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22 Painting project
IN EVERY ISSUE 71 Books Part 2 Finish your portrait of a roe deer in
The latest practical art books watercolour, with Paul Hopkinson
7 Diary are reviewed
Things to do this month 27 A beginner’s guide to Brusho
73 Art clubs Part 1 Have fun experimenting with colours
8 Exhibitions News, highlights, exhibition and techniques, by Carrie McKenzie
Some of the best shows listings and ‘best in show’ gallery
around the country 30 Alice and Felix
78 Online gallery Linda Birch demonstrates how to bring your
Jane Stroud chooses an acrylic drawings of cats to life
painting from PaintersOnline
34 Girls of summer
Develop your oil-painting skills as you paint
figures on a sunny beach, with Elena Parashko
11 David Bellamy introduces your final sketchbook acrylic landscapes LEISURE PAINTER
challenge, in association with Jakar International n How to depict aerial
ON-SALE DATES
perspective in colour Issue On sale
33 Subscribe to Leisure Painter and save money and tone September 10 August
October 7 September
67 How to enter this year’s Art Club of the Year with n Tips & techniques for November 5 October
prizes sponsored by Jackson’s painting a rainy day
figure in Brusho
72 Special offers on Search Press practical art books t Chris Hughes Sunflowers,
n Try a coloured pencil watercolour, 12x15in. (30.5x38cm).
portrait in miniature Chris offers tips and techniques for
painting vibrant watercolours next
n AND LOTS MORE! month
50 Weather report
Part 4 How to capture the effects of bright summer sunshine in
acrylics, with Tim Fisher
58 Inspired by nature
Part 5 Michelle Campbell completes her series with exercises and
ideas on how to imitate texture in nature with watercolour
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26/06/2018 16:14:52
www.painters-online.co.uk
Diary
Open studios
n Nidd Art Trail
Nidd Art encompasses
artists, artisans,
photographers, workshops
galleries, shops and clubs,
THINGS TO DO THIS MONTH showing, demonstrating
and selling their work in
and around Nidderdale in
the Yorkshire Dales during
Teresa Boast Duality, acrylic on
t
August. This year the 2018
canvas, 391⁄2x391⁄2in. (100x100cm) from
EVENTS Nidd Art Trail takes place the Nidd Art Trail. The acrylic, painted
Hornsea Art Festival between 17 and 27 August, at How Stean Gorge in Nidderdale,
and the theme is ‘water’ in was commissioned by a client who
The first Hornsea Art wanted a specific part of the gorge,
Festival, from 23 July to 4 all its forms, from lakes and which was very difficult to access.
August, coincides with waterfalls to wading birds, Teresa explains: “I found myself
plants and flowers. Full dangling from a rope abseiling into
Hornsea Art Society’s annual the gorge, swimming through the
summer exhibition at the details, brochure with maps pools and battling my way up
Masonic Hall, Alexandra and participating artists can waterfalls to get to the spot. It’s called
be found at Duality, because it was so beautiful
Road, Hornsea, from 24 July and peaceful, yet I’d endured a great
t
Meet artist, Catherine until 4 August. The festival www.niddart.org.uk deal to get there!”
E Inglis, at the Hornsea nWorcestershire
comprises a series of
Art Festival, 23 July to Open Studios
4 August workshops, which are open
to all and cater for all levels Eighty-one venues across
of ability. Many of the tutors will be known to Leisure Worcestershire will be
Painter readers, including Catherine E Inglis (above), opening their doors for the
who will lead an animal workshop in soft pastels on 2018 Worcestershire Open
Monday 23 July, 10am to 4pm; and Paul Talbot- Studios, from 25 to 27
Greaves who will tutor a watercolour workshop for all August. Watch artists and
levels on 31 July, 10am to 4pm. To download the full craftspeople at work, talk to
programme go to www.hornseaartsociety.co.uk or them about their art and
Anna Cumming at work in her
t
to book a place on any of the workshops, email Kate purchase one-off pieces. studio, which will be open for the
Gendle at kategendle@gmail.com Visit www.worcestershire Worcestershire Open Studios event,
openstudios.org 25 to 27 August
IN THE FRAME
Hesketh Hubbard Art Society
The annual exhibition of work by members
of the Hesketh Hubbard Art Society is at the
Mall Galleries, London, from 14 to 19 August.
The society, which has been running weekly
life-drawing classes since 1930, is open to
both amateur and professional artists.
Membership costs £225 per year, for which
there are 48 two-hour drawing sessions.
Around 100 artists come together at the Mall
Galleries to draw from four models. Sessions
include quick 15-minute poses, 30-minute
poses, two hour-long poses and one two-hour
clothed portrait pose. Prospective members
are encouraged to attend a session for free
before deciding to apply for membership. To
coincide with the annual exhibition a
number of events have been organised
including The Body Beautiful? – a panel 15 August, 12.30 to 1.30pm. There will also be two life- John Govett
t
discussion looking at the ways in which drawing workshops on 24 and 25 August, 11am to 4pm. Tatiana, acrylic on
paper, 101⁄2x15in.
artists, sitters and commissioners challenge For full details about the exhibition, the society or to book (27x38cm)
conceptions of conventional beauty. The your place on any of the events, contact the Mall Galleries
discussion will take place in the galleries on at 020 7930 6844, or visit www.mallgalleries.org.uk
n National Gallery
Trafalgar Square WC2. 020 7747 2885;
www.nationalgallery.org.uk
‘Monet and Architecture’, until 29 July.
‘Thomas Cole: Eden to Empire’, until
7 October.
Wynne B Jones Great Central Nostalgia, oil on canvas, 23x27in. (58.5x69cm) n Royal Academy of Arts
t
Framing question the cutter you mention in your letter Other companies also make hinged
I have a problem cutting mounts and so I don’t know how it is set up. mount cutters but I have only
wondered if anyone can give However, make sure you are using the experienced the Logan. These
advice? Very occasionally I frame one recommended blades and also that the mountboard cutter sets come with a
of my pictures and find that my blade is sitting properly in its holder. If straight cutter, a 45-degree bevel cutter
local charity shop usually has a it is loose, it will move when you cut. I and a glass cutter. I cut all my mounts
selection of good-quality inexpensive know that sounds very obvious but it is and glass on my cutter and rarely have
frames. I discard the picture that easy to miss. Also, check that the blade a problem. I know I sound a little like a
comes with them and also the mount, is not protruding too far into the salesman for mount cutters, but believe
as it’s rarely the correct size to use. mountboard and digging into the me I just know how much it helped me
This means that I have to cut a cutting surface underneath. Try putting to purchase a more professional cutter.
new mount, which is where my a scrap piece of mountboard You will easily get your investment back
problems arise. underneath the one you are cutting. because once your art colleagues know
As I do this so rarely, I purchased a This gives the blade a softer surface to you cut mounts, you will be inundated
budget mount cutter. I mark the scrape against while it is cutting. with requests. I paid for mine in only a
dimensions on the back of the mount Another thought, because both your few months!
and position the plastic rule in the cutter and your ruler are plastic, there I do hope this has helped you. If you
correct place and then clip the cutter may be quite a bit of movement would like any more information please
holder into the groove on the rule between the two. I had a small hand contact me via my website and I will
with the blade inclined at the 45- cutter and ruler for a while but wasted help if I can.
degree setting. When I slide the a great deal of mountboard making bad
cutter holder along the rule to make cuts. I eventually upgraded to a mount A response from Dennis: After many
the cut I find that the blade is cutter where most things are metal and attempts using some of the cheaper
forced away from the cut line and I the ruler is attached to a base board mount cutters, I finally bit the bullet,
end up with a curved cut instead of a with hinges and can’t possibly slip. It followed your advice and bought a
straight one. I use a sharp blade on also has a squaring arm at 90 degrees cutter that is sturdy enough to do the
normal card mount (about 1.5mm to the board. This allows you to butt job. It isn’t a cheap alternative, but my
thick). Am I expecting too much for a your mountboard up against the advice to readers is: don’t bother with
budget mount cutter on this squaring arm so fixing it firmly in place. the cheap brands, you’ll only be
thickness of card or am I doing Not all mount cutters have squaring disappointed.
something wrong? arms, but they are really worth the extra As you say, Anne, once people know
Dennis Swainston pound or two. Some have base boards you have a decent piece of kit, they’ll
of 40in. and some are 60in. The bring you work and you can go a long
Anne Kerr advantage of the 60in. one is that you way towards recouping costs!
(www.annekerrartstudio.com) replies: can put a full sheet of mountcard onto
In answer to your question about the cutter in either orientation, so saving
cutting picture mounts, I have on wasted card. However, I have
experienced the same problem. You say managed with the smaller one for many
that when cutting the mount with your years, the wasted card always comes in
45-degree cutter, the blade is forced useful for something. All the cutting
away from the ruler and you end up parts are metal so there is no possibility
with a curved cut instead of a straight of movement while cutting. I have to
one. When this happened to me, it was say, it was the best investment I ever
almost without exception the fact that made. Send your letters to
the blade was blunt. Changing the These hinged mount cutter sets are not Leisure Painter, 63-65 High Street,
blade always solved the problem. I only exactly cheap but you can pick up a Tenterden, Kent TN30 6BD.
ever use each blade for cutting ten used one on eBay. They come up all the Alternatively, email the editor at
mounts, that would be approximately time. I saw one only this week for under leisurepainterletters@tapc.co.uk.
40 cuts. £100. The cutter I have is a Logan All letters published here win
If you find that changing the blade Simplex. There are several models of Jaxell soft pastels courtesy of
does not solve the problem, these other Logan cutters and you can see them in GreatArt (www.greatart.co.uk)
thoughts may help you. I have not used use if you look on YouTube.
as they are uploaded on PaintersOnline each month. to render strong tones and with varied pressure on the
pencil have brought more character into the detail lines. In
a painting I would move the little rivulet on the left of the
Please foreground boat to position it more centrally to act as a
upload your lead-in towards the castle.
final entry by
12 noon on
3 September TASK 6 The final task in this series involves
seeking out a grand building, perhaps a castle,
cathedral or stately home, or even a church or museum.
If you feel it is too complicated, move further away to
sketch it or find a simpler subject. You might wish to
try an interior study of an impressive building instead.
Remember that you may need to ask permission to
work inside or even within the grounds, and do take
The prizes care not to obstruct access.
A fine sketching pen or pen and wash works well for
Sponsored by Jakar International Ltd studies of buildings and it’s fine to cheat by blocking
off the nasty bits – where there is too much detail –
Each month we will send by bringing in a tree or a bush to obscure part of the
the winning artist a structure. This can relieve the monotony of too many
Caran d’Ache sketching pack hard lines in some subjects. Do several studies if you
can and include plenty of notes on your experience.
worth £50(rrp), comprising As usual I hope those of you who cannot get out
much will manage to involve yourselves with this
12 water-soluble coloured pencils competition somehow. If everything else fails, try to
and a book to illustrate bring back memories of imposing buildings, whether
a fortress or a railway station, and work a little
4 graphite pencils with sharpener imagination into the sketch.
I look forward to seeing your entries.
David Bellamy
HOW TO ENTER
Only online entries can be accepted. Only original work will be considered and informed later in the month.
sketches based on reference photographs must have been taken by the artist 4 You will be invited to send a high-resolution image of your winning entry to
or used with the permission of the photographer. Only one painting per artist Leisure Painter for publication in the magazine at the end of the year.
each month will be accepted. 5 All work entered will be featured on our website at www.painters-online.co.uk.
1 Online digital entries must be sent via our website at www.painters- 6 All entries must be original. Submission of entry in this competition automatically
online.co.uk. Click through the Current Painting Competition links to constitutes acceptance of all the competition rules and agreement to allow
Leisure Painter Sketchbook Competition. You must be registered and Leisure Painter to publish, republish and repurpose entries in print and digital
logged in to PaintersOnline before you can upload an image. formats, including but not limited to magazines, promotion materials, websites,
2 Upload your August entry by the closing date of 3 September at 12 noon. databases and as part of downloadable digital products.
3 Entries will be judged after 3 September and the winning entrant will be 7 The judges’ choice will be final. No correspondence will be entered into.
Oils
Plein-air practice
Part 2 Learn how to paint trees and mix greens before following a step-by-step
demonstration introducing oils to beginners, by Rodney Kingston
LEARNING OBJECTIVES
n Oil-painting techniques for
beginners
n Learn to paint in a looser,
freer style
n How to extract the essentials
from a landscape
Misty Spring Morning at the Thames, oil, 10x12in. (25.5x30.5cm) t Tooting Bec Common, oil, 8x14in. (20x35.5cm)
t
Trees
Trees are a brilliant source of
inspiration for artists. A tree on its
own in the middle of a field demands
attention and can be full of character.
Spend time sketching trees and decide
if they look happy, sad, proud, weary,
young or old. Perhaps visit the same
tree throughout the year to see how
the mood of a painting changes
during different seasons.
It is not only subject matter, but
also the variety of brushmarks,
harmony of shapes, contrast of tones
and convincing colours that make a
painting successful. Striving to ensure
all these elements work together at the
same time keeps me going back for
more even when I am tired, wet and
cold after a day of plein air painting –
and that’s during summer!
It is so important to dress
appropriately for the weather and
potential changes in weather. I wrote
about that last month and highlighted
the importance of wearing layers.
You’re likely to be even more exposed
to the elements and perhaps a long
way from shelter when in the middle
of a field so make sure you plan ahead
and be prepared. The last thing you
want is to ditch a painting halfway
through, because you’ve forgotten a
rain jacket or even hat and sun cream!
cadmium yellow – and a couple of a simple study, this may well help. LP
t Step 1
I like to experiment
with different surfaces
and haven’t settled on a
favourite yet. This demo is
on an aluminium board but
any regular surface, such as
stretched canvas or canvas
board, is perfectly suitable. t
Your reference photograph for the demonstration
I painted a thin wash of left
over oil paint to get rid of the white then
left the surface to dry. Look at the reference
photo and notice how the blue at the top
of the picture gradually becomes lighter at
the bottom. Mix your blues with a very small
amount of orange to dull the colour and
start painting the sky.
Step 2
t
t
Step 4 t
Step 5
Block in the general cloud shapes using a mid-tone cloud Add the highlights of the clouds using white. Be loose with the mark
colour of white, ultramarine blue and orange. Don’t worry making by holding the brush lightly and mimic the fluffiness of the
about copying the photo exactly; just enjoy brushing the clouds. Around the edges of the clouds allow the blue from the sky
paint around. to mix with some of the white on your brush and gently paint soft edges.
PLEIN-AIR STYLE
I produced Tree Study (right) in my studio from a photograph
from www.pixabay.com, but in the style of painting en plein air.
I limited myself to just over one hour and painted it in one
session, which helped with the spontaneity of the brushstrokes.
Before I started painting plein air I was unable to paint in a
loose style, but now I have that experience of painting at speed
outside from life I’m able to transfer the style to studio painting
when necessary. Have I mentioned how enjoyable it is –
and how much you learn by painting outside from life?
t
Tree Study, oil, 6x8in. (15x20cm)
Rodney Kingston
Find out more about Rodney and his work
by visiting www.rodneykingston.com
t
Reference photograph for Tree Study (right)
t
Reference photograph 1: orange poppies t
Reference photograph 2: a bright pink peony
Painting project
Part 1 Paula Henchell introduces photographs of poppies
and peonies to set the task for this month’s painting project
Choose your medium
LEARNING OBJECTIVES
n Think about your
composition from camera
to thumbnail sketch
S ummer really makes you want
to paint all the beautiful flowers
found in your garden or along the
hedgerows, anywhere where you see
nature at its best. I had in mind to paint
For this painting I chose to paint with oils,
but you could just as easily use the same
techniques and wood panel to paint with
acrylic. Watercolour and other painting
n Decide on the format
some really bright colourful flowers so media would be fine also, but you would
I was looking for gardens with large have to frame the result.
to be used flowerbeds. In this painting I decided to use a narrow
n Work with photographs to Gardeners are always flattered when portrait-style format – 9x3in. (23x7.5cm) –
produce the best composition they see you photographing their flowers, gessoed panel with a smooth surface
and consistent lighting especially when they know that you are (I buy these panels by Da Vinci ready
an artist. Just be careful not to tread on to paint in Canada, but there are similar
the flowerbeds in available in the UK). It is also 3⁄4in. thick
your enthusiasm to so there is no need for a frame and you
COLOURS USED get the right angle! can hang it straight on the wall for a much
One thing about more modern look. All you have to do is
I always recommend the best quality oils that you can afford. nature though; it paint the sides of the panel to match the
If you are beginning and use Student quality paints then seldom gives you painting. If you prefer, you could choose
buy the best quality you can. the best composition. a plain pine wood panel and use at least
l Titanium white l Quinacridone n Medium As an artist, you are three coats of gesso, sanding in between
l Phthalo blue rose An alkyd therefore encouraged each coat for a smooth surface. You may
l Naples yellow l Phthalo green medium, such to use artist’s licence also be able to buy a ready-made canvas
l Cadmium orange l Burnt sienna as Liquin, to and combine two that is similar to the above proportions
l Cadmium yellow l Dioxazine encourage the or more photos which is prepared and ready to paint on.
light purple paint to dry faster to make the ideal Format refers to the shape or size of the
composition. canvas or panel that you choose.
Value 2
Value 4
Value 6
Value 8
Thumbnail
t
sketches are
a useful aid
t
Here is a black-and-white tonal map of the reference photograph 2. to painting the
Working from black and white photographs will help you achieve good finished picture
tonal variation in your finished work.
Landscape or portrait shapes are the most thumbnails decide where your focal is usually where your focal point is.
usual formats, but then there are also point is going to be or what flower Contrast is what draws viewers to your
a wide variety of other shapes and sizes will take the prominent position in the painting so without it they just move on
to choose from. The panel I chose is a painting. I decided that the peony would to the next painting on view. When taking
somewhat unusual shape, but makes for be my focal point as there was just one your photographs the best time to take
a fantastic look if you have two or three flower and I could also add more detail them is either earlier in the morning or
of them hanging together. in it. As the peony is facing towards the later in the afternoon, as this is when
left-hand side it invites the viewer in and you see the best shadows and the most
Working with thumbnails leads the eye in an S-shape throughout contrast. I also decided that when painting
I wanted nice bright colourful flowers the painting. It is always important to this flower composition I would make the
for this painting so I chose the orange produce eye flow throughout the painting. lower part of the panel darker and have
poppies and pink peony you see in the Your best subjects I also spend a lot of more light in the top two thirds of the
photographs (above left). The best way time cropping my reference photos. When painting. I also thought that the orange
to make the most pleasing composition I am happy with the crop, I print them out poppies would look good in front of a
is through thumbnails of different then move the pictures around to see what cooler blue sky (complementary colours).
arrangements of the flowers. works best. You could also cut out Before I transfer my drawing on to
Odd numbers Having an odd number of individual flowers from the photographs a panel I need to paint the background.
flowers works best: five poppies, one bud and move them around. If you print the If you were doing two or three panels that
and one peony perhaps. Variety in the two photographs (above) and place them will hang together it would be best if you
painting is important and uneven numbers on a large piece of white paper, it is easier painted all of the backgrounds together.
of flowers, and using different shapes and to see what works and what doesn’t. Don’t forget to send your finished
sizes, are vital. Try also not to use the painting to dawn@tapc.co.uk for inclusion
same number of cool colours as warm Values and contrast on Leisure Painter’s painting project site
colours – pick one that will be dominant. One of the best ways to see where the on PaintersOnline. This gives everyone an
Consistent lighting The most important values of the painting are is to print a opportunity to see and comment on your
thing is to make sure the light is coming black-and-white photograph from your work. Next month I will show you how
from the same direction. Bear this in mind reference photo (above). We are dealing I painted the flowers in oils. LP
when you begin taking pictures of your with the two reference photos and from
favourite flowers. Just be aware of where my thumbnails I decided already that
the light is coming from and try to take I would keep the bottom part of the
them from the same direction. This is
easier if you are taking pictures from
painting a little darker so I subdued some
of the really bright highlights. I still had
Paula Henchell
Born in the UK and now living
the same area, like an herbaceous enough contrast to draw the viewer’s eye
in Canada, find out more about
border, that offers you a variety of as this flower is the focal point. Most
Paula and her work by visiting
flowers to choose from. paintings are in the mid-tone value but
www.paulahenchell.com
Focal point When drawing these they also need areas of contrast and this
Painting project
Part 2 How to produce a stunning sunset scene from a dull
photograph using just four well-chosen colours, with Stephen Coates
LEARNING OBJECTIVES warm tones of raw sienna, burnt sienna make the top of each rock white with
and a purple mix of ultramarine and light a sharp edge. I realised that I was going
n Practise watercolour techniques red. I used these three colours throughout to put quite a lot of paint, including
n How to paint a sunset, water the painting and practised a tried-and- some splattering, onto the beach area
and reflections tested method for creating realistic water. and that it was not possible to avoid the
This is the second stage of the painting rocks while doing this. You can lift paint
n How to work with a limited and, perhaps, the most challenging. off afterwards by gently scrubbing with
palette a wet brush and dabbing off with
How to plan the picture kitchen paper, but this is extremely time
t
The sun is created by wrapping a piece of kitchen
paper around something circular and using it to lift 1 Thoroughly soak the hake, making sure
off the paint. I used the top of an 8ml tube of paint. it is not dry in the middle. Gently wet the area
I made sure this was ready before I began to paint. of the sky, ensuring you have a nice even film
of water across it then pick up raw sienna.
Run the hake horizontally from side to side,
beginning at the horizon, working slowly
You will need upwards, keeping the touch light at all times.
n Surface n Brushes 2 Return to the palette without washing the
l Bockingford 140lb l Pro Arte Series 101 brush and pick up burnt sienna. Apply this
NOT watercolour Nos. 2, 5 & 8 in the same way as the raw sienna but begin
paper 15x11in. l Pro Arte Series 106 1⁄2in. at the top and work slowly downwards,
(38x28cm) flat brush stopping before you reach the horizon.
l Small Stephen Coates
n Cotman 3 Pick up purple and whip it horizontally
Foliater brush across the top a few times to make it smooth
l Pro Arte large hake
watercolour
l Ultramarine
then ease the brush down, lifting it away from
l Light red n Miscellaneous the paper a third of the way down the sky.
l Raw sienna l Winsor & Newton
l Burnt sienna masking fluid
l Tracing paper TIP Once the paper has been wet
l Small sponge and the raw sienna applied, the brush
should not be washed before picking
up the other colours. This will bring
too much water to the sky and
cause a flood.
Demonstration continued
t
Step 5 Distant land
Water down the purple and fill the No. 5 Round brush. Paint the distant
strip of land carefully beginning at one end and working across. Keep
filling the brush as you go along so it doesn’t dry out. More importantly,
keep going and don’t go back. Don’t be tempted to paint the top profile
first then fill in the rest. This will create a nasty watermark all the
way along the top edge.
t
Step 7 Trees
Once the land area is dry, use the Stephen Coates Foliater
brush loaded with purple to create the trees, finishing them
off along the top edge of the land with the No. 5 Round
brush. Position them directly above the reflections.
t
1 To replicate this painting, you will 3 Load the toothbrush with purple
need a comprehensive covering of and do the same again several times,
paint speckles on the beach area to allowing it to dry in between each
represent gravel, but obviously you coat. This prevents the speckles from
need to restrict this so it doesn’t go building up into wet blobs.
over the rest of the painting. Lay a 4 Once the covering is complete,
piece of tracing paper over the painting remove the tracing paper.
and mark out the lines of the beach. 5 Once this is completely dry, rub
Cut out the profile of the beach area off the masking fluid to expose
and put back the tracing paper so the white rocks.
this is the only part exposed.
2 Load a toothbrush with wet burnt
sienna and pull back on the bristles
with a small ruler to create a spray. TIP If you don’t have tracing
Allow this to land all over the paper, you can cover the parts
beach area then let it dry. you want to protect with strips
of card or paper instead.
t
Step 9 Paint the rocks
1 Use the No. 5 Round brush and paint each rock
individually. Wet each rock first with clear water then
drop purple in at the base allowing it to bleed upwards.
The idea is to make each rock look three-dimensional
with a white area at the top, which gradually becomes
darker towards the base.
2 Add dark rocks, followed by lots of dots here and
there, including some in the water.
3 Paint a soft reflection under the rocks in the water
and add shadows below each rock on the beach.
4 Complete the painting with a couple of soaring birds.
Stephen Coates
See more of Stephen’s work and find
details of courses, workshops and his new
brush by visiting www.coatesart.co.uk t
The finished painting Carsington Sunset, watercolour on Bockingford 140lb
NOT watercolour paper, 15x11in. (38x28cm)
Painting project
Part 3 Paint the nose and layers of hair before adding the final
brushstrokes to your portrait of a roe deer, by Paul Hopkinson
COLOURS USED
+ +
+ +
+ +
t
1 Continue with the rest of the
deer using the same method and
Mix 4. Ease off the mix when you
t
Step 1 Begin on the ears reach the bridge of the nose to keep this area
1 Having completed the eyes, let’s make a start a little lighter. Be careful not
on the first washes. Mix cadmium orange and to disturb the eyes you spent so long painting.
burnt sienna to a watery consistency (Mix 4) 2 Add a little scarlet lake to a duplicate of
then put burnt umber into your palette and add Mix 4 for under the chin and the top of
a small amount of water to make a watery mix. the back. Leave to dry.
Step 4 Adding
realism to the nose
t
BRUSH TIP
People ask how I paint so many lines; well, here is my little
secret. Most of us have a very old brush that we are about to
throw in the bin, but we just can’t convince ourselves to do this
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Step 5 Back to the ears with a much-loved but now useless tool. The brush you see in
1 Work with Mix 4 to a single cream consistency and start on the ear the photo here is an old synthetic one and all I have done is
details using the No. 00 brush. Again think about direction all the crush the metal ferrule to spread the bristles. I named this my
time and how dense the lines are in each area you are working in. ‘replicator brush’; I know, corny! This looks a bit rough, but
Keep the centre of the ear mostly clear with just the odd few lines it works a treat. There are similar brushes on the market but
going though. the beauty about making your own is the uniqueness of the
2 Do the same with the other ear. strokes each one makes.
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Demonstration continued
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Step 6 First layer of detail
1 Use your equivalent to my ‘replicator of the fur. Again this is very important to help
brush’ to add the first layer of detail to create the shapes we need for the body. Once
the entire body of the roe deer. If you don’t you have this and the top layer of detail on
have this brush carry on with your No. 00 you should have a feeling of roundness.
or No. 1 brush. 3 Once completed, lightly wash the layer
2 Keep a constant check on the direction down with a clean damp No. 5 brush.
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1 This is the part I love the most – adding
white watercolour or even white gouache
can make this painting come to life so let’s
get started. Add half a toothbrush worth of
opaque white into your palette and with this
being on a slight slope, add a small pool of
clean water just below the white paint.
2 Using your No. 00 brush drag a little water
up into the white and mix to a double cream
consistency. As a guide, if you can paint
a line without it breaking and it remains
nice and bright, this is just about right.
3 Start with the ears and check using the
photo how these lovely little white hairs float
over the ear. As usual check the direction of
the lines keeping them very thin as you go.
If you vary the consistency of the white paint
this will give you the option for some of the
lines to be a little transparent in places.
4 Use the white for the fine lines to the
lower edges of the ears.
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Step 11 Finishing touches
1 Work your way down the forehead adding
tiny white lines (not too many) within the
dark fan marks we spoke of earlier. Add
small lines to the light areas both above
and below the eyes. Adding just a little is
far better than adding too much. It’s easier
to add more, but much more difficult to
take paint off.
2 When you reach the bridge of the nose
again remember the clock face idea. The
middle of the white areas on the nose are
around 12 o’clock then fan out both sides.
Reduce the number of lines as you work
down towards the sides of the face.
3 Now let’s work on the mouth but
carefully looking at the gentle curve that
both the top and bottom lips have. Think
of these similar to a rope in the sense of
the way the lines curve around. Pull a few
lines out and over the darker area just
underneath the chin. Now you can see why
we didn’t do this earlier with the white.
You have now finished the painting!
Paul Hopkinson
Paul is a professional artist,
working from his home in
Devon. He runs classes and
produces video tutorials.
See www.patreon.com/
TheDevonArtist for details.
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The finished painting Roe Deer, watercolour on Bockingford 300gsm NOT watercolour paper,
12x8in. (30x21cm)
the name of the colour on top of the pots colour when activated with water day painting. LP
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Step 1
1 Draw the outline of an old gate and wall,
varying the shapes of the stones. Add bushes
and trees behind the wall and a path bordered
by foreground bushes in front of it. Just indicate
the foliage lightly as most of the drawing will
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Step 2 t
Step 3
disappear beneath the Brusho when we apply 1 Sprinkle yellow, ultramarine, terracotta Mix a dark colour with ultramarine and
it at a later stage. and brown in separate wells of your palette brown and use a small pointed brush to
2 Use a wax resist stick or a chunk of clear and mix with water – you want a very runny, indicate some of the mortar lines and
candle wax to skim a little clear wax over the pale consistency. Wash the colours randomly shapes between the stones. Use a damp
wall stones; this will resist the paint and add across the stone wall with a large brush, brush to blend and soften the lines into the
texture to them. There can be a tendency to letting them mingle and blend on the paper. stonework. You don’t need to paint round
overdo the wax as you can’t see where you’ve Keep it simple at this stage so it doesn’t every single stone – leave a few lost edges –
place it, so be sparing. You could also dash compete with the busy foliage later. and avoid the area where the foliage will
and dot wax amongst the foliage to preserve Also keep it paler behind the areas where grow in front of the wall altogether.
some white highlights. there will be foliage growing. Let it dry. Let it dry.
Step 4
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Step 5
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Step 9
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Carrie McKenzie
Find lots more exciting tips and
techniques, step-by-step demonstrations
and inspiring gallery paintings in Carrie’s
new book, The Art of Brusho. You can
also find more examples of her work
on: www.carriemckenzieart.co.uk
www.brusho.co.uk and www.facebook.com/
Carrie.McKenzie.Art
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Figure 1 Use simple shapes to help you construct a cat’s body. The body is a box with
a leg at each corner. The face full on is hexagonal. The cat makes a circle when sleeping.
I am writing this article, because I have
two cats. I have also had a career
around cats, as I have been a painter
and an illustrator for 35 years. Illustrators
are like actors; they get typecast. I was
known in the genre of children’s books
for my cats – usually alongside witches.
So in this article I want to look at ways
of drawing and painting cats – that is,
what to look for and ways of working
that bring out character as well as
observation.
First, please don’t paint cats if you
don’t like them; it will show. Secondly,
if you want to draw and paint cats,
watch and observe them closely. It
is this careful looking that will render
valuable information. Here are some
of the things to look for…
Figure 4 I captured Alice’s long fur with a controlled 2B pencil ‘scribble’ Figure 5 A photograph of Patrick was
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Ideas for sketching constantly so you need to begin component parts with a slight gap
When we first homed our rescue cat, another drawing then another. Sooner between them, joined back together
Felix, he was forever darting around or later your model will adopt a similar with a line. This works very successfully
and exploring his new surroundings. position to the first drawing and if drawing an outline is difficult.
It was difficult to catch him still long probably also the others, and this
enough for a drawing. He was also very way you will have recorded a number
lanky on account of his previous poor of sketches successfully. I created a cat without trying. It is all
care. I made this sketch as he stopped It is almost impossible to create about fitting shapes together. If you
for a few seconds (Figure 3, left). a finished painting from a sketch don’t have a black and white cat try the
Because he has short fur, I used a unless you also make a working following, it works well for any animal.
broken sinuous line to capture him, drawing, usually completed when On this illustration (Figure 6, above),
as he was just about to move off again. the cat is resting, in order to record taken from the photograph (Figure 5,
On the other hand, our other cat, details, such as eyes, nose and ears. top), I didn’t begin with an outline,
Alice has long fur and a very distinctive You can, however, take a few but drew the shapes of the component
shape. Her fur appears to fly as she photographs to remind you of details. parts, such as the head, neck, belly,
runs and spreads out as she sits. I used Remember, very few animals will pose hindquarters and the tail. I left a slight
a controlled ‘scribble’ to render her for you; that is not what they do! gap between the shapes then joined
thick coat here (Figure 4, above). everything up with an outline, although
Sum of parts normally I would rub out the initial
What to look for when sketching I once had a black and white cat, shapes afterwards. This method makes
Sketching is mainly about trying to sum and discovered that if I drew the black a much more accurate and realistic
up in a few lines some essence of the parts of her while she was sleeping,
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drawing.
Figure 7 This is George, a dishevelled character from a book. I used pen and ink and Figure 8 Here is a line and wash sketch
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inky fingerprints to portray his character. of Alice, imagined as a small dressed kitten.
Character forming
Without resorting to cartooning, try
giving your cat some character. When
illustrating I had a character, who was
a destructive reprobate of a witches’
cat, called George (Figure 7, above
left). He possessed the most atrocious
fur coat and was probably well
endowed with fleas. I used a dipping
pen and Indian ink together with
fingerprinted ink to add texture.
Based on the pose from the
photograph of Patrick at the top of
page 31, I changed the cat’s character
completely; he is now ‘George’.
Using watercolour and pen I created
another character, this time based on
Alice when she was younger (Figure
8, above).
Linda Birch
Find out more about Linda
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Figure 9 Felix in Snow, oil on board, 12x10in. (30.5x25.5cm). Here is another way to portray and her work by visiting
a cat, as part of a larger scene. This painting commemorates Felix’s first foray into snow. www.theartistlindabirch.co.uk
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Girls of summer
Ready for sea, sand and sun? Follow Elena Parashko
step by step and paint three figures on a summer beach
LEARNING OBJECTIVES
n How to paint three-dimensional
looking figures
n Techniques and colours for
painting sky, sea and sand
Demonstration
Girls of Summer t
Reference photograph for Girls of Summer
Step 1
t
t
Step 2 t
Step 3
Paint the sky with a mixture of 1 For the distant ocean, make a mixture brushstrokes to indicate the formation of waves.
French ultramarine and cerulean blue, of French ultramarine blue, viridian and 3 As the sky is reflected in the sea, add a bit of
lightened with titanium white. Add titanium white. Apply this with the chisel sky colour to this ocean colour and paint more
more titanium white to the mix closer edge of a small flat brush using short ripples over the whole ocean.
to the horizon. Start at the top of the horizontal strokes to create an illusion
canvas with sweeping horizontal strokes of waves and movement.
using a large flat brush, and work your 2 As you work down the canvas, add more TIP Remember the rules of
way down to the horizon. viridian to the mix and, in some places, perspective. Waves in the distance will
use viridian alone to create the translucent be flatter and closer together. Waves
effect on the face of waves. Make choppier that are closer to the viewer will be
choppier and spaced further apart.
Step 4
t
1 Paint the two lines of frothy breaking brush using a dabbing motion.
waves with a purple made by adding alizarin 3 Add more yellow ochre to this mix to paint
crimson to French ultramarine then the shallow water in between the two lines
lightened with titanium white and greyed of foam. Be careful not to add too much
off with a touch of yellow ochre. Make the yellow ochre to the purple mixture or
darker shade first then add more titanium you will make grey.
white to make a lighter shade. 4 Using a large flat brush, block in the darker
2 As the sun is overhead and slightly to the damp sand with a mixture of raw umber,
right, there are shadows visible on the yellow ochre, burnt sienna and titanium white.
underside and left side of the foam. Use the Add more titanium white to this mixture to
darker purple in these shadow areas and the paint the area of light dry sand. Smudge the
lighter purple in the opposite sunlit areas. line between the damp and dry sand to
Apply the two colours with a small filbert create a softer look.
t Step 5
Highlight the top and right side of the foam
with titanium white using a dabbing motion
to indicate its frothy nature. Smudge a line
of titanium white thinly underneath the lines
of foam for their reflection in the shallow
water and on
the damp sand.
Step 6
t
1 Using the
fine liner brush,
apply a dark cast
shadow under the
bottom edge of
the foam with
a mixture of the
previously made
dark purple and
burnt umber.
2 Add ripples to
the shallow water
using the purple foam colour that has
been lightened with more titanium white.
3 Paint a few lacy foam patterns with this colour
just above the top line of foam on the left side. This
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Demonstration continued
Step 7
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1 When the sand area is dry, add
horizontal streaks of light purple
foam colour to the damp sand to
indicate a glisten.
2 Create a shallow foam wash on
the right side below the lower line
of foam using the same colours
as already mixed.
3 Dab a frothy perimeter of foam, apply
a darker cast shadow below it then a
smudge of white reflection below that
shadow. Use horizontal strokes to streak
white across this area of wash, leaving
some sand showing through.
4 Create the uneven texture of the dry
sand by lightening the original sand
colour with more titanium white. Use a
small filbert brush to flick random smiley face flatter and smaller in the distance and
shapes all over the sand. Again remembering larger and spaced further apart in the
the rules of perspective, make these marks foreground.
t Step 8
1 Once the seascape is finished and dry, it is time to paint the main
subjects. On a piece of paper, use a graphite pencil to draw the girls
under the umbrella in the exact size you would like them in the
painting. Work on your drawing until you are completely happy
with it then position the drawing on the painting and secure it with
a piece of masking tape. Place a sheet of black transfer paper face
down under the drawing. Use a ballpoint pen to trace the outline
of the drawing. Remove the drawing and transfer paper. The image
of the girls and umbrella will be transferred onto the painting.
2 Block in the underpainting of the umbrella with a mixture of
viridian and sky colour for the sunlit top. Add burnt umber to this
mix for the underside of the umbrella in shadow. Paint the
pole with the light purple foam colour.
Step 9
t
t
Step 12
Complete the umbrella with highlights to
the upper surface by simply lightening the
underpainting colour with titanium white.
Highlight the trim and pole with titanium white.
Elena Parashko
Elena is the author of the empowering
book Survival Guide for Artists: How to
Thrive in the Creative Arts, available via
her website and Amazon. For more
information about her work, visit
www.elenaparashko.com or email
info@elenaparashko.com. Her blog
www.survivalguideforartists.com has
a wealth of information for artists.
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Your reference photograph: white agapanthus in the Alameda Gardens, Gibraltar, capturing the brightness and heat of the day
Sketch 1 t
Sketch 2
t
t Sketch 3
This is the sketch I used to produce the leading the viewer out of the picture frame I felt that the scene needed to be simplified
painting you will see in next month’s issue of and finally shifted the mauve flower head on even more so I emphasised the pathway
Leisure Painter. The positioning of the white the left inwards so it was closer to the group leading the eye into the picture from the
flower heads was a little too central to the of white flower heads. foreground to the mid-ground.
picture frame. I liked the
shape of the tree in the
distance and did not want
to eliminate it completely.
I cropped some of its
height so there was
proportionally less of the
background above the
flower heads, making them
the focal point. By adding
more length to the stems
the flower heads appeared
closer to the top third
section of the picture,
which created a better
balance.
I also removed the tree
trunk on the far right of
the scene as it was leaning
in the same direction as
the agapanthus stems and
had the appearance of
Julie King
Find out more
about Julie, her
work, workshops
and books, visit
www.juliehking.co.uk
Informal is key
Forget the Dutch Masters! Focus on enjoying yourself as you follow
John Mitchell’s advice and paint informal still lifes that inspire you
with cooking utensils in it. Fly free, use
your imagination and keep your eyes
open. Nothing is too humble; think of
Van Gogh’s boots.
Sketchbook studies
Start drawing in your sketchbook. You
have got one, haven’t you? If not, why
not? Yes, I know I have a thing about
them – but so should you! Just a few
quick sketches every day, using a variety
of subjects, if possible, will start you
on your way.
The great thing about still-life work is
that you are fully in control. You organise
the colour scheme, and control the
lighting, the composition and the subject
matter. In fact, you are the boss. Just
don’t be frightened to lose control a bit;
surprise yourself.
Your picture doesn’t have to be
complex. Look at the work of the painter
Giorgio Morandi (1890-1964), who spent
a lifetime painting the same few bottles,
constantly rearranging them. We can all
learn a lot from him about control.
Another artist to look out for is William
Scott (1913-1989), who used household
items to great effect.
Begin with a single object. Draw it from
different angles and with different
t
Razor Shells, watercolour, 512⁄ x7in. (14x18cm). As you can see in this shell study, I did not use lighting. This is a really good drawing test
any of my composition sketches (far right) as a basis for the final work. I decided to arrange them by the way. Add another object and the
in a row as if they were in a display case. To increase the impact I slightly exaggerated the colours. drawing will become a bit more
Watercolour was a good medium for this subject. Try to choose a medium that suits your topic. interesting – and difficult. Gradually build
up a complex group that really tests you.
Go on the hunt
whatever excites you. Sometimes
accidents can be exciting. Try different
arrangements. Experiment with different
lighting effects using a table lamp or work
against the light. Do you want to have
sure the shine was right; ensure there Let’s try something more exciting and your group at eye level or below? Is there
was polish in the apples. How boring! a bit different. Informal still-life groups, a dominant colour or subject theme?
When I was at art college we spent a that’s what we need. Next time you are Once you have set up your group,
day a week on still life; I bet they don’t out for a walk on a beach, collect shells, make a few quick sketches to familiarise
do that now. It was a good discipline, stones and other found objects; from a yourself with the subject. Now think
teaching us drawing, composition and wood, look for leaves and twigs. Let about what medium you want to use.
colour. I suppose our efforts were your imagination roam free. It doesn’t have to be oils, acrylics or
relatively formal using subjects you could You could begin by looking around the watercolour (ooh, difficult!). You could
well imagine: cloths, pots, bottles, fruit house where you will find informal still begin by using charcoal, coloured pencils
and sometimes fish. We always worked lifes everywhere: a half-open drawer in or oil pencils, and move on to slightly
in oils – these were pre-acrylic days and the kitchen, shoes on the floor of the trickier media later.
we never used watercolour or pastels. wardrobe, clothing on a hanger, cutlery Some media will almost choose
What a shame. or vegetables in a drawer, or a container themselves depending on the subject
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Floats, Ropes and Nets, felt-tip pen, 614⁄ x614⁄ in. (16x16cm). Here
is a small section from a larger photograph taken at a harbour to
show that you can select areas from larger images and use them.
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Watercolour basics
and beyond
Part 9: How to mix a variety of greens on your paper, with David Webb
LEARNING OBJECTIVES
n Build colour-mixing confidence
n How to mix colour on the paper
n Paint natural textures in
watercolour
warmer greens in the foreground and towards the misty hills. exceptions to this rule. LP
Demonstration
Ruins at Christchurch, Dorset You will need
n Surface n Brushes n Miscellaneous
BEFORE YOU BEGIN l Bockingford l One large Round l 3B-5B pencil
Prop your board up at an angle of 20 degrees to the horizontal. NOT 200lb l One small Round l Mixing palette
(425gsm) l One Rigger or swordliner with large
watercolour wells
n Watercolour
paper, 11x7½in. l Board
l Cobalt blue
(28x19cm), l Masking tape
Step 1 l Alizarin crimson
l Water
t
taped around
l Raw sienna
First draw the all four edges l Kitchen towel
outline as shown. l Indian yellow
to a board
l Burnt sienna
Step 2
t
1 In your mixing wells make separate
dilutions of all the five colours listed
above. Wet the surface of the paper
with your largest brush.
2 Dip your brush into the diluted
cobalt blue from your mixing well
and, while the paper is still wet,
brush it into the sky area.
3 Clean your brush then pick up
Indian yellow, brushing it into the
tree area.
4 Add blue to the tree area and blend
them together with your brush
to create the green.
5 Rinse out the brush then add
raw sienna to the stone wall.
Step 3
t
Step 4
t
t
For the shadows you’ll need a cool
purple. Add a little alizarin crimson
to the cobalt blue (in the well) and use
this to create the shadow leaf shapes.
Step 6
t
Carry this on down the left-hand
side, making the shadows denser.
Paint around the two posts.
t Step 7
Use the same purple to create the cooler patches on the
stonework. Add a little raw sienna to the mix to create
the shadow inside the arch and the corner of the wall.
Step 8
t
Add a few final darks to the leaf shadows, and some on the
posts. Use a Rigger or a sword liner to add details such as
twigs and branches, and the cracks in the stonework.
David Webb
Find out about David’s work, workshops
and demonstrations by visiting
www.davidwebbart.co.uk. t
The finished painting Ruins at Christchurch, Dorset, watercolour on
Bockingford NOT 200lb (425gsm) watercolour paper, 11x712⁄ in. (28x19cm)
t
edges, so that the two contrast with painted from a dry area of paper into a
one another. Just one soft edge within dampened area. It’s only a short step from the
an area of hard edges can create a big third stroke here to make this into something ….
impact on the eye, and vice versa.
Although one of the more
challenging techniques to master,
really it comes down to three things:
timing; dilution of paint; and getting to
know your paper. Soft edges obtained
when the paint is wet are more
attractive than when achieved by
lifting out from hard edges that have
dried. You’ll not be in total control,
especially at the beginning, but this
can be a good thing anyway.
Repeating small exercises is a good
way to come to grips with it so
I’ll show you a couple here.
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A Fluffy Gosling, watercolour, 812⁄ x612⁄ in. (22x16cm)
The rule is, until you lift the brush totally from the paper it
counts as one stroke. This is good brush control practice.
2 Start with the very tip of the brush at the beak then gradually
press it down flat as you stroke through the body, into the
damp area and lift off at the tail. Simple, but not easy! t
Once the soft-edged area is dry you can add legs.
wetted over the left side of the bird’s body of the damp area then going across the painting, but being larger and more
and into the background area by a few top and down the right-hand side. Notice complicated I divided the bird up into sections
centimetres. I then defined the shape of the the contrast in look between the resulting to work on the process of pre-dampening
bird negatively, by painting the dark soft and hard-edged areas. and painting gradually, a step at a time.
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Sparrow in the Dust, watercolour on Bockingford NOT 200lb paper, 1212⁄ x2012⁄ in. (32x52cm)
t
DEMONSTRATION 1
The timings and dilutions of paint for
these exercises will take practice to get
right, but once you’ve tried this, why
not apply the method to one of your
own compositions where the focus
could be changed or improved?
Step 1
t
Step 2 t
1 Next make sure you have a generous- on the paper. 3 With hardly any dampness in your
sized blob of paint ready (perhaps 2 Now, gently dampen with clean water painting brush, load it up evenly from
bean-sized), in a dry area of your palette. the whole area where your foreground tree your blob of tube paint. A synthetic
To paint a soft-edged yet controlled shape and bank is to be painted, including where Round brush with a good tip may work
we need to use a thick mix, in fact almost it overlaps the strip of background land. well for this. You want a lot of pigment
undiluted tube paint. Notice how it Using a large wash brush should make and very little water in your mix so it will
becomes slightly diluted by the dampness this quick and easy. be ‘stiff’. When the paper is damp, but
not too wet, paint the
tree and bank as swiftly
as possible. If you begin
and find the paint is
spreading too much,
pause for the paper
to dry slightly.
4 Once done as well as
possible put the brush
down. Don’t fiddle or
return to areas where
the paper is drying out!
If you haven’t got it all
done but the paper is
drying, stop and allow
it to dry completely.
Then re-wet the
remaining area before
resuming the process.
The result should look
as if the foreground is
out of focus, so the eye
is drawn further into the
scene to the hard-edged
windmill.
DEMONSTRATION 2
Step 1 t
If you feel able to, attempt this without
pre-drawing the scene in pencil. This
time we reverse the process somewhat.
1 Pre-dampen the whole general area
over the background land and windmill.
2 Next, fill your synthetic brush with
a fairly pale mix again, but without
very much water. Once you judge the
dampness of paper to be right, swiftly
paint the background area, again from
left to right. You won’t have time to
fiddle if it is all to dry out evenly
and soft-edged! Put the brush down
and allow to dry.
Step 2 t
1 This is more straightforward. Mix
enough paint then add your tree and
foreground bank onto dry paper. Ensure
your paint is a darker tone than the
background area, as this helps create
the sense of distance in the scene. TIP We can control Jem Bowden
2 Again, use virtually neat paint for where soft edges occur by Jem is a full-time painter and teacher of
the very darkest areas of your tree. pre-wetting areas of paper watercolour. He is available for art group
The resulting painting this time in a planned way, before demonstrations, private one-to-one tuition and
should have a subdued and out-of-focus painting into them. If we runs workshops and painting holidays around the
background, and the eye will be more paint from a dry area into UK. For details and examples of his paintings for
drawn to the foreground tree because a damp area (or vice versa) sale please visit www.jembowdenwatercolour.co.uk
of its hard edges and sharp focus by we will be combining hard Contact Jem at jembowdenwatercolour@gmail.com
comparison. Perhaps the background edges with soft. or telephone 0117 9711735
appears as if seen through haze?
Weather report
Part 4 This month we look at how to capture the effects of bright
summer sunshine when painting abroad, with Tim Fisher
opportunities for strong sunshine and Impasto effect
LEARNING OBJECTIVES shadows. It is rare in sunny weather to My first painting is of the Menorcan town
n Tips and techniques for painting find subtlety in any subject. Shapes and of Ciutadella (below left), somewhere
impasto colours are strong and clear unless there I visited regularly in the spring or the
is a heat haze, which can dramatically autumn. Many of its civil and religious
n Colours and colour mixing for alter a scene. buildings are constructed in the Italian
bright sunshine Acrylics are an ideal medium to use style, which gives it historical and artistic
n How to reinvent elements of a when travelling, and the robust pouches unity. I spotted this little scene on the
scene from a photograph of the Sennelier Abstract acrylics will way to the harbour, when the strong
withstand the most aggressive baggage sunlight and shadows particularly
handling systems. My Mijello Airtight attracted me. The subject was first drawn
Brushwork
For the second painting of Fondamenta
Ospedaleto (right) I sketched the subject
lightly with a refillable acrylic pen onto
cream-coloured mountcard, increasing
the width of the walkway and adding
figures out for an evening stroll. I love
the way that deep shadows are created
when the setting sun just catches the
tops of the buildings.
Venice is an artist’s dream to visit
t
Cuitadella de Menorca, Sennelier Abstract acrylic, 15x14in. (38x35.5cm). Colours used for both though fine weather isn’t always
this and Fondamenta Ospedaleto (right): titanium white, Mars black, yellow ochre, light violet, guaranteed. There is usually less
cadmium red light hue, primary yellow, purple, azure blue and cobalt blue hue precipitation when visiting earlier in
were busy harvesting grapes and queueing The only alteration I wanted to make acrylic paper, l Primary yellow l Azure blue
to have them processed at the local wine was to change the foreground of vines 13x16in. l Azure blue l Light violet
cooperative. Exploring nearby, I discovered into something more interesting, such (33x40.5cm) l White l Mars black
an old farmhouse nestling at the foot of the as lavender fields. These are normally l Yellow ochre, l Purple
hill with the village in the background. planted in rows and so there would be an
Unfortunately, from the best viewpoint, the element of perspective involved here.
property fronted onto the busy A50, which
made it impossible to stand comfortably
and paint and so a few photographs
had to suffice.
t Step 1
I started by creating an ink sketch of the
subject. To discover the vanishing point
on the right, I drew a horizontal line (or eye
line) approximately where my head would
be if I walked into the scene. The parked van
gave a good clue to my height if standing
beside it. Using a straight edge and lining
up with the eaves, I extended a line until it
touched the horizontal eye line. I then drew
several more lines from the chimney top
and the adjacent barn, which all converged
at the same point to confirm that this was
where the right-hand vanishing point was.
I then drew a series of radiating lines out
from this spot to represent the rows of
lavender. I added all these marks in ink
so that they remained visible as layers
of acrylic paint were added.
t
Reference photograph for this demonstration photo. To paint
this, I changed the foreground from vines to lavender fields
Step 2
t
Step 3
t
1 I tackled the farmhouse next. The light was hitting the building
at a slight angle, which would throw the front of the building into
partial shadow. To achieve this, I added light violet to yellow ochre,
being careful not to over-mix the two colours in the palette then
applied to the front of the building.
2 The sunlit side on the right was yellow ochre with a little white added.
3 The shadows were represented by a mix of azure blue and light violet.
4 For the sunlit rooftop I added yellow ochre mixed with white and
a little primary yellow.
5 For the parts of the roof in shadow I used a mix of primary
yellow and cadmium red.
Step 6 t
1 To finish the painting I added the thin lines the gaps I added a mix of yellow ochre
of lavender using a No. 8 Round brush and light and white. Tim Fisher
violet. I thickened the rows by adding shadow 2 To complete the painting I introduced Read about Tim and find out more
to the left side, using purple then added a little a shadow from the right, using a mix of about his work, classes, books and
more detail in the foreground with alternating purple and black, making sure the shadow more, visit www.timfisherartist.co.uk
strokes of purple and light violet. Into some of followed the form of the lavender rows.
t
Farmhouse, La Cadiere d’Azur, Sennelier Abstract Acrylic on Canson Figureas 290gsm oil and acrylic paper, 13x16in. (33x40.5cm)
t
The reference photograph for this demonstration: Sherborne Castle in Dorset
Flats
Again these brushes generally come in
Nos. 0 to 24 and were introduced to the
market in the time of the Impressionists,
which helped to revolutionise mark
making with paint. They are very good
for painting large areas and, when loaded
with paint by being pulled through the
paint on both sides, gives a good sharp
edge suitable for linear mark making.
Brights
These are much the same as flat brushes
except that the bristles are shorter, making
them less springy in use. Brights are good
to use for painting anything of a square
nature like buildings, windows and doors.
t
The finished painting Sherborne Castle, Dorset, water-mixable oil on stretched cotton canvas,
24x36in. (61x91.5cm)
Fan blenders
These brushes are primarily for blending Sable or synthetic watercolour type Riggers
colours together on the canvas, however Watercolour-type brushes are used for Riggers are available in a few sizes,
I also use them for painting certain more detailed work, especially where the usually Nos. 0, 1, 2, 3 and 4. They
effects. I often use fan blenders for paint is thinned for the purpose. Sable differ from normal watercolour brushes
painting rough meadowland, grassland brushes are, of course, the best quality, in that their hairs are longer. Named for
and even highlighting trees. Cheaper however I achieve perfectly good results the fact that they were first used for
brushes have a thin line of bristles from synthetic brushes. They are ideal for literally painting the rigging of ships,
whereas some of the more expensive uses, such as dotting in individual leaves they are ideally suited for painting
brushes have a thicker head, available in around the edges of trees, or adding anything of a linear nature, both
both hog bristle and synthetic options. flowers to a field. straight and curved. LP
Step 2
t
Demonstration continued
TIPS
l There is no right or wrong brush to use or
method of using it. If it works for you then
that is all you need.
l Play with all of your brushes and see the
different ways that you can transfer paint
from the brush to the painting.
l Don’t throw your old and worn brushes away;
they can become your special-effect brushes.
l Try using the corner of a hog bristle fan
blender for adding highlights to your trees.
l Practise with your Rigger, and see what happens
when you increase and decrease the pressure on
the brush. A great way to learn is to paint winter
trees and master your signature.
l It is best to mix your colours and occasionally
scrape up the colour with a palette knife, as
using a brush will spread the paint further,
making it difficult to load the brush with
any quantity of paint.
t
Step 3
1 All of the greens in the trees, bushes and lawn to the right
of the castle are created with mixes made from cobalt blue,
cadmium yellow, yellow ochre and raw umber – some lightened
with touches of titanium white.
2 Paint the building with varying mixes of Titanium white,
raw umber and yellow ochre.
3 Burnt sienna added to small amounts of the basic mix give
the red of the tiled roofs.
4 Raw umber is great for ‘dirtying’ colours as in the castle walls
and indeed the sky blue.
5 The base colour for the lawn is cobalt blue, cadmium yellow
pale with raw umber.
Step 4
t
t
Step 5 2 Once you have blocked in your base
t
Step 6
1 Add the water using the same colours as you colours, begin to put in the reflections, Working from back to front paint the
used for the trees: cobalt blue, cadmium yellow which should be painted in vertical strokes. copper beech leaves with a mix of alizarin
pale, raw umber and titanium white. First, lay 3 Paint the reflection of the castle using the crimson, raw umber and the tiniest touch
in the base colours using horizontal strokes; same colours as the castle itself, just going of titanium white and, using the same
start with the mid-tones. As you work, blend a shade lighter than the castle itself. base green mixes, paint the left-hand
in darker and lighter tones of the same base 4 Once all of the reflections are painted, turn tree, working from dark through to
colours. The advantage of working with water- to the movement lines and broken reflections in the highlights.
mixable oils (or any oils) is that you can mix the water. These are added with a Rigger and the
colour on the canvas. colour thinned slightly with painting medium.
Murray Ince
Murray specialises in landscape and seascape painting
in water-mixable oils, although he also works in other
media. He leads sketching and painting holidays privately
in France and for HF Holidays in the UK and Italy. He
demonstrates to art groups, runs workshops and provides
one-to-one tuition. His book, Landscape Painting in Artisan
Water-Mixable Oils, is available through his website,
Amazon and on e-bay. Visit www.murrayince.com or
murraysart.blogspot.com; e-mail hello@murrayince.com
t
Much of the detailing in the trees was achieved by
applying the highlight colours of the paint with the corner
of a hog bristle fan blender. With a little practice this can
be a most effective method of application, although
not necessarily suitable for all tree species.
Step 7
1 In the final stage add the dark reeds against the water in
a very dark green dulled with, here it is again, raw umber.
Then add ones in front that are catching the light only this
time use varying shades of green consisting of Prussian blue
and cadmium yellow pale with a touch of titanium white.
2 Paint the dead leaves using three shades of warm browns
made from burnt umber, raw sienna and titanium white.
3 The lawn is various shades of lighter, yellower greens using
the cobalt blue base green, while the shadows on the lawn
are of greens using ultramarine blue in place of cobalt. t
The detail of the lawn shows how using the centre of the fan blender can
4 Finally paint the leaves on the lawn, lighter ones on create the natural-looking texturing of shorter grass. The trick with this is to
the sunlit areas and darker ones on the areas of shadow. start at the furthest away edge and work toward the bottom of the canvas,
5 The final addition is the duck as I felt it needed working in lines across the canvas varying the colours slightly as you work.
something on the water. The duck is painted using This will keep it looking natural. The shadow colour is then overlaid using
the same palette of colours. much the same method with the final addition of some dead leaves.
t
The finished painting Sherborne Castle, Dorset, water-mixable oil on stretched cotton canvas, 24x36in. (61x91.5cm)
Inspired by nature
Part 5 Texture and life. Michelle Campbell completes her series
with a look at the marks you can make to imitate texture in nature
so much more freedom to work with. various textures in art and to understand
LEARNING OBJECTIVES I will be giving you a few exercises to how they can be used in your paintings.
n How to be creative with paint work on, which will allow you to achieve I started the exercises by using a large
and different tools a whole host of different textures. sheet of watercolour paper and with my
Texture An element of art that refers to ruler and pencil, drew eight squares.
n Mark making for different the way an object feels to the touch or You can either work with the squares
natural textures and effects looks as it may feel. or simply work free-hand. LP
Three-dimensional texture refers to the
t
Step 1 Wet on dry t
Step 2 Wet on wet
Dip an old toothbrush in water then in your chosen pigment. With a large brush, wet your paper completely then dip your brush
Using your fingers, rub along the bristles approximately 8in. away into your chosen pigment. Hold your brush about 8in. away and
from the paper. Depending on how much water and pigment you either tap your brush to make a splattering motion or do it free-hand
apply to the brush, you can create small or large splatters. Try this out to splatter on the wet paper. Try this again with a different colour
on a separate piece of paper first, as the splatters are very random. and see how the colours merge; this gives a marbled effect.
t
Waterford watercolour paper, 2212⁄ x1434⁄ in.
(57x37.5cm). Here I use a wet-on-dry method,
with a layering graded wash, dry-brush and the
splattering techniques. I used an ink pen to give
the illustration more of a hand-drawn feel.
t
Detail from A Bird’s Life showing some
of the marks made for painting the picture
EXERCISE 2 Sponge
A natural sponge is good
for dabbing on background
areas, such as leaves and
fauna, and scrunched-up
paper towels to give
a textured effect.
t
EXERCISE 3 Scratching t
EXERCISE 5 Dry brush
Choose a colour and paint a shape; I chose Brushes come in all sizes and are a great tool
a square to work with. Paint the shape for making lots of patterns, including textures
with your brush and pigment, leave until it that require no effort. Dip a No. 4 brush into a
is almost dry and, by using the end of your slightly damp pigment and, holding it upright,
brush, scratch out shapes, pressing firmly apply your brush to the watercolour paper.
onto the paper. You can also use any Represent lines by using an up-and-down
object for this method, such as a blade, motion and applying the brush lightly on the
the end of a pen or something similar. You paper. Use the same method again, this time
will see the pigment is lifted by the object using just the tip of the brush so the pattern
and a translucent line will appear where represents smaller lines. Practise this method
you have scratched, showing a shape. until you make lots of patterns.
EXERCISE 6 Plastic
Use various plastics for this exercise, such as crisp packets or
a plastic bag. The harder you press with the plastic, the more
translucent the pattern will be. Apply a wash of colour, leave until
semi-dry then apply a scrunched piece of plastic using a dabbing
motion, the same as you did for the paper towel method.
EXERCISE 7 Fan brush
Fan brushes are great tools; they require least effort for painting
grass or patterns. We are using the wet-on-dry method for this
exercise. Dip your brush into water then pigment. Holding it
upright, apply your brush to the watercolour paper, using an up
and down motion, representing lines, apply the brush hard and
light on the paper. Repeat this method, this time make your
own patterns, you can use the tip of the fan brush, applying
horizontal or diagonal lines. Again, practise this method.
EXERCISE 8 Splattering
t
Step 1
t
1 Firstly, I cleaned the
polymin with washing-
up liquid to remove
any greasy marks.
2 I used two photographs
as source material and
drew a rough sketch,
which gave me an idea of
how the portrait would
fit in the oval frame.
Step 2
t
t
Step 3
The portrait was then placed on the light box and traced onto the
polymin with a very thin mixture of French ultramarine and burnt
sienna. I then applied a light wash of the base colours to the whole
surface.
Step 4
t
t
Step 5
I used a pointillist technique and continued to build up the colours
on the face, adding a little ultramarine in the shadow areas but
being careful not to loose the brilliant orange reflection on the chin
and ears. I painted a wash of lemon yellow mixed with cobalt blue
on the trees behind the head and a wash of lemon yellow over the
t
Step 6
water and life jacket. With Winsor orange I started to fill in the With sap green I painted the background trees adding ultramarine
colour of the life-jacket and used light red darkened with burnt and burnt sienna in the shadow areas. I used a darker mixture of the
sienna on the back of the seat. same three colours in the shadowed area of the river. At each stage
I added more colour to the face and the hair. I finished the eyes,
making sure I kept the highlights unpainted.
Step 8
t
t
Step 7
Rosemary Bentley
Rosemary is an award-winning member of the Royal
A mixture of French ultramarine and a little burnt sienna was used for the Miniature Society (www.royal-miniature-society.org.uk).
sleeves and I continued to build up the colour on the life jacket, carefully See her work at the annual exhibition from 28 November
adding a line of ivory black for the piping. A little French ultramarine was to 9 December at the Mall Galleries, London.
added to the shadows in the hair and the nostrils were darkened.
LEARNING OBJECTIVES
n Tips and techniques to start you
painting small
H ow much time and effort do you
invest in a single painting? How
often do you paint? When I was
new to painting I thought I was doing
well if I made three or four a month, but
improve your skills much faster by
painting small and often?
In her excellent book, Daily Painting,
artist Carol Marine is one of many painters
who believe: ‘Painting small and often
n Ideas to help you paint from life did you know that you can dramatically makes you more creative and productive’.
There are plenty of artists out there
painting and exhibiting small works at
an almost daily rate. Artists such as Duane
Keiser, the father of the Daily Painting
movement and Julian Merrow Smith with
his Postcards from Provence, are just two
of my favourites.
Steve Strode
Find out more about Steve and his work
by visiting www.stevestrode.com. If you
have any questions about this article,
t
Sorrento, watercolour on paper, 8x8in. (20x20cm). A small set of watercolours that sat in my please email him through his website.
palm, water and the paper on my lap saw me go unnoticed and undisturbed sitting in the shade.
FIRST PRIZE
£500 worth of Jackson’s art
materials vouchers, £100 towards
the cost of a workshop or Jan Brown Cilgerran Oaks,
t
TWO RUNNERS UP
£250 worth of Jackson’s art
materials vouchers for each club
HOW TO ENTER
The competition is open to art clubs across the registering. Then upload your digital entries via responsibility can be accepted for loss or damage
UK. Only online entries can be accepted. Only the link on the Competitions page. Payment will in transit, incoming or outgoing, whilst on the
original work will be considered and paintings be added automatically to your basket; please competition premises or during the exhibition.
based on reference photographs must have been remember to pay before you leave the website. Originals selected and submitted for final
taken by the artist or used with the permission of 4 Upload your entries with the non-refundable exhibition must be fully insured by the artists.
the photographer. Photography, except where entry fee of £20 by the closing date of 8 8 Original works must be left with the organisers
incorporated into collage, is not acceptable. September, 2018. throughout the exhibition.
1 The non-refundable entry fee of £20 covers the 5 Entries will be judged after 9 September when 9 All entries must be original. Submission of entry
FIVE entries per art club of two-dimensional work selected work will be called for exhibition. All in this competition automatically constitutes
in any media. work must be framed (canvases excepted) ready acceptance of all the competition rules and
2 No entry should be larger than 120x150cm WHEN for exhibition from 13 October to 11 November at agreement to allow The Artist and/or Leisure
FRAMED (canvases do not need to be framed). Patchings Art Centre, Nottinghamshire. Painter to publish, republish and repurpose
3 To enter, first register your club at www.painters- 6 Successful art clubs will be notified during the entries in print and digital formats, including but
online.co.uk via ‘login/register’ and add your club week of 16 September about delivering their work not limited to magazines, promotion materials,
profile to the biography area of the club account. between 1 and 8 October to Patchings Art Centre. websites, databases and as part of downloadable
Please include a name of your main contact when 7 All care will be taken with entries but no digital products.
ovely ainting oliday dventure 27-30 Oct Flowers and Seedheads in Watercolour
and Additional Media
Picture by David Webb
DEA L S 5pm, light lunch and delicious dinner plus bed and
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Residen�al and non-residen�al courses. artists. Artaquarius is based at South Banks House – a 17th
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Audrey Haddon Scott runs short break (three-day) painting
holidays in all media and catering for all levels. The courses are
Full details on web: www.hoganart.co.uk tutored by Muriel Blair, a painter and art teacher from North
Email: admin@hoganart.co.uk Ayrshire, and the house provides elegant and comfortable
Tel: 01208 895088 Mobile: 07888 852503 accommodation for up to eight people in three double/twin
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In such a location, the emphasis is on landscapes and
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indoor work in the purpose built studio in the garden, which
PAINT WITH FREEDOM provides a haven when the weather is inclement. Students are
at La Liberté encouraged to work in whatever medium they choose; they are
with
welcome to take along their own materials, although these can
Linda H. Matthews
be provided, particularly the larger equipment such as easels and
Painting Holidays at boards. Audrey prides herself on creating an atmosphere that is:
Linda’s home in France
Professional Individual “friendly, informal, fun, relaxing and informative”, and when you
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Private groups welcome home-cooked meals and home baking. Non-painting partners are
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LP_HalfPage_August1.indd 1 26/06/2018 15:45:06
70 AUGUST 2018 www.painters-online.co.uk
Books
WHAT TO READ THIS MONTH
Botanical
painting
Botanical Painting
by Margaret
Stevens brings
Visit www.painters-online.co.uk/store and click together the work
on the link to books to buy the latest practical of some of the
art books available from LP’s online bookshop Society of
Botanical Artist’s
most accomplished
members to teach
All about the art of painting
acrylics flowers to a new
Based in Canada, author, audience. Clear
painter and educator, and beautifully
Rhéni Tauchid, is an illustrated step-by-
expert in the history and step demonstrations allow you to follow each artist’s
development of acrylic methods and techniques, and plenty of artist tip boxes
paint. Here she describes help to avoid any problems you may encounter along the
everything you need to way. Interestingly, in addition to information on
know about acrylic traditional methods, Margaret includes new options, such
mediums and methods – as working on vellum, and using coloured pencils, egg
from thinning and tempera and metal point. The book is inspiring,
glazing to texturing and informative and beautifully presented.
thickening. More than Botanical Painting by Margaret Stevens. Batsford, (h/b), £25.
20 step-by-step
demonstrations are
included, showing how other artists use the medium to striking
effect. There’s no “single way to explore acrylic mediums,”
writes Rhéni, but through experimentation and giving yourself John Blockley
the freedom to explore, “your paintings will gain depth, In this new book on the art of John Blockley, his daughter Ann
dimension, and individuality”. This book offers a contemporary has produced a record of her father’s legacy to the art world. Her
and comprehensive reference guide for anyone interested in aim was to “allow the work to speak for itself: to let viewers,
painting with acrylics and in taking their work to new levels. both old and new, draw their own conclusions”.
Acrylic Painting Mediums and Methods by Rhéni Tauchid. Monacelli Press, John Blockley: A
(h/b), £32. Retrospective includes
many paintings and
drawings that have not
been seen or exhibited
Figures on before – most of them
the iPad hidden in a plan chest
Explore the creative in Ann’s studio where
potential of your iPad they had been stored
with Julian Vilarrubi’s new since his death in
guide to Life Drawing on 2001. The book tells
the iPad. Julian introduces the story of her father,
the basics you will need from his birth in 1921,
to get started, including through his paintings,
information on which with chapters
apps are available and dedicated to media –
how to start making watercolour, pastel, acrylic and mixed media and drawing –
images quickly and easily. Learn how to build up layers, before moving on to elements within his paintings, such as
select brushes, work with and store colours, and buildings, figures, and boats. The book finishes with a section
measure figures accurately. There’s plenty of good devoted to his later landscapes from 1995 until his death.
advice here for artists wanting to draw the human body Throughout, Ann offers a perceptive narrative of her father’s
in conventional ways, but Julian makes a good case for painting style and methods that will highlight the enormous
experimenting with modern technology. contribution he made to the development of painting in the late
Life Drawing on the iPad by Julian Vilarrubi. Crowood, 20th century.
(p/b), £16.99. John Blockley: A Retrospective compiled by Ann Blockley.
Batsford, (h/b), £25.
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Offers available to UK READERS ONLY
closing date 25th October 2018
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
CLUB EXHIBITIONS
n The Attic Art Club
Exhibition at The Village Hall, 18 Lewes
Road, Ditchling BN6 8TT on Friday 24
August, 12 noon to 6pm; then 25 to 27
August, 10am to 5pm.
n Battle and District Arts Group
EXHIBITIONS AND ACTIVITIES Annual exhibition at the Battle Memorial
Hall, 81 High Street, East Sussex TN33 0AQ
from 1 to 11 August, 10am to 5pm daily;
closing at 4pm on final day.
Highlights n Bembridge Art Society
Artlink Guildford Arts Summer exhibition at Bembridge Village
The Summer Artlink exhibition will The Guildford Arts summer Hall, High Street, Bembridge from 5 to 11
be on show at Ibsley Hall, Ibsley, exhibition, including paintings, prints, August, 9.30am to 5pm daily.
Hampshire BN24 3NL from 23 to 27 sculpture, ceramics and glass, can be n Bexley Art Group
August, 10am to 5pm daily. seen at Yvonne Arnaud Art Theatre, Annual exhibition at the Freemantle Hall,
Enquiries to lmr@gmail.com Millbrook, Guildford GU1 3UX until Bexley High Street, Kent DA5 1AA from 30
19 July. On Saturdays there is an July to 11 August. Open daily, 10am to
Artlook 6pm; from 10am until 4pm on Sundays
Artlook, a group of 11 artists based in opportunity to meet the artists. Open and until 8pm on Wednesdays. Enquiries to
Hampshire and Wiltshire, will be Monday to Saturday, 10am to 5pm. Marilyn Noad on 01322 430681.
holding two exhibitions this summer Visit www.yvonne-arnaud.co.uk
Blandford Art Society
– the first at Sir Harold Hillier Newton Poppleford Open exhibition at the Corn Exchange,
Gardens, near Romsey SO51 0QA from Art Society Blandford, Dorset from 13 to 28 August.
24 July to 7 August, and the second as The society is holding its 22nd annual Visit www.blandfordartsociety.weebly.com
part of Hampshire Open Studios at exhibition of members’ work at n Boughton Art Group
the Wallops Parish Hall (on the A343) Kennaway House, Coburg Road, Exhibition at Edwinstowe Craft Centre
SO20 8EG, from 18 to 20 August. Sidmouth, Devon EX10 8NG, from Atrium on Saturday 18 August, 10am to
For more information visit www.artlook.org 21 to 29 July. The exhibition is open 5pm and Sunday 19 August, 10am to 4pm.
Association of Marine Artists daily, 10am to 5pm; closing at 4pm n Caister Art Group
The Association of Marine Artists in on final day. There will be a chance to Annual one-day exhibition at Caister Holy
Ireland will be holding its annual win Rob Walker’s lovely painting, Blue Trinity Church, Norwich Road, Caister-on-
open-air art exhibitions on the East Tit, (below) by casting your vote for Sea on Bank Holiday Monday 27 August,
Pier, Dun Laoghaire Harbour, Dublin the society’s next logo. 10am to 3pm.
Bay on 14 and 15 July, 4 to 6 August
and 1 and 2 September. If you
would like to find out more, go to
www.dlharbour.ie
Bridgnorth & District
Arts Society
Members of the Bridgnorth & District
Arts Society (BDAS) will be showing
their work at St. Leonard’s Church,
St. Leonard’s Close, just off the High
Street in Bridgnorth, from 17 August
until 2 September. This will be the
group’s 33rd exhibition, and offers
visitors the opportunity to purchase
original works at sensible prices. The
society holds weekly painting sessions
and monthly art demonstrations as
well as regular workshops and visits
to art galleries and exhibitions. New
members are always welcome.
For more information go to the society’s
Facebook page at BridgnorthArtsSociety
Malcolm Bradley
Closed Gate, watercolour,
t
Friday Workshop Art Group
133⁄4x9in. (34x23cm). Terry Cunningham Heroes, acrylic, 16x20in.
The Wall Heath Art Club (40.5x51cm). The Friday Workshop Art Group
started approximately 12 comprises around 20 painters who meet in the
years ago and now has a Emsworth Community Centre on Friday mornings.
membership of 34 Members take along their own work – in all styles
painters of various ages and media. There is no formal tuition, but plenty
and abilities. The group of encouragement and constructive criticism. For
meets at 10am on Tuesday more information visit
mornings, with breaks for www.emsworthcommunitycentre.org.uk
summer holidays and
Christmas. As well as
painting sessions, there are Wrabness Art Club
t
Sutton Coldfield
t
Society of Artists
Keith Ripley
Painting Day,
watercolour 20x25in.
(51x64cm). The Sutton
Coldfield Society of
Artists holds two
exhibitions a year, with
monthly professional
demonstrations and
regular meetings,
where members paint
together. The group
also arranges en plein
air painting sessions in
the summer months at
a variety of venues.
New members are
always welcome. For
more information visit
www.suttoncoldfieldso
cietyofartists.co.uk
M
version of Starry Night
The online home of Leisure Painter by Van Gogh with
GQ Design Studio
Here are links to some of the
best practical art videos online,
M
recommended by our website
editor, Dawn Farley
Visit https://painte.rs/2JPcgT2
M
Moonlight
M
watercolour demo
This month: how to paint night skies with Maria Raczynska
M
M
M
Paint a night full of stars
M M
Paint the moon and a blue M
How to paint a night sky
with Tetiana Ntomnits tree by Candy Brush on black with Yovette
artist
www.painters-online.co.uk AUGUST 2018 £4.40
SPECIAL
5 ISSUES FOR £5
THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931
ACRYLICS: 6TH OF 6 Since 1931 The Artist has been created by artists, for
The art of story telling
Jo Quigley offers tips for finding subjects and using
artists. Published every four weeks, each issue is packed
figures to tell a story in your painting, and demonstrates
a simple narrative in acrylics with new ideas, expert advice and insight into the work
of professional artists, covering all subject matter and PAINT VIBRANT
Jo Quigley
studied at Winchester School of Art
media, to inspire, inform and guide your technical and WATERCOLOUR
and Kingston University, and taught
painting before turning professional. Jo
demonstrates to art societies across the
FLOWER
creative development
south east of England – for more details
see www.quigleyarts.co.uk
COMPOSITIONS
W
SPECIAL
ho doesn’t enjoy a bit of
people watching? Many of
us resort to observing others
to pass the time – we look at
what a person is wearing, who they are
with, their facial expressions and body
language. We ponder what they are
doing, where have they come from and
ACRYLICS WATERCOLOUR TELL A STORY
where might they be going next, the
PLUS
5 ISSUES
nature of their relationship with those
they are with, or why they might be by
PRAC TICAL
themselves.
Top tips & colour ideas for
SUBSCRIBE TODAY
Based on observation alone and Summertime, acrylic, 233⁄4⫻233⁄4in (60⫻60cm)
almost without realising it, we quickly
begin to draw our own conclusions story. Narrative paintings generally narrative without the use of a figure, for painting trees
about their lives. In essence we have tend to contain an aspect of realism, example an empty room, a tipped-up
begun to make up our own story. You with some recognisable structures or chair, discarded objects or a door left How to develop a successful
could be mistaken for thinking that, figures, but not all representational or ajar might hint at an event that has just
A C R Y Lwith I Cour
S current obsession with mobile figurative painting is necessarily happened. Narrative works can evoke full-length portrait
devices, the art of people watching narrative. For a painting to contain a powerful emotions, as they encourage
DEMONSTRATION Waiting
might be lost, but in reality we are narrative it must suggest a sequence of the viewer to use their imagination and Paint wild flowers close up in
probably doing it more
showsthan
however, just events. Whilst it may be the case that a ask questions.
The following
to create a in
demonstration
a digital
simple
it is possible
form. One thing that has not
narrative story is played out in its entirety on the Although the term ‘narrative art, did 3 easy stages
changed is that we find people and canvas, a narrative work may also not come about until the 1960s, in
their lives fascinating and as such they allude to events that might have taken reality it has existed since prehistoric Enjoy the benefits of water-
FOR
can provide a rich source of inspiration place prior to or after the scene times. As storytelling predates literacy,
for all the creative arts. Artists have depicted. For instance, a portrait or it is thought that drawings and soluble oils
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for £5. Your subscription will continue at only £9.99 Loosen up & try Use close-toned How to create a
46
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FINISHED PAINTIN
Waiting, acrylic,
Finally further
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waiting for? The
details such as
added. Why is
story is up to
G
12⫻10in (30⫻25cm).
creases in clothing,
she there? How
you
jewellery and
long has she
some necessary
been waiting?
highlights and
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