very important. LP
t
With any animal portrait I always
recommend taking the photo outdoors
and on the largest photo size their
camera can take. It?s a good idea to
crouch down low to the animal so you
are level with its eyes to remove the
issue with your subject having a large
head and a small body. Have sunlight
behind you and try to take the photo
on an overcast but bright day.
There are many ways to take pictures
of birds. One way is to visit a bird of
prey centre where you can get up close
to a variety of beautiful birds, including
owls. As for your own garden, set up a
perch ? such as a broom handle stuck
in the ground with a branch screwed to
the top of it ? then place a feeder on
both ends. This can be positioned near
a window where after a few days you
should receive a few visitors. Hide
behind a gap in a curtain so you can
slowly peek your camera through. If
you don?t have a garden, why not try
a similar set up on a window box or,
with permission, set one up in a nearby
wood, leaving and replenishing seeds
in the area for a few days. The main
problems you might encounter will be
the light and distance so try to get as
close as you can and take the photos
JULY 2017
49
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:31 Page 50
Watercolour
Demonstration Barn Owl
You will need
n
l
n Watercolour
Surface
Bockingford
300gsm NOT
pre-stretched
111?2x81?4in.
(30x21cm)
brushes
l Nos. 00, 3
and 5
l Large wash
brush (for
background)
n Watercolour
See colours, below
n Miscellaneous
l
Paper towel
2 water pots
l Mixing palette
l Masking tape
l Masking fluid
l Mechanical pencil
l Putty rubber
l
Colours used
Lamp
black
Translucent
grey
Burnt
umber
Indigo
blue
French
ultramarine
Alizarin
crimson
Burnt
sienna
Raw
sienna
Yellow
ochre
Opaque
white
Step 1
t
Draw the barn owl using my drawing as a guide. Keep
your drawing lighter than the one shown here, which
was darkened for this lesson. When drawing, remember
to place a sheet of paper under your hand to avoid
transferring natural oils from your skin to the paper.
This will act as a resist and may cause problems when
you apply washes of colour. Use the putty rubber to
lighten the lines if they turn out too dark, just
enough so you can see them.
t
Step 2
The next stage is to add masking fluid to the
inside of your drawing to an approximate 1in. width.
Masking fluid can quickly ruin a brush so use an old
brush lightly stroked through a damp bar of soap
before loading. Once finished, allow the masking fluid
to dry. A cocktail stick is also handy for flicking out
tiny details within the wet masking fluid. Be quick,
as it will dry before you know it. Wash out your
brush thoroughly afterwards.
50
JULY 2017
www.painters-online.co.uk
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:31 Page 51
Step 3
2 Do the same with burnt sienna, burnt umber and
translucent grey, but use less grey at the top of the paper,
which will give you a nice light effect. Leave to dry flat for
two or three hours before the next stage of removing the
masking fluid. Do not dry it with a hair dryer, as this
can cause the masking fluid to harden within the paper
and could tear the painting when removed.
t
1 Make up four separate thin washes of translucent grey,
burnt umber, yellow ochre and burnt sienna. Wet the background
(avoiding the bird) with clean water three times, but before you
start make sure that your paper isn?t running like a waterfall!
Let the water soak in a little before you apply the colours. Begin
with the lightest colour, yellow ochre, and ?squiggle? it randomly
around the background, leaving gaps for the other colours.
t
t
Step 4
Remove the masking fluid
with a dry finger by rolling it
towards the bird and not towards
the background. The reason for
this is to prevent any possible tears
the mask could cause and ruin the
background. We can cover up any
problems within the bird and no
one will ever know!
TIP Remember your colours
will dry much lighter so play
with the background colours
on a spare piece of watercolour
paper before you head to your
main painting.
www.painters-online.co.uk
JULY 2017
51
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:35 Page 52
Watercolour
t
Step 5
1 I always begin with the eye of a bird, as this is
where painting comes alive. Using a No. 3 brush,
wet the eye and drop in a thin wash of French
ultramarine, avoiding the highlight areas and
the edges of the eyes.
2 Let this dry then do the same with a mix of
French ultramarine, lamp black and alizarin
crimson, being careful not to go too wide around
the eyes.
3 Once dry add a touch of the same colour but
watered down to the light areas to the sides of
the eyes.
4 With the No. 00 brush add a tiny second
highlight within each eye by using tiny circular
motions then, whilst wet, lift off the area with
a point of a piece of kitchen roll.
5 Let it dry again then add the details to the
bottom and top of the eye with a mix of raw
umber, burnt umber and burnt sienna. Use
a little white watercolour to add the highlight.
TIP Dab your brush once on a piece
of kitchen roll, just to take off
surplus paint.
t
Step 6
1 Now we need to put down a couple of
washes onto the face. Begin by mixing a very
weak wash of French ultramarine and lamp
black. Wet the face with clean water, avoiding
the eyes, and drop in the weak wash around
the edges of the face and around the bottom
of the eyes towards the beak.
2 Whilst still wet add a weak wash of raw
sienna to the sides of the beak, adding
a faint outline to the beak so you know
where things go at a later stage. Let it dry.
t
Step 7
1 Using the No. 00 brush, paint the
fine feathers within the face, using a
mix of French ultramarine and ivory
black. Add in a touch of raw sienna
around the eyes and beak. Keep a
constant check on the direction of the
feathers and the curves of the lines.
Some areas are darker than others so
add more detailed layers to these parts.
2 Use the same process with the
brown areas underneath the eyes with
a mix of raw sienna and burnt sienna.
3 Add the details around the heartshaped face with the same blue-grey
colour, adding a touch of raw sienna
to some of the outer edges.
4 Wet the beak with clean water and
add a light wash of raw sienna. Whilst
wet, paint the outline with the French
ultramarine and lamp black mix,
allowing the paint to blend towards
the centre of the beak. You may
need to strengthen this once dry.
52
JULY 2017
www.painters-online.co.uk
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:32 Page 53
Watercolour
t
Step 8
1 Once this is dry change to the
No. 5 brush and very lightly give
the barn owl?s face a light wash
of clean water. This will soften
the details a little and help them
to look more natural.
2 Now begin on the outside of the
head. With the No. 5 brush, add
a light wash of raw umber and burnt
sienna to the brown areas then a
light wash of the same face colour
(blue-black) to the bottom right of
the face.
3 Once dry, make up a thicker mix
(creamy consistency) of raw sienna
and burnt sienna and another of
burnt sienna and burnt umber. Using
the No. 00 brush, carefully paint the
details, varying the colours from your
mixes as you go. Remember every
layer you paint will become darker
so add a few layers extra to the top
and sides of the head, adding the
smaller darker marks as you go.
4 Add the whiter areas using your
French ultramarine and lamp black
mix, but very watery, and add a
second layer of the same mix to
the right underside of the face.
5 Once all this is dry, strengthen
your mixes and using the No. 00
brush paint the fine detail lines,
ensuring these are not too straight.
t
Step 9
1 Drop opaque watercolour white into
your palette and add a tiny amount of
water, just enough to enable you to
paint a line without it breaking. Too
thin and the white will fade into the
background. Use the No. 00 brush and
add the fine white details all over the
face, keeping a check on the curves,
shapes and directions they go. Even
though you need to cover the face
in white, allow the under details to
show through; thicken the paint
a little in the lighter areas.
2 Add a thin line of white to the
centre of the beak then very lightly
blend the edges of this line to soften
it with a clean damp brush.
3 Next work on the neck areas, again
watching the direction you need to
go. Use a thinner mix of white for the
shaded areas. We will place a wash of
colour onto the body in the next issue
and complete the portrait of the owl.
Paul Hopkinson
www.painters-online.co.uk
t
Find out more about Paul,
his work and classes by visiting
www.devonartist.co.uk and
facebook.com/thedevonartist
paul or follow him on Twitter
at twitter.com/thedevonartist.
If you have any questions
about this article, please
email paul@devonartist.co.uk
Follow Paul as he completes this painting of the barn owl in next month?s issue
JULY 2017
53
LP02 Holiday Goudie_Layout 1 08/05/2017 14:31 Page 38
Reader holiday
Paint in Antibes and
the C魌e d?Azur
September
16 to 23,
2017
with Lachlan Goudie ROI
Antibes and the C魌e 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.
Lachlan Goudie?s
work has evolved from the Scottish
tradition of figurative painting, and
incorporates portraiture, still life and
landscape, with drama and colour
underpinning his work. He has won
numerous accolades including the
RSP prize at the Royal Glasgow
Institute of Fine Arts, the Norman
MacFarlane Prize at the Royal
Scottish Academy and the ROI Oil
Painters Award for young artists. He
regularly exhibits in major exhibitions
in London, Scotland and New York.
Lachlan is also a captivating
television presenter and art critic.
The painting programme
Travel and hotel arrangements
Each day will be spent painting on the Cap
d?Antibes using local buses for greater freedom
to access the many different painting locations.
There will be one day trip to Cap Ferrat to
sketch in the gardens of the Villas Ephrussi
de Rothschild, K閞ylos and fashionable
Beaulieu. Lachlan will encourage you to paint
every day and will assist students with an
organic approach to techniques. He is very
happy to show individuals how to resolve
problems and, where appropriate, he will do
a demonstration, although there will be no
group demonstrations. Lachlan will be
sketching and working in gouache and
watercolour, but all media are welcome. This
painting holiday is ideal for intermediate and
more experienced students. You may choose
to work alongside Lachlan or independently.
Flights are from London Gatwick to Nice.
Accommodation is in an intimate
13-bedroomed Proven鏰l Mas (former
farmhouse) with a secluded garden and
swimming pool.
It is conveniently located midway between
Antibes and Juan-Les-Pins. It is approximately
a ten-minute walk to Antibes old town and
the beaches. Dinners are included and will
be in a variety of local restaurants. An
accompanying travel escort will look after
you, taking care of all the arrangements
and assisting you with local transport.
l
l
l
l
Price per person �995
Single room supplement �0
Number of painters 10 to 12
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.
LP07 53-55 Jelbert_Layout 1 05/05/2017 15:46 Page 55
Watercolour
Loosen up!
Part 3 Follow Wendy Jelbert step-by-step as she completes her painting
of a farmyard using a variety of loose and lively painting techniques
The finished painting Farmyard Chickens, watercolour, 12x16in. (30.5x40.5cm)
n
n
How to produce loose and lively
watercolour marks
Follow step-by-step the painting
of a farmyard scene
n
Easy wet-in-wet technique
T
he frizzle chicken is a delightful
and unusual rare breed, made
up of feathers that face vertically
instead of lying flat as seen in most
www.painters-online.co.uk
chicken varieties. It resembles a
very bad hair day and is an exciting
subject on which to practise the
loosening up exercises I discussed
over the past couple of months.
To add even more visual interest
to the demonstration painting ?
and give you more practise ? I also
included a silkie variety to paint.
The entire farmyard, which led into
a flower patch of my friend?s farm,
was a lively buzz of these adorable
birds. I just had to take out my
paints. LP
You will need
n
l
n
l
Surface
140lb watercolour paper 12x16in.
(30.5x40.5cm)
Watercolour
Hooker?s green dark, Winsor violet, Winsor
blue, cerulean blue, Winsor yellow, Winsor
red, yellow ochre and alizarian crimson
n
Miscellaneous
Tube of white gouache
l Masking fluid with applicator
l
t
t
LEARNING OBJECTIVES
JULY 2017
55
LP07 53-55 Jelbert_Layout 1 05/05/2017 15:47 Page 56
Watercolour
Demonstration Farmyard Chickens
t
Step 1
1 Sketch the suggestion of the garden, with the foreground
bird and the distant chicken.
2 Apply a little masking fluid where the light areas may be
of help later on. Allow some of the areas to stay free of
lines to allow the paint to move freely about.
t
56
JULY 2017
Step 3
1 Quickly lift out the wattle area and add a bright red spot.
Allow it to merge over the face into the background. Do let
this vital seeping of the colours happen.
2 Paint deep violet over the body and add more ochre
to the neck.
t
t
Step 4
Keeping the surface wet, accentuate the body shape with
deep violet and a weaker wash added to the silkie?s body to
give it definition. Tint the tail area with cerulean blue and
add an accent of burnt sienna to the base of the neck and
background pot behind the white chicken shape.
t
Step 2
1 Wet the paper?s surface and drop bright yellow over
the neck area and ochre over the face. Allow the colours
to merge into the body and feet.
2 Add Hooker?s green to the background between the
birds, emphasising the negative shape between them.
Step 5
Using a wetted tissue, soften and alter the chicken?s shape to
a more rounded and satisfactory feature. Strengthen the tail
and colour the pots using burnt sienna and white gouache.
www.painters-online.co.uk
LP07 53-55 Jelbert_Layout 1 05/05/2017 15:47 Page 57
t
Step 6
1 Whilst still wet, use alizarin crimson to define the
wattle and eye areas. Darken the sides of the body using
violet and sienna, and add Winsor blue to the lower body.
2 Roughly place more flower pot colours and splatter
the foreground using burnt sienna, violet and blues;
allow to soften in the wetter places.
3 Place cerulean blue under the chickens in the
shadowed areas.
t
Step 7
1 If the paper begins to dry, rewash very carefully. The
paper needs to be thoroughly dry before rewashing or
you will create unsightly watermarks in your work.
2 Redefine the pots with a combination of sienna and
violet, and darken the tail a little with Winsor blue.
As you proceed, try to leave something for the
imagination to work on in your painting.
t
Step 8
1 Rub off the masking fluid to expose the white flashes
needed for the mad feathers. I washed over these with
ochres and blues, allowing them to fade
into the chicken?s feathers slightly.
2 Splatter more pebbles and place
autumn leaves to echo the colours
of the bird into the foreground.
t
Step 9
Highlight the background against
the hen?s shape using small accents and
flicks of white gouache and the original
masking fluid applications. Define the
legs and feet, and add details of the
silkie hen and deeper accents to the
flowerpots.
t
The finished painting Farmyard
Chickens, watercolour, 12x16in.
(30.5x40.5cm)
Wendy Jelbert
Wendy?s courses and
exhibitions are on her website
www.wendyjelbert.co.uk
www.painters-online.co.uk
JULY 2017
57
LP07 56-57 Holland_new_Layout 1 05/05/2017 15:52 Page 58
Oils
Go green
Richard Holland focuses on composition, perspective and mixing
greens, using a view he has sketched and painted through the seasons
LEARNING OBJECTIVES
n
n
n
How to mix greens
Follow an oil painting process
from initial sketch
Beginners? perspective
I
n this article I want to look at painting
a view I have sketched and painted
many times through the seasons. For
my latest version of this scene, I used a
watercolour sketch (below) made in the
autumn as the basis for the greens you
see in the finished painting (page 78).
We also concentrate on composition and
perspective issues before we tackle colour
mixing and how to achieve a variety of
greens without resorting to readymade
tube colours. LP
You will need
n
l
n
l
n
l
Surface
Canvas board 12x16in. (30.5x41cm)
Pip Seymour Oil Colours
French ultramarine blue, indigo,
cobalt blue, cerulean blue,
Sansepolcro blue, lemon yellow,
cadmium yellow, cadmium yellow
deep, Naples yellow deep, raw
sienna, cadmium red, alizarin
crimson, burnt sienna, burnt
umber, buff titanium and titanium
white. Thinned down Venetian rose
flesh for underpainting.
Rosemary & Co brushes
Short flats, Nos. 20, 10 and 5
n
Miscellaneous
Winsor & Newton Heavy Carvable
Modelling Paste
l Coco Bella thinner
l
Your reference photograph of the scene
t
t
Step 1
Watercolour sketch
To capture the moment
at Hill Top Farm
I painted this small
A5 watercolour sketch
on location to work
from as my reference
material back in the
studio. I painted this
early last autumn, just
as some of the foliage
was going over, which
offered me deep greens
with the hint of
autumnal colour.
58
JULY 2017
www.painters-online.co.uk
LP07 56-57 Holland_new_Layout 1 05/05/2017 15:53 Page 59
Oils
Head towards
vanishing point
Centre third
Looking
up at
Horizon/eye level
Lead-in
Lead-in
Looking
down to
Light flash
Light flash
Serpentine
lead-in
Step 2 Perspective and composition
t
t
1 To begin, consider the horizon or eye level
in this painting. Whilst sketching I sat up on
a bank looking at the farm and outbuildings
side on. The foreground dropped away
before coming up to meet my eye level
again. I needed to draw the wall on the
left-hand side progressively smaller as it
went away from me. The main farm building
also became smaller as it went into the
distance. Making preliminary working line
drawings are the best way to work this out,
but keep looking and measuring and, as
time goes on, it becomes more obvious to
which way your lines need to go.
2 From a compositional point of view
I used a serpentine lead-in with the track
that draws you into the painting. The wall
on the right-hand side, the open gate and
the barn roof beams all lead you into the
view as well as the strong flashes of light
along the back of the painting. All the main
interest in the painting, including the main
focal point ? where the path leads to ? sits
within the centre third of the painting.
Step 3 Preparation
t
1 Using my watercolour sketch
as inspiration, I began with a
rough scribbled sketch on canvas
then applied the modelling paste
quite heavily in places, such as
the trees in the background, the
buildings? walls, the foreground,
and the walls and track leading
in. I also ran the end of my
brush through the trees to create
trunk and branch shapes.
2 I applied a light wash of
Venetian rose flesh as a base
or underpainting with the
intention of enhancing and
complementing the many greens
that would be applied later.
Then I left it to dry.
www.painters-online.co.uk
JULY 2017
59
LP07 56-57 Holland_new_Layout 1 05/05/2017 15:54 Page 60
Oils
Cadmium Cadmium Raw
yellow yellow deep sienna
Indigo
French
ultramarine
Naples
yellow
Step 4 Mixing greens
t
Lemon
yellow
You can generally mix all the greens you need from
five yellows and five blues, with a little extra help from
alizarin crimson and buff titanium. The chart shows
the mixes from indigo, French ultramarine, cobalt blue,
cerulean and Sansepolcro blue mixed with lemon
yellow, cadmium yellow, cadmium yellow deep, Naples
yellow and raw sienna. If you want a darker or more
olive green, add a tiny amount of alizarin. If you?re
looking for a creamy green, add buff titanium rather
than white, as this can make your greens look chalky.
Step 5 The mid-tones
1 Begin by painting the sky using a mix of Sansepolcro
blue, cobalt blue and buff titanium. Add the distant hills
with greens made from Naples yellow (or raw sienna)
with French ultramarine to produce the aerial
perspective you need.
2 When the sky and distance is dry, block in the buildings
and walls with a mix of burnt sienna, raw sienna and
French ultramarine to make a dark stone colour.
3 Block in the trees and the mid-ground and foreground
grass in darker green mixes of indigo and French
ultramarine with both cadmium yellows and a tiny
amount of alizarin.
Cobalt
blue
Cerulean
Sansepolcro
blue
t
Step 6 The highlights
Trees Use a wide range of the lighter greens
on your colour chart, most having a little
buff titanium added to give the colours
a softer feel. For the distant trees, aim to
use more Naples yellow and raw sienna
with cobalt and French ultramarine mix to
create a more blue-grey green for distance.
Shadow Much of the shadow that falls
across the centre of painting can be
left with the mid tones, but the darkness
of this shadow area will make the lighter
greens around it stand out more.
Foreground Use your stronger light
greens, such a lemon and cadmium
yellow with cerulean, cobalt blue and
French ultramarine, to bring
the foreground forward.
Buildings Mix buff titanium with raw
sienna, burnt sienna and cadmium red
along with Venetian rose flesh to give
you the sunlit areas, while maintaining
the mid-tones for the shaded areas.
Accents Strong dashes or wafts of the
brighter greens help to give the painting
looseness and impact as well as drawing
the eye into the painting.
TIP Apply almost
neat paint at the
final stage, but let
your brush waft the
colour on so you
don?t obliterate the
colours from the
previous layers.
Richard
Holland
Richard will be
demonstrating
landscape painting on
his stand at Patchings
Art, Craft and
Photography Festival
this July (see page 71
for details). For further
information go to
richardholland
landscapeartist.co.uk
or email ricardo2244
@yahoo.co.uk
The finished painting Hill Top Farm, oil on canvas board, 12x16in. (30.5x41cm)
t
60
JULY 2017
www.painters-online.co.uk
LP07 61-63 Joyce_Layout 1 05/05/2017 16:00 Page 61
Stacks at Souter, watercolour, 10x14in. (25.5x35.5cm). I loved the play of light on the rocks and beautiful colours in the sea.
t
Sunlight and shadow
Join Colin Joyce as he paints an atmospheric scene with an emphasis
on tone, using wet-in-wet and dry-brush techniques in watercolour
Build colour-mixing confidence
n
Practise watercolour techniques
n
Learn the painting process with
watercolour
P
ainting the effects of sunlight
is one of the delights of using
watercolour and I just love to
get out in the open with my painting
kit to capture those transient
moments nature offers. Living in
Fife, you might immediately assume
I don?t go out much to paint due to
the weather. However, Fife is one of
the driest and sunniest climates in the
whole of the UK ? a bit of a well-kept
secret. I have a wealth of subject
matter on my doorstep and I?m not
far from the hills and mountains of
the Highlands either. Sometimes I can
only take photos or make a quick
sketch, which gives me material to
work up in the studio.
www.painters-online.co.uk
Thumbnail sketches of the scene used in
the demonstration painting over the page
t
n
For this demonstration I worked from
my reference material after I looked
through a variety of photographs and
sketches to find images where the
sunlight had transformed the scene.
Being on a hillside, just moving a few
steps ? left or right, up or down ?
changed the look of this cottage in
its surroundings. I found a couple of
thumbnail sketches (right) to decide
on the angle I preferred for the
painting. I liked the slightly higher
standpoint, which brought more of the
loch and background hills into view.
Using my favourite watercolour
paper, Saunders Waterford Rough
300gsm, I used masking tape to fasten
it to a plywood board. Anything larger
than this and I would stretch the
paper first to avoid cockling when
wet or would use heavier paper.
I hope you enjoy following the
demonstration as you practise
important watercolour techniques. LP
t
LEARNING OBJECTIVES
JULY 2017
61
LP07 61-63 Joyce_Layout 1 05/05/2017 16:00 Page 62
Watercolour
Demonstration Sunlit Morning, Loch Shieldaig
You will need
n
l
Surface
Saunders
Waterford
Rough 300gsm
watercolour
paper,
11x15in.
(xxxxxxcm)
n
Brushes
Escoda Ultimo
l Round Mops,
l Nos. 18, 14 & 10
l Escoda Perla Round
Pointed, Nos. 16, 12,
10 & 8
l Pro Arte Swordliner
medium
l Pro Arte Rigger No. 2
l
n
Watercolour
Cadmium yellow light,
Indian yellow,
quinacridone gold,
burnt sienna, cadmium
orange, cadmium red
light, madder lake deep,
manganese blue hue,
cobalt blue, ultramarine
blue, cobalt green and
cobalt turquoise light
Step 1
t
Draw the scene using a 2B pencil. Mix pools of
well-diluted quinacridone gold and manganese
blue hue. Apply the yellow wash to the lower
part of the sky, continuing down over the hills,
the foreground grass and rocky outcrop behind
the cottage. Add the blue for the rest of the
sky and the loch. Leave to blend and dry.
t
Step 2
1 Add a touch of cobalt blue to the
remainder of the manganese blue hue
and strengthen the upper part of the sky.
2 Mix light green using cadmium yellow pale
and cobalt blue to add strength and variation
to the grass area.
3 Mix a darker green-blue for the background
hills using Indian yellow, ultramarine blue
and a touch of burnt sienna. Weaken the
wash with water as you move down towards
the loch. Whilst still damp apply more blue
to the mix to add shape to the hills and
allow this to blend. Also add this mix to
the bushes near the road.
t
Step 3
1 Make a strong mix of the hill colour to
create the layers of hills, using a second
brush just dampened with water to create
62
JULY 2017
the illusion of aerial perspective. Throw in
a touch of green for the distant fields. Add
burnt sienna and violet to the hill on the
left while still damp and allow to blend. Leave
to dry before adding the final layer of hills
down to the loch. Mix a dark with ultramarine
blue and burnt sienna to paint the dark tidal
lines of all the lochside hills, leaving just a
hint of the lighter tones here and there.
2 Once dry mix a darker blue using what you
have left from earlier, with more cobalt blue
and the slightest hint of burnt sienna. Use the
dry-brush technique to give the effect of water
disturbed by the wind, moving swiftly from left
to right and barely touching the surface.
Strengthen areas where needed. Using a smaller
Round brush, add detail to the patterns in the
water in the distance.
3 With a dilute grey mix add tone to the rocks
and poles, and paint the road, except where the
sun cuts across. Apply burnt sienna with a little
dark from the palette to the rocks behind the
cottage and allow to blend.
4 Apply cadmium red light to the roofline then
water down, pulling it towards the bottom. Add
touches of madder lake deep for variation.
5 Add Indian yellow to the areas where the
sunlight hits the grasses. Apply the same yellow
and cobalt blue around the rocks and more
liberally elsewhere. Before this dries put some
more blue and burnt sienna here and there
to give variation.
www.painters-online.co.uk
LP07 61-63 Joyce_Layout 1 05/05/2017 16:01 Page 63
t
Step 4
1 The way to create the effect of light is to be
bold with the darks. Using more pigment than
water mix ultramarine blue, burnt sienna and
a touch of cobalt green to achieve a nice juicy
dark. Using the side of a large dry Round
brush, scrub around the area of the trees.
This gives a dry-brush effect and implies
leaves and branches.
2 Before it has a chance to dry, add Indian
yellow at the top to warm it up, and use
a Rigger and the dark mix to add a few
branches. Don?t overdo this; it?s easy to get
carried away. Can you see now why I left the
area behind the trees unpainted earlier?
3 Continue with the same dark mix and work
on the verge beneath the tree, adding a few
warm yellows and browns into the mix, right
up to the edge of the shaft of sunlight. Use
Indian yellow and cobalt blue mixed on the
paper to add the sunlit grass verge.
Strengthen the greens on the main grass
area either side of the sunlit area.
5 Mixing grey with a hint of violet now tackle
the shaded areas of the road, coming back
into it with more of the mix as it dries to
imply tyre wear on the single-track road.
6 By painting around a few areas create
dappled light on the road. Dilute this mix a
touch to add shadows on parts of the grass
and behind rocks, and the shaded sides of
the rocks themselves. Notice how I broke
the plane of the grass against the Loch with
the big boulder.
t
Step 5
1 Using a blue-grey mix, add shadow to
the side of the cottage, chimneys and
window. Add more of the blue-grey to the
edges of the cottage to make it stand out.
2 Using manganese blue hue add detail
to the electricity pole, deepening the blue
with grey for the shadows. Add a dark grey
to the shadow side of the poles.
3 If you?re feeling brave, place power
lines with a Rigger.
Colin Joyce
Colin lives in Dunfermline, Fife and
paints in and teaches both oils and
watercolours. He demonstrates for
art groups and organises painting
holidays. Meet him at Patchings Art,
Crafts & Photography Festival (see
page 71 for details). To find out
more, visit www.colinjoyceart.com
The finished painting Sunlit Morning, Loch Shieldaig, watercolour, 11x15in. (28x38cm)
t
www.painters-online.co.uk
JULY 2017
63
LP July 2017 Art Clubs p64-65_News 1st 08/05/2017 09:47 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
EXHIBITIONS AND ACTIVITIES
CLUB EXHIBITIONS
n
Boughton Art Group
Annual exhibition at Edwinstowe Craft
Centre, Nottinghamshire on Saturday 29
July from 10am to 5pm and Sunday 30
July, 10am to 4pm.
n
Denbighshire Art Society
Summer exhibition at The Studio, 10
Penrhos Road, Colwyn Bay LL28 4DB from
1 to 16 July, 10am to 5pm daily.
n
Fleet Art Society
Annual exhibition at The Church on the
Heath, Elvetham Heath, Fleet GU51 1HA
on Thursday 15 June, 1.30 to 5pm; Friday
16 June, 10am to 5.30pm and Saturday
17 June, 10am to 5pm. Visit
www.fleetart.org.uk
n
Great Yarmouth Guild of
Artist and Craftsmen
Annual exhibition at Great Yarmouth
Library from 29 June until 7 July. Open
daily, 10am to 4pm.
n
Lindley Art Association
Exhibition at Tetney Village Hall,
Humberston Road, Tetney, Grimsby,
North East Lincolnshire DN36 5NG on
Friday 23 June, 1 to 6pm; Saturday 24
June, 10am to 6pm; and Sunday 25 June
from 10am to 4pm. Enquiries to 01507
610604.
n
Milford Art Group
Exhibition at All Saints Church Hall,
Church Hill, Milford SO41 0SQ from 29
July until 12 August. Open daily, 10am to
5.30pm; from 11am until 5.30pm on
Sundays and closing at 4pm on final day.
n
Nettleham Art Group
13th annual exhibition at the Old School
(near the church), Nettleham, Lincoln LN2
2PE on Friday 7 July, 2 to 4pm and 6.30 to
8pm; Saturday 8 July from 10am to
4.30pm; and Sunday 9 July from 11am
until 3.30pm Enquiries to Ian Straw
01522 753558.
n
North Lincs Art Society
Annual exhibition at Grimsby Minster
from 2 to 26 June. Open daily between
10am and 4pm, excluding Sundays when
services are held. Enquiries to Anne Harris
01507 610604 or visit www.nlasart.co.uk
n
Ron Etherington Rudbeckia, oil on board, 133?4x101?2in. (35x27cm) on show in the annual
exhibition of the Saddleworth Group of Artists
t
Highlights
Saddleworth Group of Artists
The annual summer exhibition of the Saddleworth Group of Artists will take
place at the Saddleworth Museum, High Street, Uppermill OL3 6HS from 17 June
to 16 July. The exhibition will include up to 50 works, with most paintings
offered for sale. The group, which was founded in 1950 by watercolourist,
Ellis Shaw and friends, currently has around 60 enthusiastic members, some
full-time professionals, but all committed to their work. The museum is open
daily from 1 to 4pm. For more information about the group visit
www.saddleworthartists.co.uk
64
JULY 2017
Royal Tunbridge Wells
Art Society
Summer exhibition at 61 The Pantiles,
Tunbridge Wells, Kent from 1 to 16 July.
Visit www.rtwas.org
n
Sherborne Art Club
Annual open exhibition at the Digby Hall,
Hound Street, Sherborne, Dorset DT9 3AA
from 22 to 30 July. Open 10am to 5.30pm
daily; closing at 1pm on final day. Visit
www.sherborneartclub.com
n
Stotfold Mill
Summer art exhibition at Stotfold Mill,
Bedfordshire SG5 4NU from 7 to 9 July,
12.30 to 5pm daily. Visit
www.stotfoldmill.com
www.painters-online.co.uk
LP July 2017 Art Clubs p64-65_News 1st 08/05/2017 09:47 Page 3
Tewkesbury Art Society
Summer exhibition at the Methodist
Church Hall, By The Cross, Barton Street,
Tewkesbury, Gloucestershire from 22 to 29
July, 10am to 4pm. For more details visit
www.t-a-s.info
n
Wokingham Art Society
62nd annual summer exhibition at St.
Paul?s Parish Rooms, Reading Road,
Wokingham RG41 1EH from 22 July until
5 August. Open daily, 10am to 5.30pm;
until 8pm on Thursdays. Visit
www.wokinghamartsociety.org.uk
n
West Dartmoor Art Group
Annual exhibition at Peter Tavy Village Hall
(near Tavistock) from 15 to 23 July, 10am to
6pm daily; closing at 4pm on final day.
Enquiries to Barry Martin 01822 615619.
Demonstrations &
Classes
Bedford Art Society
Experienced botanical artist and
president of the Society of Botanical
Artists, Sandra Wall Armitage, will give a
talk to the Bedford Art Society about her
work on 7 July (7.15 for a 7.30pm start)
at Putnoe Heights Church, Bedford MK41
8EB. Entry is free for members; �for
visitors. Contact Jean Paterson on 01234
307210 for more information or visit
www.bedsartsociety.co.uk
Brighouse Art Circle
Artist, Jane Austin, will give a
demonstration to the Brighouse Art Circle
on Bringing Light to Watercolour on 20
July at Waring Green Community Centre,
Brighouse at 7.30pm Non-members
welcome. Telephone Geoff on 01484 712947
or visit www.brighouseartcircle@yahoo.co.uk
Halifax Art Society
On Friday 16 June, Matthew Evans will
give a demonstration on painting Flowers
in Pastel to the Halifax Art Society at All
Saints Parish Hall, Godfrey Road, Skircoat
Green, Halifax from 10.30am until 1pm.
For more information visit
www.halifaxartsociety.com
Hipperholme & Lightcliffe
Art Society
Jeremy Taylor will lead a workshop on
painting Boats in Watercolour for the
Hipperholme & Lightcliffe Art Society on
Tuesday 4 July at the Brighouse Rest
Centre, Brighouse from 7.30 to 9.30pm.
For more information visit www.handlas.co.uk
Virginia Water Art Society
Stephen Cheeseman will give an oil
pastel demonstration on Horse Racing to
the Virginia Water Art Society on
Wednesday 5 July. For more information visit
Highlights
Association of Marine Artists
Open-air exhibitions take place on
the East Pier, Dublin Bay throughout
the summer months. The next
exhibitions will run from 3 to 5 June,
and 8 and 9 July. If you are interested in
exhibiting go to www.dlharbour.ie and
search ?exhibitions? for a downloadable
entry form.
Benson Art Group
The annual exhibition of the Benson
Art Group takes place at the
Millstream Day Centre, Benson,
Oxfordshire on Friday 7 July from 7
to 9pm with drinks and light
refreshments and Saturday 8 July
from 10am to 12 noon for coffee, tea
and biscuits. For details telephone Trisha
Scott on 01491 834734 or email her at
trisha.watercress@hotmail.co.uk
Cononley Art Group
The Cononley Art Group will hold its
late spring exhibition at the
Cononley Village Institute, Main
Street, Cononley BD20 8NT from 27
to 29 May, 10am to 4pm daily. Entry
is free and refreshments will be
available, as well as paintings, cards
to buy and demonstrations by
members throughout the event.
East Huntspill Art Group
The East Huntspill Art Group will
hold its annual exhibition at the
Methodist Church, East Huntspill on
Friday and Saturday 2 and 3 June
from 10am to 5pm and on Sunday 4
June between 1 and 4pm. There is
t
Peter Almond Granddaughter, oil on
canvas, 15x12in. (38x31cm). Peter has been a
member of the East Huntspill Art Group for
several years
Annie Mills Spaniel, acrylic on canvas,
10x113?4in. (25x30cm) on show at the summer
exhibition of the Uckfield Art Group
t
n
plenty of parking and refreshments will
be available. The group of around 15
members meet on alternate Wednesday
afternoons at East Huntspill Village Hall,
and enjoy experimenting in all media,
with a cupboard of paints and materials
for all to try. The group also does all its
own mounting and framing. For more
information contact Kay on 01278 789678 or
email kathsouthview@sky.com
Leicester Society of Artists
Work by members of Leicester Society of
Artists will feature in Little Selves: an
exhibition of 141 miniature portraits at
Leicester New Walk Museum and Art
Gallery, until 24 June. The exhibition
will also feature works from the
museum?s own collection, local students
and guest artists.
The Lymington Palette Club
The Lymington Palette Club?s annual
exhibition takes place the Masonic Hall,
High Street, Lymington, Hampshire from
23 to 30 June., 10am to 5pm daily. Free
parking is available and there is also
disabled access. The exhibition includes
contemporary work at affordable prices
and will feature the work of guest artist,
Will Rochford.
Uckfield Art Group
The Uckfield Art Group?s summer
exhibition takes place on Saturday 3
June at the Luxford Centre, Library Way,
Uckfield, East Sussex TN22 1AR, from
10am until 4pm. Homemade
refreshments will be served throughout
the day and original paintings,
drawings, greetings cards and handcrafted items will be on sale. Admission
is free and there?s plenty of free parking.
For more information contact Annie at 01825
765021 or visit www.uckfieldartgroup.com
www.virginiawaterartsociety.blogspot.com
www.painters-online.co.uk
JULY 2017
65
LP Marketplace
Summer 16 HoM_Layout 1 26/05/2016 16:27 Page 3
To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses
Art �& 燙raft 燚ays �
PAINTING COURSES. 1-7 day
The Butter遹 Art & Craft Studio,
and weekly art courses painting
Flacks Green,Terling, Essex CM3 2QS
flowers and gardens, landscapes,
watercolour or line and wash with
Enjoy 燼 爏pecial 燿ay 燼t �
Jan Blanch in Norfolk also Brusho
The 燘utter:ly 燗rt �& 燙raft 燬tudio �
classes. Very good accommodation.
Popular Artists
Painting holidays in Corfu.
Carole Massey, Marilyn Allis,
Tel: 01493 393639 or 07702 069300
Kay Elliott, Charles Evans,
Email: janblanchartist@gmail.com
David
Webb,
Helen
Rubinstein,
In the Peak District National
Park, Derbyshire
Julia Tanner, Teresa Norfolk,
www.janblanch.co.uk
The Old House Studio.
TrevorJanie
Osborne
& 9 Jul
2017
Pirie,8Paul
Alcock.
Vic Bearcroft
30 Jul
Contact
Brian29
or &
Julie
for2017
more
Robert Dutton 5 & 6 Aug 2017
details: 01245 233459
Tim Fisher
Apr & Sept 2018
website: www.artandcraftdays.co.uk
email: info@artandcraftdays.co.uk
* Experienced
Artists who are
Gift
Vouchers
experts in their
field.
* Courses aimed to provide
an enjoyable and interactive
experience for all abilities.
* Small classes maximum
10 students.
* 2 Course lunch provided
* B&B accommodation available.
Watershed
Studio
Email: info@watermill.net
Call Bill or Lois: +39 366 488 2587
PAINTING COURSES IN NORFOLK
AND CORFU. 1-7 day and weekly art
courses painting flowers and gardens,
landscapes, watercolour or line and
wash with Jan Blanch in Norfolk also
Brusho classes. Very good accommodation.
Painting holidays in Corfu.
Tel: 01493 393639 or 07702 069300
Email: janblanchartist@gmail.com
www.janblanch.co.uk
Holiday of the month
PAINT ?N CANVAS HOLIDAYS
For information on all courses available
please visit the website.
Telephone: 01457 857527
Email: info@pennine-art.uk
www.pennine-art.uk
Celebrating our 15th year
? Proven reputation for excellent courses
? Friendly atmosphere with home-cooked food
? Rural studio it its own grounds and gardens
? Excellent
local accommodation
nearby
For
brochure
and other
information contact John or Christine
? High profile, popular tutors
01202
393234
info@boscombespahotel.co.uk
Fraser Scarfe, Roger Dellar, Carole Baker,
www.boscombespahotel.co.uk
Sylvia Paul, Robert Dutton and
many more?
LEARN AT HOME. Watercolour
SUE
FORD?SBeginners/advanced
PAINTING HOLIDAYS
and
drawing.
Mixed
Media
correspondenceCourses
courses. Easy, relaxed,
Cober HillDetails:
and Red
Lea Trotman
Hotels both
in
thorough.
Jenny
NDD.
Scarborough,
various dates.
Tel:
01305 264568
Glenthorne, Grasmere, Higham Hill,
www.catswhiskersart.co.uk
Bassenhwaite, various dates.
The Watermill in Tuscany, July 15-22.
www.sueford.co.uk
Suefordartist@icloud.co.uk
Tel: 01642 712926
THE SKY?S
THE LIMIT
ALL-INCLUSIVE
SPANISH
WATERCOLOUR
WHEN IT COMES
TO ADVERTISING
HOLIDAYS
in
the
mountains
of Southern
WITH LEISURE PAINTER
Spain. Superb food and delightful
en-suite air-conditioned rooms.
Instruction is followed by fieldwork,
Call Anna
to discover
the
including
visitsMarie
to Granada
and Mojacar.
opportunities
toflyou.
Everything
includedavailable
except your
ight.
T: 01778
Non-painting
partners392048
welcome. For
E: annamarieb@
special offers
and customers' comments
warnersgroup.co.uk
visit www.watercolourspain.com
Tel: 020 3239 6786 or 0034 637 458679
Art Materials
EXCITING NEW 2017 BROCHURE NOW AVAILABLE!
on
2014 BROCHURE NOW AVAILABLE!
Art Holidays in Dorset
Call Allison Bond for details: 01255 820466
Sidewinder Studio
01243 552186
Shop online
www.sidewinderstudio.co.uk
?Your First & Best Choice for a
Painting Holiday?
CHINESE BRUSH PAINTING SUPPLIES
PLUS
Organ
iser
St Clere?s Hall Lane, St Osyth,
David Bellamy, Joe Francis Dowden,
always s
Clacton
on Sea, Essex, CO16 -8RX
DOUBLE-UP-DEAL
BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
on
Roger
Dellar,
Soraya
French,
Jeremy
SAVE �9 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
cation
? Over 300 titles inlo
stock
? Prices from �5
w
Ford, Steve Hall, Terry Harrison,
Barry
ith
SNEAK PREVIEW OF SOME OF THE DOZENS
? Starter packs for beginners
? 500 m from the sea
OF COURSES IN 2017
Linda Matthews demonstrates in the
port at M鑪e,
Herniman,
Matt Palmer, Thomas Schaller, group
18-22 Jun
Embellish Your Fantasy Paintings
? Free transport
Languedoc, France
onbased
one of her Paint ?N Canvas holidays
studio
? Highly professional tutors
28 Jun-3 Jul Summer Sketchbooks
Keiko Tanabe, Paul Weaver & many more
? Friendly house-party atmosphere
allison@watershedstudio.co.uk
www.watershedstudio.co.uk
We have an extensive range of high quality,
authentic Chinese Brush Painting supplies,
beautiful accessories and specialist books.
t
? Delicious food and wine
? All accommodation en-suite
? No single supplement
? Stunning locations - easy walking
? All abilities and non-painting
partners welcome
? Well equipped studio
? Small numbers to ensure
individual attention
11-14 Jul
15-18 Jul
1-4 Aug
5-8 Aug
12-15 Aug
Sketchbooks - Where to Draw the Line?!
Rocks, Waves, Sea and Sky - Acrylics
Sketching is an Art in Itself!
Cliff Top Painting - Look East and West
Sketching Buildings with Pen and Wash
studio based
21-24 Aug
Loosening up with Watercolour
6-11 Sep
The Four Stages of Watercolour
studio based
15-20 Sep
Seascapes and Harbours
26-29 Sep
Painting Dorset Skies- acrylics or
watersoluble oils
20-23 Oct
Watercolour - the Basics and Beyond
studio based
And much, much more!!
A
Framing
Painting by David Webb
rtist and holiday organiser, Linda Matthews is passionate
about painting from life, en plein air, and in fact was the
Somerset,
Exmoor
founder of the first four-day plein air
painting festival
? National Park,
Artists Frames
North Devon
A Brush with the Broads ? in 2014. Her schedule
is a busyCoast,
one, North - Save money on framing
with courses ranging from weekly morning
classes toLake
week-long
Cornwall,
District, Wye- Complete or self-assembly
- Plain wood or painted
painting holidays both in this country and abroad. What they
Valley, Provence, France & The
- Inlay frame specialist
all have in common is her dedication to getting out there and
- Large, standard and bespoke sizes
becoming aware of what is around you. Western
?WhereverAlgarve,
you look Portugal
Exclusive - St Ives/Nicholson style
there is something to paint,? she says. ?You can never be bored
frames available on-line
with a pencil and a sketchbook.?
WINTER WARMERS Her tuition style is warm and encouraging, making her holidays
01427 787318 or visit
Call
Two full days? tuition in our cosy studio from 10am to 5pm,
with to
all-inclusive holidays
the perfect
beginners who need a bit of courage
light lunch and delicious
dinner pluschoice
bed andfor
breakfast
www.ashcraftframing.co.uk/store
not pamper
yourself
and add Friday
painting
outside
the comfort of a studio. On offer this year
SUPER P all for only �5 Whybrave
U
and/or Sunday night dinner, bed and breakfast at the
E
L
ovelymorning
ainting
dventure
B
are
her
usual
weekly
classes
held on a Thursday
at her oliday
U
DO
rate
of
�
per
night?
Most
people
do!
special
painters?
E
Art Shops
AV
studio
Broad
Gallery in Ludham, as well as her weekend
7 & 8 Oct
Use
Colourat
and
Shape Skies
Like Matisse
DEAL S
14 & 15 Oct
Swift
Lines and
Singing
Coloursa two-day Paint in the Garden course
courses.
These
include
31 Oct & 1 Nov Come Paint and Print Your
PAINTING HOLIDAYS!
All Art Materials
included
based at
nearby East Ruston Vicarage? Gardens.
There are
also on selected holidays
Card
Christmas
&!
Non painters
& All
Abilities Welcome
A Seasonal
Splash
of Acrylics
11 & 12 Nov
week-long
Norfolk
plein air painting?holidays,
walking
and
STRUCTURED COURSES!
25 & 26 Nov
Spring Flowers in Line and Wash
? Studio
Location
sketching in the Broads National Park,
as well&as
holidaysbased courses in all media
2 & 3 Dec
Spring Flowers in Line and Wash
R
with
Linda
H
Matthews!
E
? Stunning
Views
and Amazing
Locations
P
abroad. Next year, Linda will be running
painting
holidays
to
SU E UP
L
B
France,
Morocco
and
to
Polizzi
Generosa
in
Sicily.
NORFOLK
!
U
A
rt
Holidays
in
Dorset,
The
Studio,
Boscombe
Spa
Hotel,
4
Glen
Road,
E
DO L SAVSUFFOLK
!
Boscombe
Nr Bournemouth
LindaManor,
is generous
withBH5
her1HRteaching experience and is happy to
DEA
LONDON!
tailor
courses
to
meet
the
needs of individuals - whether it?s oneFRANCE!
to-one tuition that?s needed or special courses for groups. Look
MOROCCO!
www.painters-online.co.uk
66
JULY 2017
on the website for full details of all the courses and options on
offer. You?ll even find some step-by-step tutorials to follow.
�9
Ashcraft Framing
01934 733877
�5
lp CLA July_NEW.indd 66
Suppliers of the finest
art materials 05/05/2017
13:53:03
Jul 17 Holiday of the Month_Layout 1 27/04/2017 13:38 Page 3
Holidays & Courses
Art Holidays in stunning Devon
Enjoy the wonder of painting within Devon?s
dramatic landscape. Full board for 5 days or a
weekend with expert tuition by landscape artist
Deborah Last.
En-plein air & studio painting for all levels &
abilities from �0. For more information call
Debs on 07887 87889 6
or email dlast@btinternet.com
www.deborahlast.co.uk
Teaching art has been David?s
passion for over 15 years,
passing on his knowledge
and tips from over 50 years of
painting and helping students
learn, improve and achieve.
Holiday of the month
Watershed Studio
PEGASUS ART
? Proven reputation for quality courses
? Warm welcome & home-cooked food
? Rural studio in its own grounds
? Excellent local accommodation
? High profile, popular tutors
Fraser Scarfe, Tim Fisher
Jeremy Ford, Charles Evans,
Diana Seidl and many more?
Watercolours ? oils ? pastels
Celebrating our 16th year
Saturday workshops and holidays
Call Allison Bond for details:
www.watercolourartist.net
Tel: 01246 826311
Email: allison@watershedstudio.co.uk
01255 820466
www.watershedstudio.co.uk
St Clere?s Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX
www.learntopaintinfrance.co.uk
Regular contributor to ?The Artist?
magazine and popular tutor.
Painting Holidays 2017!
Higham Hall, Lake District
Rydal Hall, Lake District
Cober Hill, Scarborough
HF Holidays ? Malham, Whitby
Dalvaro Art, Spain
Paint Andalucia, Spain
Sandpiper Studio, South Wirral
Watershed Studio, Essex
Norfolk Creative Arts, Norfolk
Workshops available nationally.
www.rdcreative.co.uk
for further details or contact
0113 2252481 or email
rdcreative@ntlworld.com
LEARN AT HOME. Watercolour and drawing.
Beginners/advanced correspondence
'Leisurecourses.
Painter 1-16
1
01/12/2016
10:11
Easy,advert.indd
relaxed, thorough.
Details:
Jenny Trotman NDD. Tel: 01305 264568
www.catswhiskersart.co.uk
Framing
AshcraftArtists
Framing
Frames
- Save money on framing
- Complete or self-assembly
- Plain wood or painted
- Inlay frame specialist
- Large, standard and bespoke sizes
Exclusive - St Ives/Nicholson style
frames available on-line
Call 01427 787318 or visit
www.ashcraftframing.co.uk/store
www.painters-online.co.uk
lp CLA July_NEW.indd 67
t
Award Winning Art
Managing director Jane Fisher leads a demonstration
With Mike Hall Des RCA.
Join popular artist
and experienced
tutor Mike for
a long weekend
or a week?s all
inclusive painting
holiday in France.
S
ince 2005, professional artist, Jane Fisher, has led a
passionate team of artists at Griffin Mill ? home to Pegasus
Art, comprising a shop and vibrant artists? studios based in a
converted Victorian Mill in the Cotswold Valleys. The shop stocks
an impressive range of artists? materials, with a fast and efficient
mail order service run by knowledgeable staff, all of whom are
practising artists. There are six artists? studios at the mill as well as
Studio One ? a teaching studio that hosts demonstrations and
workshops for artists of all levels, including children.
Regular art classes are held mornings, afternoons and some
evenings each week, and include watercolour classes with Richard
Callingham; acrylic classes with Alexandra Darbyshire, mixedmedia classes with Alison Vickery (who also runs an after-school
club for eight to 12-year-olds); life-drawing classes with Paul
Fowler; and developing skills and creativity with Rob Collins. Most
courses run for six or seven weeks, but students can join at any
time if there?s space available.
In addition to the regular classes, there are also workshops and
masterclasses, led by experienced visiting tutors. Leaflets for both
regular classes and workshops can be downloaded from the
website, but here are just a few classes to look out for: Painting in
Watercolour En Plein Air with Richard Callingham on 10 June and
5 August at the nearby Museum in the Park; Unravelling the
Enigma of Oils with Max Hale from 22 to 24 August; Revealing
Rothko ? a colour-mixing workshop with Susanna Bailey on 1
July; a holiday kids club for three mornings in August; a charcoal
workshop led by Nick Grellier on 19 August; and a canvas-making
workshop with professional artist, Chris Bingle in September.
Small painting groups in Limousin.
All levels welcome.
See the website for details
or call Mike on
01256 850167 or 07774 616361
bscshep@aol.com
Art Shops
Pegasus Art Shop
Shop Online for Fine Art Materials
Workshops & Masterclasses
www.pegasusart.co.uk
info@pegasusart.co.uk
01453 886560
Contact Pegasus Art, Griffin Mill Trading Estate, London Road,
Thrupp, Stroud, Gloucestershire GL5 2AZ. Telephone 01453
886560; email info@pegasusart.co.uk; www.pegasusart.co.uk
JULY 2017
67
05/05/2017 13:53:12
Art Materials
Holidays & Courses
2014
NOW
AVAILABLE!
LASTBROCHURE
YEAR?S PRICES
HELD!
DOUBLE-UP-DEAL REMAINS!
Art
bre
re
ks
Ex
rrt breaks
r aks
k in Exmoor
E moor
Art Holidays in Dorset
?Your First & Best Choice for a
painting holidays
Painting Holiday?
www.shorlandoldfarm.co.uk
ww
w.shorlandoldfa
fa
www
ww.
f rm.co.uk
DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE
HOLIDAYS IN PINK &
f l locat
a ion
Beautiful
Beautifu
fu
location
at
SAVE �5 PLUS A FREE NIGHT DINNER BED AND BREAKFAST.
ffood
GoodLATEST
fo
od OFFERS
WATCH OUR WEBSITE FOR
Where better to develop your painting skills than in beautiful Pembrokeshire
aatmosphere
Friendly at
mosphere
01202 393234 info@boscombespahotel.co.uk
Courses
fo
f
all abilities
for
SNEAK PREVIEWr OF
SOME OF THE 53
? Prices from �9
? 500 m from the sea
? Free transport
? Highly professional tutors
? Friendly house-party atmosphere
? Delicious food and wine
? All accommodation en-suite
? No single supplement
? Stunning locations - easy walking
? All abilities and non-painting partners
welcome
? Well equipped studio
? Maximum 10 students each group
r ners
Non-painting
part
partners
rt
13-16 Mar
Moody Land
and
Sea welcome
22-25 Mar Springtime with Watercolour pencils
Ready-made groups also welcome
studio based
28-31 Mar Don?t Be Afraid of the Darks!! studio based
12-15 Apr Success With Watercolour partly studio based
20-23 Apr Fantastical Fantasy Special Effects
studio based
CallExciting
SandyWatercolour
or Mark for
01598
763505
24-27 Apr
Beg inners
studio based
Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
13-16 May Close-up on Trees
partly studio based
16-21 May Acrylics in a Watercolour Style
partly studio based
29 May-1 Jun Sandy Bays and Muddy Estuaries
Art Holidays in Dorset
ane, Whittlesford,
2 - 5 Jun
Flowers in Line and Wash
Hope you like our page!
CB22 4YS
Comprehensive selection
of Fully
Tutored
Painting
13-16 Jun
Drawing
and Painting
With Watercolour
for Beginners mostly studio based
Pencils Artists
Workshops with Professional
based Working Art Studio
17-20 Jun Watercolour Workshop
active Victorian School House.
partly studio based
e & two day fully tutored workshops.Drop-in & Paint day every Monday, Thursday & Friday
20 - 24 in
JunAugust
Finding Beauty in Fantasy
studio based
New
3
day
Summer
School
n Allis, Jamel Akib, Vic Bearcroft, Melanie Cambridge,
6 - 11 Jul
Exciting Sketchbooks - Seize Your World!
Close to Duxford IWM & the historic
City
of
Cambridge
chel Haynes, Prue van der Hoorn,Chris Lockwood,
14-17 Jul
Buildings Without a Care
Williams SBA, Thomas Plunkett PRWS, Sue Williams
Excellent road, rail 26-31
& air Jul
links People and Places in Line and Wash
every Thursday & Friday
Aug
Experimental
Drawing
Private car park, plus good local4-7accommodation
& food
8-11 Aug
Experimental Painting
N STUDIOS IN JULY
R
E
P
20-24
Aug
Exploring
Summer
Flowers Email:
info@theoldschoolstudio.co.uk
www.theoldschoolstudio.co.uk
U
ids Painting Activities in August
S
UP
Poppies to Sunflowers, Petals to Dewdrops
oards etc, and benefits from a large mezzanine floor with a
UBLECall
Val
Pettifer:
01223
833064
O
D
9 - 12 Sep Late Summer Outside
attractive garden and courtyard, whilst enjoying a cuppa!
AVE
13 - 16 Sep Mix It up with Mixed Media
DEAL S
016 brochure Email: info@theoldschoolstudio.co.uk
and lots, lots more!
School Studio
ovely
COURSES AVAILABLE FROM JAN-DEC 2015
For All-inclusive, Residential Holidays, where
for all levelswell
Professional
you will be looked
aftertuition
extremely
Painting by David Webb
�5
�5
www.boscombespahotel.co.uk 01202 393234
2 day workshops in the thriving artists? paradise
of
info@boscombespahotel.co.uk.
St Ives Cornwall by renownedArtwatercolourist
and
Holidays in Dorset,
The Studio, Boscombe Spa Hotel, 4 Glen Road,
For brochure
contact Christine
or John 01202
393234.
Art Holidays
in Dorset,
Boscombe
Manor, Nr Bournemouth BH5 1HR
Watercolours
Unleashed
, Jane
Betteridge
author
of please
?Exmoor
ainting
...boliday
e inspired
?Somerset
painting partners welcome
non
Cheddar, Wells &
The Mendip
t:01348840177Andrew and Maggie
Brown Hills)
dventure
e:info@indigobrown.co.ukw:www.indigobrown.co.uk
?Wye Valley
?Lake District
The Old School Studio
R
SUPEE UP
L
B
U
O SAVE
www.theoldschoolstudio.co.uk
AL
STDDEIVES
WORKSHOPSForWITH
JANEcontact
BETTERIDGE
brochure please
Christine or John
3 and 5-day full board residential courses
Superb home cooked cuisine (inc
North Devon Coast)
4 Star en-suite accommodation
S mall groups, large studio space (inc
01934 733877
? David Bellamy
? Joe Francis Dowden
?
?
?
?
?
?
?
?
?
Tim Fisher
Jeremy Ford
Noel Gregory
Barry Herniman
Steve Hall
John Hoar
Terry Harrison
Roy Lang
Fiona Peart
Plus: Spain
& Portugal
All Art
Materials
Included
Abroad
? Non painters welcome & catered for
? Organisers always on location with group
? All Abilities Welcome & Small Groups (Max 12)
? Joanne Boon Thomas ? Studio & Location based courses in all media
LP Binder ad 2_Layout 1 28/08/2013 14:48 Page 1
And many more
The Studio, Boscombe Spa Hotel, 4 Glen Road, Boscombe Manor, Bournemouth BH5 1HR
www.boscombespahotel.co.uk
r breaks
r aks
k in Exmoor
E moor
Art
rt
bre
re
ks
Ex
30/31st October and 2/3rd November 2017
See website for details - janebetteridge.com
or tel 07925826937
Shorland Old Farm
Create contemporary, coastal related pieces of work
Wide
range of courses for all abilities
?with a twist?, using watercolours, inks, grounds,
collage
and texture making mediums.
17C farmhouse in beautiful location
Light, well-equipped studio
TARN AREA, SW FRANCE. Painting holidays.
Good
food, friendly
art
holidays
in atmosphere
cornwall
Excellent food and accommodation, superb
Non-painting partners welcome
landscape, forestry, mediaeval villages,
studio, large swimming pool. Professional
www.shorlandoldfarm.co.uk
www.shorlandoldfa
f rm.co.uk
fa
tuition by Ken Ray BA, WSCAD,
Diana Golledge, Cora Martin. Details:
?a great deal more than just a painting holiday...?
Bob and Carla Schaap, Chateau de Pourpry,
Ready-made
Small Groups
81220 Damiatte, Tarn, France.
groups also
Stunning Locations
welcome
Tel: 0033 563 707 176
4 Star Accommodation
Email: bobencarla@aol.com
All Abilities
Call Sandy or Mark 01598 763505
Tel 01579 383491
enquiries@shorlandoldfa
f rm.co.uk
fa
Email: enquiries@shorlandoldfarm.co.uk
www.callingtonartschool.com
Art Groups
Friendly Art Group
Benington Art Group meet every
Monday 10am-2pm at
Benington Village Hall, near Stevenage.
Friendly, well established group, keen to
welcome new members of all abilities.
Our aim is to enjoy what we do. A tutor
attends on alternate weeks covering
a variety of subjects and mediums.
Refreshments provided, free parking.
Join us for free ?taster? session contact
Rosalind on 01992 892588.
THE SKY?S
THE LIMIT
WHEN IT COMES TO
ADVERTISING WITH
LEISURE PAINTER
CLA July_NEW.indd
lp Classi
Apr15.indd 64 68
APRIL2017
2015
JULY
Protect your copies of
and
build up your own art study library at home
binders take a complete
volume of 13 issues and have no loose clips
or rods. In a matter of seconds you can
insert or extract a copy ? just slide it on or
off the sprung cord. The binders are robust
and attractively covered in a mulberry
leather finish with gold-lettered spines.
Prices (including VAT and p&p)
UK �95 or two for �.00
Europe �.00
Rest of world �.00
Only
�95
inc VAT &
p&p
Call Anna-Marie to discover the
opportunities available to you.
T: 01778 392048
E: annamarieb@
warnersgroup.co.uk
64
68
binders
Order online at www.painters-online.co.uk/store or send your name
and address, with a cheque payable to TAPC, to: LP Binders, 63-65
High Street, Tenterden, Kent TN30 6BD. To pay by credit card telephone
+44 (0) 1580 763673. Alternatively, email liza@tapc.co.uk
www.painters-online.co.uk
05/05/2017 10:59:15
13:53:24
13/02/2015
LP04_IndiaSoan_v2_Layout 1 30/01/2017 14:48 Page 38
Reader holiday
Paint in Rajasthan,
India with Hazel Soan
October
16 to 31,
2017
Join popular art tutor, Hazel Soan, on the ultimate painting holiday
in India and return with an impressive portfolio of work
l
Paint the grandeur of the
Mughal Empire in the Royal
lakeside city of Udaipur
l Experience Diwali ?
the Festival of Lights
l Capture the fervour of the
annual Pushkar Camel Fair
in the Rajasthan desert
l Portray the serenity of a
Brahma Temple pilgrimage
l Extend your stay to
enjoy the sublime beauty
of the Taj Mahal under
a full moon
Udaipur, known as the ?city of sunrise?
is a glistening oasis in the Rajasthan desert.
It is one of the most serene, romantic and
paintable places in India. Apart from the
special light, its ornate white-marbled
palaces and lakeside location are most
appealing. Women washing their clothes
on the shores of Lake Pichola, people bathing
at the ghats, colourful saris and impressive
turbans and moustaches will add wonderful
content to your paintings. You?ll be in
Udaipur during Diwali, which is one of
the most celebrated Hindu festivals and
known as the Festival of Lights.
Pushkar is a holy Hindu town in the
heart of the Rajasthan desert and every
October there is a Brahma Temple
Pilgrimage on the shores of Pushkar Lake.
The annual Pushkar Camel Fair also takes
place in October, when thousands of local
villagers gather to trade their cattle, horses
and camels. Both are colourful and
atmospheric spectacles, and not to be missed.
Hazel Soan will be extending her stay
in India to paint the Taj Mahal under a full
moon and invites you to join her. This most
iconic monument is a must for anyone who
has not already seen it.
Painting programme & tutor
Hazel Soan is a versatile and
talented artist, and an excellent
teacher with a natural gift of
drawing out the best in
students. She will illustrate a
wide range of the topics with
talks and demonstrations.
There will also be an
opportunity for you to paint a
model. This tutorial painting
holiday is ideal for intermediate students,
but more experienced students are welcome to
work independently. Hazel Soan will be working
in watercolour, but all media are welcome.
As well as your own travel escort, there will be
a local Indian guide with you, helping you find
the most suitable places to paint and provide
an explanation of the various ceremonies.
l
Number of students: 8 to 12 l Price per
person in a twin room: �995 l Single
supplement: �0 l Taj Mahal extension
October 31 ? November 3: from �0
Includes: flights, hotels, all meals, local
guide, art tutor and travel escort.
01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com
The Artist and Leisure Painter magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471 Other holidays in 2017 include the Gardens of Belgium & Holland with Pamela Kay NEAC, RBA, RWS,
Antibes and the C魌e d?Azure with Lachlan Goudie ROI, Amsterdam with Ken Howard OBE, RA and Vietnam with Peter Brown NEAC, ROI.
LP July 2017 Online Gallery p70_News 1st 08/05/2017 09:50 Page 66
Online gallery
Jane Stroud?s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
B
oats are notoriously difficult to paint. Their complex shape and reflections result
in numerous perspective problems to overcome. Gerry Jensen?s striking painting,
below, caught my eye immediately, with the boat taking up as much room as the
reflected image. Here, Gerry tells us a little bit about her approach to painting with
pastels and how she set about this particular subject. If you would like to see more of
her work, post a comment or have a go yourself and upload your own images to our
free online gallery, visit www.painters-online.co.uk
Feeling the atmosphere
Born in Tunbridge Wells, Gerry Jensen
emigrated to Australia with her parents
in 1950. She now lives on the north west
coast of Tasmania where, she says, she
?commits to the discipline of painting
every day. I don?t mind what the subject
is. At the moment I love painting boats,
figures and still life, but I paint any
subject that catches my eye. I work in a
variety of media. Pastel is top of the list,
although I enjoy watercolour and oil as
well. My style is traditional with an
impressionistic twist. It?s fascinating to
pick up a pastel stick, brush or pencil and
watch as the idea unfolds. Sometimes a
bit of magic happens. It?s the process
that makes the journey so exciting. As I
get older I want to simplify my work,
becoming more impressionistic and
seeing where it takes me. Each painting is
a learning experience and every stroke of
pastel, oil or pencil teaches me
something. I love drawing and think it is
a very important part of an artist?s
vocabulary.
?Moored was inspired by the wonderful
reflections of the boats in the still water
of Strahan Harbour in Tasmania. I drew
the subject with pastel pencil on black
MiTeintes paper, making sure it was
reasonably accurate. It doesn?t have to be
an exact representation ? it?s more about
the feel and atmosphere. I started with
the larger shapes, refining anything that
jumped out and leaving some of the
black paper showing through the water
and sky. You don?t need to cover the
whole surface! I painted the jetty using
negative shapes, allowing it to blend in
with the positive shapes. I worked
intuitively through the painting, making
changes as needed. I used soft and hard
pastels and because this paper is
smoother than a sanded surface, I
blended more than usual to get the soft
reflections, relying on the black of the
paper to give the impression of texture in
other parts of the painting.?
t
Gerry Jensen Moored, pastel, 4714? x3312? in.
(120x85cm)
70
JULY 2017
www.painters-online.co.uk
Patchings single page ad_Layout 1 06/04/2017 10:08 Page 1
PatchingsFestival 2017
ART, CRAFT & PHOTOGRAPHY
JULY 13 TO 16, 10AM TO 5PM DAILY
Supported by The Artist and Leisure Painter magazines
NEW
FOR 2017
Don?tmissthisopportunitytomeetover250
artists,photographers,craftmakersand
designersdemonstratingtheirskillsatoneof
theUK?sfinestcreativeevents,setin60acres
ofpicturesqueNottinghamshirecountryside
FREE DAILY DEMONSTRATIONS
The Artist andLeisure Painter marqueewillincludefree30-minute
demonstrationsfivetimesadaycoveringavarietyofsubjects,mediaand
techniques,presentedbyLeisure Painter contributorsFiona Peart
(Thursday to Saturday, July 13 to 15) and Tim Fisher (Sunday, July 16),
sponsored by Daler-Rowney. Manyotherfreedemonstrationswillbe
providedbyCaran D?Ache, Derwent, Pebeo, Premium Art Brands,
Search Press, UK Coloured Pencil Society andWinsor & Newton
MEET AND TALK TO OUR GUEST ARTISTS
ThuRsdAY, JulY 13 John Sprakes, Pollyana Pickering
FRidAY, JulY 14 Bruce Mulcahy, Colin Allbrook
sATuRdAY, JulY 15 David Curtis, Ann Blockley
suNdAY, JulY 16 David Allen, Peter Barker
TEST AND BUY ART MATERIALS
Try and purchase the latest art and craft materials from
top manufacturers including Canson, Caran d?Ache,
Daler-Rowney, Daniel Smith, Derwent, Hahnem黨le,
Pebeo, Pro Arte, Rosemary & Co, Royal Talens, St
Cuthberts Mill, Winsor & Newton and many more
FESTIVAL WATERCOLOUR DEMONSTRATIONS
Enjoy watercolour demonstrations sponsored by St Cuthberts Mill
ThuRsdAY, JulY 13 David Bellamy, Ann Blockley, Soraya French
FRidAY, JulY 14 Ann Blockley, Soraya French, David Bellamy
sATuRdAY, JulY 15 David Bellamy, Carne Griffiths, Ken Howard OBE, RA
suNdAY, JulY 16 Carne Griffiths, Robert Brindley
A limited number of tickets (�75) will be available for purchase for these
watercolour demonstrations with advanced tickets
Resident Festival Artists
BE
INSPIRED!
Angus McFadyne, silversmith;
Laura Boswell, printmaker;
Southern Stone, stonemasons;
Stephen Ashurst,
portrait painter; E+M Glass,
furnace glass-blowing
demonstrations
Come and enjoy viewing the
140 selected works in two
separate exhibitions from this
year?s The Artist and Leisure
Painter Open Art
Competition and view the
finalists in this year?s Art Club
of the Year competition,
sponsored
by Jackson?s
Enjoy a great day out!
BOOK YOUR TICKETS TODAY!
Ticketsareonsalenowatjust�Standard,
Concession �inadvancewithadditionalgroup
bookingdiscountsavailable.
Special Weekend Offer: enjoyatwo-dayticketfor
SaturdayandSundayforonly�whenpurchased
inadvance.
? FREE CAR PARKING ? COACHES WELCOME
? REFRESHMENTS AVAILABLE
Allticketsavailableonlinebyvisiting
www.patchingsartcentre.co.uk or
by telephone on 0115 9653 479
Nobookingfeeforonlineticketsales.Thestandardone-dayticketprice
onthedayis�.TicketpriceincludesVATandthefestivalguide.
Patchings Art Centre, Oxton Road Calverton, Nottingham. NG14
6NU Telephone 0115 9653 479 festival@patchingsartcentre.co.uk
COLOURS MADE IN SWITZERLAND
Neocolor II water-soluble wax pastels
For addional informaon and stockists please contact:
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ ? Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com
p72_lpjuly17.indd 1
Jakar_Create_Neocolor_A4_EN.indd 1
05/05/2017 11:00:08
06.03.17 12:18
h,
wet the eye and drop in a thin wash of French
ultramarine, avoiding the highlight areas and
the edges of the eyes.
2 Let this dry then do the same with a mix of
French ultramarine, lamp black and alizarin
crimson, being careful not to go too wide around
the eyes.
3 Once dry add a touch of the same colour but
watered down to the light areas to the sides of
the eyes.
4 With the No. 00 brush add a tiny second
highlight within each eye by using tiny circular
motions then, whilst wet, lift off the area with
a point of a piece of kitchen roll.
5 Let it dry again then add the details to the
bottom and top of the eye with a mix of raw
umber, burnt umber and burnt sienna. Use
a little white watercolour to add the highlight.
TIP Dab your brush once on a piece
of kitchen roll, just to take off
surplus paint.
t
Step 6
1 Now we need to put down a couple of
washes onto the face. Begin by mixing a very
weak wash of French ultramarine and lamp
black. Wet the face with clean water, avoiding
the eyes, and drop in the weak wash around
the edges of the face and around the bottom
of the eyes towards the beak.
2 Whilst still wet add a weak wash of raw
sienna to the sides of the beak, adding
a faint outline to the beak so you know
where things go at a later stage. Let it dry.
t
Step 7
1 Using the No. 00 brush, paint the
fine feathers within the face, using a
mix of French ultramarine and ivory
black. Add in a touch of raw sienna
around the eyes and beak. Keep a
constant check on the direction of the
feathers and the curves of the lines.
Some areas are darker than others so
add more detailed layers to these parts.
2 Use the same process with the
brown areas underneath the eyes with
a mix of raw sienna and burnt sienna.
3 Add the details around the heartshaped face with the same blue-grey
colour, adding a touch of raw sienna
to some of the outer edges.
4 Wet the beak with clean water and
add a light wash of raw sienna. Whilst
wet, paint the outline with the French
ultramarine and lamp black mix,
allowing the paint to blend towards
the centre of the beak. You may
need to strengthen this once dry.
52
JULY 2017
www.painters-online.co.uk
LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:32 Page 53
Watercolour
t
Step 8
1 Once this is dry change to the
No. 5 brush and very lightly give
the barn owl?s face a light wash
of clean water. This will soften
the details a little and help them
to look more natural.
2 Now begin on the outside of the
head. With the No. 5 brush, add
a light wash of raw umber and burnt
sienna to the brown areas then a
light wash of the same face colour
(blue-black) to the bottom right of
the face.
3 Once dry, make up a thicker mix
(creamy consistency) of raw sienna
and burnt sienna and another of
burnt sienna and burnt umber. Using
the No. 00 brush, carefully paint the
details, varying the colours from your
mixes as you go. Remember every
layer you paint will become darker
so add a few layers extra to the top
and sides of the head, adding the
smaller darker marks as you go.
4 Add the whiter areas using your
French ultramarine and lamp black
mix, but very watery, and add a
second layer of the same mix to
the right underside of the face.
5 Once all this is dry, strengthen
your mixes and using the No. 00
brush paint the fine detail lines,
ensuring these are not too straight.
t
Step 9
1 Drop opaque watercolour white into
your palette and add a tiny amount of
water, just enough to enable you to
paint a line without it breaking. Too
thin and the white will fade into the
background. Use the No. 00 brush and
add the fine white details all over the
face, keeping a check on the curves,
shapes and directions they go. Even
though you need to cover the face
in white, allow the under details to
show through; thicken the paint
a little in the lighter areas.
2 Add a thin line of white to the
centre of the beak then very lightly
blend the edges of this line to soften
it with a clean damp brush.
3 Next work on the neck areas, again
watching the direction you need to
go. Use a thinner mix of white for the
shaded areas. We will place a wash of
colour onto the body in the next issue
and complete the portrait of the owl.
Paul Hopkinson
www.painters-online.co.uk
t
Find out more about Paul,
his work and classes by visiting
www.devonartist.co.uk and
facebook.com/thedevonartist
paul or follow him on Twitter
at twitter.com/thedevonartist.
If you have any questions
about this article, please
email paul@devonartist.co.uk
Follow Paul as he completes this painting of the barn owl in next month?s issue
JULY 2017
53
LP02 Holiday Goudie_Layout 1 08/05/2017 14:31 Page 38
Reader holiday
Paint in Antibes and
the C魌e d?Azur
September
16 to 23,
2017
with Lachlan Goudie ROI
Antibes and the C魌e 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.
Lachlan Goudie?s
work has evolved from the Scottish
tradition of figurative painting, and
incorporates portraiture, still life and
landscape, with drama and colour
underpinning his work. He has won
numerous accolades including the
RSP prize at the Royal Glasgow
Institute of Fine Arts, the Norman
MacFarlane Prize at the Royal
Scottish Academy and the ROI Oil
Painters Award for young artists. He
regularly exhibits in major exhibitions
in London, Scotland and New York.
Lachlan is also a captivating
television presenter and art critic.
The painting programme
Travel and hotel arrangements
Each day will be spent painting on the Cap
d?Antibes using local buses for greater freedom
to access the many different painting locations.
There will be one day trip to Cap Ferrat to
sketch in the gardens of the Villas Ephrussi
de Rothschild, K閞ylos and fashionable
Beaulieu. Lachlan will encourage you to paint
every day and will assist students with an
organic approach to techniques. He is very
happy to show individuals how to resolve
problems and, where appropriate, he will do
a demonstration, although there will be no
group demonstrations. Lachlan will be
sketching and working in gouache and
watercolour, but all media are welcome. This
painting holiday is ideal for intermediate and
more experienced students. You may choose
to work alongside Lachlan or independently.
Flights are from London Gatwick to Nice.
Accommodation is in an intimate
13-bedroomed Proven鏰l Mas (former
farmhouse) with a secluded garden and
swimming pool.
It is conveniently located midway between
Antibes and Juan-Les-Pins. It is approximately
a ten-minute walk to Antibes old town and
the beaches. Dinners are included and will
be in a variety of local restaurants. An
accompanying travel escort will look after
you, taking care of all the arrangements
and assisting you with local transport.
l
l
l
l
Price per person �995
Single room supplement �0
Number of painters 10 to 12
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.
LP07 53-55 Jelbert_Layout 1 05/05/2017 15:46 Page 55
Watercolour
Loosen up!
Part 3 Follow Wendy Jelbert step-by-step as she completes her painting
of a farmyard using a variety of loose and lively painting techniques
The finished painting Farmyard Chickens, watercolour, 12x16in. (30.5x40.5cm)
n
n
How to produce loose and lively
watercolour marks
Follow step-by-step the painting
of a farmyard scene
n
Easy wet-in-wet technique
T
he frizzle chicken is a delightful
and unusual rare breed, made
up of fea
Документ
Категория
Журналы и газеты
Просмотров
11
Размер файла
16 930 Кб
Теги
journal, Leisure Painter
1/--страниц
Пожаловаться на содержимое документа