FOR ARTISTS OF ALL ABILITIES TIPS - TECHNIQUES - IDEAS - INSPIRATION December 2021 £4.99 | to painting every day : b-w77 aFLUID SHAPES & LINES rn Born be rs apes NITRAM FUSAIN AQUARELLE “Ny work is @ cemiasroct interpretation of he natural world with o focus on uid shapes and lines I¥s the constant movement throughout the piece that | am interested in creating; to keep the eye lingering cond coming back for more. For this piece tiled Wild Rose, | used three Niram produc: the new Nitram Aquorelle, Liquid Charcoal & Charcoal Batons. The performance of each product was remarkable, The particles of dry charcoal from the sticks were easy fo blend and added detail and texture. The Liquid Charcoal and ‘Aquarelle wotercolor charcoal mediums dry well and the blacks retoin their stengih and densiy. | love the combination of depth and subtle sofiness.” ~ Pomela Harnois “Sd i learn how Famela Harnais used Nit Fusain Aquarele, Niram liquid Charcoal aE. eee eee ere 2) + Go to: hips:/ bit y/3DDkait or scan the GR code to wath the video now! www fuscinaquarelle.com ‘eu ganaerancam | wocinsgtam on/pandera | ona caponetes atratare Teens ‘Nasaina Congo La uae rose, Pibiee Pace tans W370 Tero20) 7249 300 Fae Pts tacen Suoicetand” Iespeer cr averting Menage Onis Hunton (Gao rave ros (it raneton ‘Soup Snes Deir Ghar Oe feria Pinar Sirs ari Stor Manag Manage ret Wook {rom Oita Mengar en seraor ‘ra heseomegacnes conyshop senna 24734729 Life is hard. And so is drawing. In fact, sometimes I think drawing might be the harder ofthe two, Just the other day, [was staring at iy hand and struggling to quite work out why the arrangement of stubby digts in front of me did not in any way match the mish- smash of graphite lines on the paper to one side. Surely it shoulda, be this difficult 1 thought: you see a thing, you draw that thing. Yet \f we could all doi ist ume, where would the fun in that be? STAY INSPIRED BY Hands have abuay been my attic nemesis, Mi if drawings, xpi the SUBSCRIBING quicker ones, tend to op somewhere along the forearms. ike to kd myself Jrtiat &otrators that fs nod to ancient Greek sculpture ~ the Venus de Mio looked just fine Sete tae veathout hands yin rath, simply avoiding that ticki of subject race Anyway. here isa point to me sharing my artistic shortcomings In ceenertene: forthcoming issue, we wl be lokingin depth tthe various subjects or ae techniques that you ind the hardest ~ but it we want to know what itis and a ema why you srg with t Wit tous and wel commission our expets 0 cosas answer the most common or unsul problems and give youal the practical ee advice yo esd, At Artis 6 strato, were always hereto ler ou 8 Ssrptions Deparment ping hand.. Just dnt ak me to draw for you Chelsea Magnes, Tver ares Stove Pl, Exitor Lat Set. Mat Harbxog, LNG EF Le tenes Wiiléterus! eer ‘Wi subject or toctniqu do yo fd the ees? Shae your thoughts, were herto el: ‘annual suRsoRITION RATES 5 info@artstsandihusvatorscouk EA @randimagarine MEG /rctstsAnditustators tra tsesiae, nowt @handinagazine6 x Pocket GraFX Medea USB Rechargeable airbrush stencils with holder Electric Eraser www.Airbrushes.com 01903 767800 sales@airbrushes.com© Letters Win 8 £50 Atlant Art vouener 5 Exhibitions Te ve best art shows his month 1) Sketchbook Quicktips, ideas and inapiaton 16 Fresh Paint 28 The Working Artist \With our columnist Laura Boswell 43 Prize Draw Win £1,200 of Caran dene sets 52 Meet the Artist Win Cos Colours’ Ameenah Begum Dee 22 Feature uswating cassie Winnie the Pooh charasters fora acer audience 50 Art History From Turner yelows to Monet's utes, Dr James Fo looks atthe avout hues ofthe great artists 56 In The Studio anistesigner Mark Heard Invites us into his shares York ‘tudo ahead of amajornew show Bas 46 Masterclass rsten Brit expains how to bud | portrait in sconomic layers of nd simple tines iples of Depth Jake Spicer’s spar series looks ‘sthow to use near perspective ure col 56 Technique ‘Leam about the cassie Loomis ‘method of drawing the head co Demo Cloudy days needrt mean ds Palnings, says Grahame Booth G4 Mixed Media ts time orp tup as Aine Divine shows you how te inepocate pape cliage into mixed media art 68 How I Paint Royal Watercolour Soclety member Peter Quinn shares his streetscene panting techniques ‘7% Still Life Workshop ur three-part series continues with a focus on vibrant colourrca on {was so thrilled to learn, from the recent Artists & lustrators newsletter that one of my artworks hhad been featured in last month's competition. | can't el you how ‘overjoyed lam, as to be honest ‘upon entering this competition (the est art competition I nave ‘ever entered), | was very blasé and almost cicrt want to put my work fut there yet, as didn't consider iy style cemented of by any means ready. am feeling so grateful to you for choosing my work, t's an honour tobe consideres by such a prestigious publication. Thank you to all at Artists & Imustrators fr making my day, ‘month or possibly even my year Letters Vim totally enthused and encouraged to ke2p going, learning and producing more ar. Thanks for your entry, Manos. Readers can sign up for our andillustrators.co.uk or the Ihave really enjoyed reading about sketchbooks used by artists and the suggestions of cifterent ways we can record information. nave kept sketchbooks for afew years and revisiting them brings back memories and incidents which sometimes I had forgotten, Many years ago, previous generations kept autograph books. My mother had an ‘autograph book which had illustrations as well as words by contributors. These beautiful iustrations are a miro into her young adult years ~ pictures showing the landscape as twas. then, andthe travel taken or the fashion ofthe time, There are some light nearted envies dopieting the humour ofthat ea, ‘They give me enormous pleasure. Maybe inthe future our ancestors can revisit our lives ‘through the illustrations we have recorded? Alison Petley, via email Witt Post: Arts & usar, The Chelsea Magazine (Company ts 2 lubes Pace, London SW3 370 eat Tre wrter of our eter of ‘the month wil rae 8 £50 gfevoucherto pend with Atte At, the UR largest art vrwtiantintco.sk ores) ART MATERIALS}GOLDEN Pe MATTE ACRYLICS Introducing SoFlat, a paint that helps artists create PR ee Re ct texture and glare. The paint has a flowing consistency, offering exceptional coverage and a leveling capability Pe MT eugene only be found in GOLDEN Sof lat Matte Acrylic Colors, eels For retail availability in the UK, eet ee eet} one ero Cee eyExhibitions DECEMBER’S BEST ART SHOWS BETSY BRADLEY: erence Penner omen eee ets Sener et oe tie etn eet erent ome) Ce aes Peer rete Peed ieee eee LIFE BETWEEN ISLANDS: CARIBBEAN-BRITISH ART1950S TO NOW 4 December to 3 Api 2022 Margaised voices equa get eft ou ofthe art hitory books but seeking to shine a ent fon some offorgoten stories itis collection ‘rom atts of Criboean heritage or those Inspired bythe elon. Ants rom the Windrush generation, inuding Dena pectea y Forester, wl have partings [above] on show ‘alongside polial pees am the Black Pover Movement, whe work rom ether side ‘ofthe new milennium ana today’s emerging names continue to luminate themes relevant to the Cabean Bish popustion an beyond. Tote Britain, London. www tateorg.uk ‘20November to 27 February 2022 inthis ital age of connect, ts easy to forget how fr atts would have had to ‘venture to seek out nex iniences. Casein points German-born artist Albrecht Der, wa traveled across Europe fom the ‘id-1490s onwards. Tis show ehraniles the journeys he tok, ia paintings suchas ‘Mason and Chid, making its UK debut. National Galery, London. ww natonalgallo org.ukPee Ce eae cad erred See el Peace ey Pees Cored ALISON WATE:A PORTRAIT (WITHOUT LIKENESS Unt 9 January 2022 ‘Alison Watt is best known for hee large-scale, deta paintings of folded rapery, a subject se was not content to leave inthe background of her cdsimed figurative work Here she Beng stl te to me fore taking subjects not rom ner ‘mn work, but tha of 18th century painter and flow Sct Alan Ramsay. Closing in the New Year tis is our last chance to see Wat's deeate brushwork up clase in subees such as bbon, ace an vers, remagined from Ramsay's portals of women, also on show. Scottish National Portrait Galley, Edinburgh. wo.nationelgaleries og MYTHS AND MONSTERS 27 November to 27 February 2022 ‘Our fst encounters wth he inmesive power of art ae ely Coomera ae 4 of storing this famiy-tiencly showcase of mythical characters ‘rawn by ournation’ favourite ilystators, rom estabished talent he The Grats Axo chet an ow to Tran Your Dragor's Cressida Covel to Chis Moul,recenty acclaimed for his reimagining ot Tea Hughes’ Te rn Man right). Vitoria rt Gallery, Bath wwvetriogaLorg.uk Antsts & Mustrators 9“Th, Pa a ue en as Taught by Rosso Emerald CrimsonHOW TO BUILD CURIOSITY Tired of staring at the same four walls? SARAH NISBETT has five tips for live sketching and seeing the world anew {onic ot yours a avi ryteller. Your drawings are your stories. Curiosity wil Inspire empathy, which is how we imagine {oolings and storios outside of our own. a ae a Judgment and full of wonder, your: consider tne “osings ofan Jn object. Cana coo be sas? ean you wating fr someone to tum Likewise, teacup can be oft brngs you Mapriness. (ajets may not os5e85emations. but they do refect hem. t's worth contemplating what they may oa Ar oven tne bons, hou 0 fr sept troghe yrs anor ng inom ae tate or comingot tbe igen. rng tw basin ote ‘regal fer capo on thgeton cin ote you orzo ot Ae frst date happening at the next table. as Nec tomntrte! ee neater Goal erapactaess eae Sarat’ new book, Drawn on the Way A Gude o Capturing ‘the Momont Through Uve ‘sketch that perfectly ‘Sketching, pubes represents the joyful chaos by Quary Book. of family ie ww rawnanthoway. com Atists & Musrators aErcaret ite The Diary Providing context to new exhibition Late CConstatie, the Royal Academy of Arts willbe hostinga ticketed onine event (starting t 6.30pm) dedicated to the ‘eat Brtsh landscape painter. vwncopalacademy.org.uk The Worid Reimagined is an open call looking for visual artworks that wil transfor our understanding of the transatlantic stave trade. The judging panel includes artist Chis Of vwothenorldreimaginedog Enter the Derwent Art Prize before Spm ‘on this date fora chance at winning £12,500 in prizes and exhibiting your work at London's Galery@0x0, BOOK OF THE MONTH The Art of Doris & Anna Zinkesen by Philip Kelieway, Emma Roodhouse and Nicola Evans ‘Coming o age inthe Roaring Twenties, the amorous Zinkesen sisters led fascinating creative Ives. Whether designing for Wedgwood, painting murals on ocean ines, CCMA ‘or wining medals atthe Pars Salon, the par A eee ete eae eee ‘fed expectations and left behind a legacy Ema ea) eatery seme feta atin ny Eyer ile that s richly explored inthis delghtof a book, ENS heaeaea See eet a Panta oceans ty £30, Unieom, weoiniempublishing.oe ee ee ee eet eats Pe een er eet : ; > from nature and creating f > ace a sketenbook that mate \ each distinct hue, ~Erectile “ART IS NOT WHAT YOU SEE BUT WHAT YOU MAKE OTHERS’ SEE” NEW HUES MANGANESE VIOLET eau ee eer een ey See ee Pee See ees ‘ ANEW FRIDA KAHLO DvD ‘\\ unl peoreunaten Five copies of Frida: Viva La Vida to give away \\\\ ert eure sat ‘Anew documentary about the ats Fda Kahlo opened in cinemas this Von ec in ‘month and we have the copes ofthe OVD to ge away. Fda: va co \\ ae ee Vigo, whien charts herein Meo via reconstructions and her many \\ ERATE eee at separa, is avatabe on DVD and downioas fram 25 October. Vee crear tet Tocenter, vist wwwaatistsandilustrators.co.uk/tida-comp Skee eee After the success of Unison Colours Five Day Challenges last year, ‘the pastel manufacturer has launched a new onlineearning subscription service, Saas ‘The Unison Colour Pastel Why not try. ‘Academy features PDF tuldes, ive Q&As and ‘workshops led by Associate Artists including Cat nglis [right] and Peter Wood. Find out more onine at pastoLacadomy ‘SoFlat Matte Acrylics "you tke your paint glareee, you are going to ove these new, velvety-smoath acre colours developed by the team at Golde. ‘Tanks toa unique formulation, brushstrokes are minimised in ‘etumn for uninterupted fold of rich, matt colour. Pek trom 40, ferent hues. we gldenpalns.com 44 Antss & MlustratorsWy, John Singer Sargent sketching set Drawing isthe basis forall forms of art and the precursor to major works. Sargent was renowned for his portraiture, using a variety oflines and marks to describe form. 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The beauty of ink ie the versatilty i offers, rom fne lines to large fat 28 of colour Winsor & Newton drawing inks can be applied with a bush or pen and _are widely used by illustrators, designers, caligrophers and artists, RAP £33.00 The Winsor & Newton Let the greatest artists guide your creative journey ct inspite by the greatest artists and learn rom them with this collection of set, brought to you by Winsor & Newton and Tate. Perfect fr siting loved one or fr toating yourselt -Auailabl rom wavevisornewton.com and selected retailers IMW Turner watercolour set “Tuner was innovative in his use of colour and expressive response to nature. He worked closely with Winsor & Newton in the development of his palete. Try this set carefully curated with 24 highly pigmented watercolours ina lightweight wave tin. RRP £63.50 a7 Edgar Degas pastel sot DDogas was unique In his use of pastels, creating beautiful layers of marks and colour Experiment with colour and mark making ‘with this motal tn of 30 highy pigmented colours, beautifully formulated to maximise blending and layering. RAP £38.5038 Aris Inspiring new artworks, straight off the easel Tim Benson Wile portrait painting can just be about achieving a likeness ofa person it can also be a license to expire the ‘word around you and an opportunity to highlight the cultures and stories that may otherwise be overlooked. ‘Tim Benson sone such palnter who uses his role ‘smarty. Asa former director of the portraiture diploma at Heatherley School of Fine Art and-a member ofthe Royal Socety of Portrait Painters, he would be forgiven for resting ‘on his laurels and taking lucrative commissions, yet he has Instead embarked on 8 number of projects that he hopes ‘ill buité awareness through paint. The 43-year-old began ‘th porvats of ebola nurses and doctor in Sierra Leone, wile more recently he has worked with the sit charity (Orbs to paint patients in Zambia. “Orbis offers surgery, ‘predominantly inlowincome countries, to people with reversible eye conditions” explains Tim. “This elderly {gentleman had come to Kitwe rom the provinces to receive Surgery or a cataract. The whte patch above his let eye ‘simply lets the surgeons know which eye to operate on.” ‘The ati is ls0 making worthy contributions closer to home. As president ofthe Royal Institute of Gl Painters (RO) since 2018, he has successfully navigated the society {through trying times, particulary inthe last 28 months. He 's keen to tap into what he sees as a renewed sense of ‘optimism in the world with the forthcoming ROI show ving mi theme of rei The booty of th thee TM's iSthatitis al open to interpetaton: say Ti. Ths has TOP TIP teen ected inthe work eon dung the preselection : process Workhas shown pa rer te frm af sn pining tie, Sorngnascpes to mare trespetve person powaks ee ay that reference esters state mind ate tne. MY Seo earn painting ofthe cataract patient is all about the new ‘opportuities that his transformative surgery wl afford him: in essence his rebirth Tin’s style reads initaly Ike a contemporary take on Lucian Froue's long impasto aces, yet there Isles fretting to the brushwork a he sidestops any psychological Interrogations in favour of rendering the world ashe sees ‘Rit a confident economy and a pleasing directness. ‘The ROT Annual Exhibition 2021 runs fem 24 November te ‘5 Decombor at Mall Galleries, London. wavatimbensono.ukTony Foster ‘Tne vas, immerse watercolour landscapes a ony Foster are about as far removed frm the knowing Pop Arccolages of Renard Hamiton as art can possiby et, Jetitdoesit stop the former quoting the later when asked about his process: "A good painting should reveal the process of is making’ Tis quoting te ate artist comes 2s Tonys trying to.xpiain why lrgeseale works Ike Steamboat Rack [ABendin the Green ver, which are cleary destined for 2 galley, sl contain the varous pene nates ofthe sort You'd more ften fd in a sketenbook. “My work is about Tecording time spent in wil places,” he says. Ris not, merely what the place ook ke, Dut what ft ke to be there, ow |got here, encounters with people an wide and weather. The process of making the work is pat of the recor, part ofits story so make no etempt to conceal i" His current reospectve, Fale Plot led wth examples of those stories. Whether he's cimbing Everest, expetoningto the Arce or overlooking the Grand Canyon, Toy work in much the seme way: he fs shelter rom the elements and works on large sheet of paper during avaliable daylight hours, mixing voterolours on a Tupperware Bd crawn froma simple Winsor & Newton Bijou No.2 box. Drinks are important oe He cates a stove for regular tea breaks ~"taows yo to ake stock an ret your brain’ as wellas gn, not to enk but to mixin he paint water when it freezes in Arctic condition: “This works down to about minus 10 degrees’ Perhaps Tony's greatest chalonge of late came when the lockdown deprived him of access tothe far fun locations that characterise his paintings. His strenuous pre-breafast walks switched from being dal execise to. seerch for potential subjects near his Cornwall home, which became te suboat of his Lockdown Diary, lea featured in the show. "pad attention, often tty things | woul formerly have yomped past," he reveals.“ ound subjocts every cay curing the 361 days ofthe tree lockdown and eaied that could have gone on or ever” FralePant: Waerolur Journeys int Wi Places rane ‘nt 26 December t Royal Coral Museum, Tro vee tony foster. a8 Ariss & lustratFresh Paint TONY'S: TOP TIP “Hunt around for the LerTTony Foster, ‘Steampost Rock _opite and ‘watercoiour on pet, map and Groen fiver toss Anists & MustraorsssFreshPaint = i PORTFOLIOPLUS Peter Bashford Rusty old chains, scratches of paint and fraying strands of eiscoloured rope are not usually attributed as sources of atistic inspiration. Yet for Portfolio Plus member Peter Bashford these objects tok centre stage n his recent series of abstract paintings focused on the haroour wal in the North Yorkshire fshing village of States. it’ realy interesting i ou take a closer look, the ‘Buckinghamshire-based artist says of his chosen sublect. “There are lots of textures, lots of colours, lots of diferent shapes. l wasnt trying to make acopy but to paraphrase It to take the integrity of what lsaw and make it more of ateeling more ofa sense of place.” ‘though producing an accurate depiction isnt the im, Peter's practice stil relies on a keen observational ee, His landscape work always begins as pein air charcoal sketches, which he uses as references back in his stud, picking out certain shapes to replicate in the final place. "start by laying down a couple of black areas,” he explains of his process. “i plan where the focal points sing tobe, so in Harbour Wall, Stathes that’s the big, Splash of orange. My palette is always chosen before | start, Colours come rst when I want to express a place.” With the palette and main shapes in place, instinct leads the mark making that follows. “Itend to use @ lot of very small marks, alot of tight marks, as wel asthe big gestures, so there's a contrast and hopefully the ‘various lines and shapes take the viewer's eve ‘around the painting” Balancing the composition is ‘obviously @ key consideration here, but how can artists strike a similar equllorium between abstraction and representation? "it’s important to keep the sense ofa place in your mind when you're working” he replies. “I hope tha if somebody visited Stathes ‘today, there would be something about the harbour that reminds them of my painting” vwwartisteandiusrators.o.0k/ poterbashford ABOVE Peter Basho, Harbour Wa States, acncon caves, 25x250m PORTFOLIOPLUS Every month, one of our Fesh Palat ‘antists Is chosen from Portfolio Plus, ‘ur online, art forsale portal. For your ‘chance to feature Ina forthcoming issue, sign up for your own personalised Portfolio Plus page today You can also: + Showease, share and sell unlimited artworks commission free * Get your work seen across Artists & Imustrators' social media channels + Submit art our online exhibitions + Enjoy exclusive discounts and more ‘Signup in minutes at www.artistsand lustrators.co.k/rogistorFite Sma BNC Can eS TUR EaT aN! UNISON COLOUR PASTEL ACADEMY Give the gift of , with a Pastel Academy subscription. + Lear and grow wit the woos est pastel tits + Sula for al levels, rom beginner to expert + Fresh new courses every month + Jon community of ike-mindedarat and cha with the tutors Perfect for the pastel lover in your life, or even asa treat for yourself! Go to CTee ‘|Burgess now Inustratons of A CLASSIC As one of Britain’s best-loved storybooks turns 95, MARTHA ALEXANDER talks to illustrator Mark Burgess about updating the legacy of Winnie-the-Pooh ‘faras iconic characters occasion Harper Collins has released surroundings ofthe Hundred Acre Infction ge, Winnlethe- abranc-new tory collection. Once Wood and Ashdown Fores, but rather Pooh=heof redtshit There Wasa Bear's a beautiful In central London. The new stores {and Hundred Acre Wood hardback written by Jane Riordan begin inthe luxury department store fame ~and his pals have gottobe _andillstated by aist and writer__—_-Harrods where Pooh was bought as. some ofthe most easly recognisable, Mark Burgess. While nether author a present for Christopher Robin, who best loved ang enduringly popular. norillustator are attempting direct was only a baby ~yeto grow into the This year marks the 95th Imitation of tne orginal, both are flaxerrnared te boy who gets into| ‘anniversary ofthe publication of clearly taking stylistic cues from it. mischief with his fiends. Readers are [AA Mine's first book of Winniethe- The new collections actualya_—_—taken ona tour ofthe capital's most Pooh stories, ilustrated so vividly by prequel tothe orginal 1926 tales: famous landmarks through the eyes. EHShepard~andtocelebrate the itis not set inthe bucolic East Sussex ofthe honey-oving bea, following >FEATURE 66 There’s a little bit of me in there... While I imitate EH Shepard's style, it’s not to the point of slavish copying ” im tooth the Natural History ‘Museum ang ZSL London Zoo, Atte latter, ne meets his namesake, Winnipeg, @ Canadian beat known as Winnie. Beautifully rendered ty Mark Winnipeg s nat entirely work of tion: he was ‘real bear that Mine and his son ‘would viit and was sai to be the Inspiration for Winni-the-Pooh, However slightly confusing, ‘Shepar's orignal ilustration was ‘based on a ted that belonged tothe ilustrator's son, Tis n't Mars tst ime getting te grips wth Winnie-the-Pooh, Bom In Ghistohurst, Sussex in 4957, the stator has Infact worked on ‘a rumber of books depicting the cuddly, often muddled bear, including 2008's Return to the 100 Aere Wood, writen by Davie Benedictus =the first authorised sequel to Mine's cofigna books, ‘Mark also ilustrated The Best Bear Inthe Word, a 80th anniversary ‘anthology of four new short stores writen by Pau Bright, Jeanne Wil, Kate Saunders and Brian Sibey, as well as helping to adapt EH Shepard's Mustrations for other project, Including colour editions of When We 24 Artists & Illustrators Were Very Young and Now We Are Six back inthe 1980s, as well as att the-tap edition of s Tat You, Winnie. the-Poon, So, despite itnot being new torrtory, there must stllbe pressure {to get such iconic characters, ignt? My personal take on that is that rather than doa pastiche ~ there's a tue bit of mein ther,” says Mark, ‘who worked on Once There Was @ Bear in a fairly intense period that ‘only finshed early this year. “So, wile imitate Shepard's syle, its not to ‘the point of slavish copying. My own. personal style Is nat@ milion miles ‘away from Shepard's anyway.” [Any suggestion that havingto echo ‘another ants's works restrictive Is instantly brushed off, not least because Mark admits to absolutely loving the characters and fnaing this ole“ pleasure, really” He acknowledges this sort of work might seem fairy unusual yetin realty, he's had plenty of experience ‘working in other people's styles aside {rom Shepard, nclucing stepping into the shoes of Paddington ilustrator Peggy Fortnum for 2008's A Bear Called Paddington “Ive had some fay extraordinary Jobs actually | dd one book whereFEATURE | was required to finish off the Inthe Hundred Acre Wood, the latest ABOVE Gne of ilustrations after the ilustrator had book covers London inthe 1920s. Mac’ stations very sadly dled [micway through ‘Mark relished digging upreference for Once Thore working oni). It as tough.” Images that would help him recreate Was a Bear That said, Mart’s brief for Once _bulings, fashions and transport LEFT lasic spot. There Was a Bear wes nota complex from yesteryear. He paid particularly iusrwons om one. “Id be given spaces tofilwith close attention tothe clothing ofthe Marts 1994 series, ilustrations and they'd give me some period. "The endpapers ff the book] Hanna Hor! indication as to what they wanted,” are the front of Harrods inthe 19208 he explains. “The general brie was to so! had to find photographs of that follow Shepard's style fairly closely” and work from those," he explains. However, there is one prominent The process of ilusrating any book cloment that sets the new book apart is along and intricate one but the ‘om the other tales of Pooh and the case of Once There Was 2 Bear this [Eang, While Mark and otherfans of was especialy tue. fter esearch, ‘Winnie-he Poon are familiar with the the task of lustrating was piecemeal rural ateadian landscape depicted as Mark only received the book >afew chapters at atime. He then produced pencitaawn roughs before 2 lengthy approval process followed, Involving the publishers and the estates of both Mine and Shepard. “They might come back and say, We think Poot’ legs shouldbe longer in that illustration’ so lengthen Pooh's logs in that itustation,” ne say. Mark believes the most iti part of working in someone else's styl fs that everybody has ther own dea of wnat the characters look ke ‘and the real challenge is how you navigate the demands ofthe cients *Shepard himself was not particularly consistent, particulary Inthe way he drew Piglet” he notes. “He varied quite considerably in the hiustations between the books, ‘And you have to somehow bring that together and satis everyone who hs 8 sayin what they 100k ike, Thatis very afoul.” ‘Once Mark has received feedback lon his penei drawings, he woul remake them allin black ink. These then would go through the same ‘approval process once again before ‘mavingon to colour. “Quite a bit of ‘back and fort,” he says cheery In fact, despite having more than 30 books to his own name as wel {28 countless ilustrations fr other ‘authors, Marks under no ilusions ‘about his chosen profession. “Children's books are nara work because they are not pad as well 9s advertising but its pleasurable otk, he says. “Although deadlines can be quite tight, by and large anc you have to work very, very hard 6 The most difficult part of working in someone else’s style is that everybody has their own idea of what the characters look like 7? Does he have any advice for any \woulsbeitustrators? “One of the most dificult things for anyone starting out is developing your style he says. “It realy helps to have ‘a recognisable style because this is ‘what makes you famous.” Mark acknowledges the wealth of baillantyetunknown ilustrators out there, something he suspect is sily ‘down to each having yet to settle upon the'r own distinct aesthetic With ths said, ne warns against being to0 hasty when cutvating ‘and committing to @ given sty “You don't want to get stuck with ‘something you aren't comfortable ‘with later on. Basically, you want a style you can lve with longterm” ‘Atnough itmay sound counter intuitive, one of the best mays to {evelop your own style, according to ‘Mark, i to practise making drawings of other peoples’ work. “You can lear alot by copying.” he says. “There's always a lot of work In that, because there are always spin-off pubieations tke colouring books and so forth” Often, the orignal isthe best and ‘any attempts to recreate a classic will simply flop. But with Once There Was a Bear the process was 50 painstaking the writing so charming ‘andthe illustrations such a lovely ‘echo of the past that reading it fee's simultaneously ke experiencing the very old andthe brand new al at once. And we'd say thats brief perfectly flied. ‘Once There Was a Bears published by Harper Coline. wirw.markburges. cok \ FEATURE BELOW One of Mac's lstrations for Once There Was a Bear PPosiT ace Token from Mars 1994 book sees, Hannah Hoe! ists @ Muserators2Struggling to develop your personal style? It's time to make a statement. says our columnist LAURA BOSWELL Laura Boswe, Skyeto the Matar noo, ‘ave you ever written an artis’ statement? Doing so ‘may seem an relevance you have no intention of selling or Showing workin publ, but | hope to persuade you to put pen to paper. Aside from teling the world about 28 Artists & Hustrators {your work, wring a statements an ceffective way to focus your attention on your ereatve output. We should all soit, even f itis just afew scribbled ideas on the back of an envelope. ‘The point of an artist's statement fs to give viewers an insight into the 66 Writing an artist's statement is an effective way to focus your attention 7 ‘mind ofthe artist and their eeatve process. There is plenty of good ‘vie avaiable on how to wate for ‘an audience, but suppase you write ‘one just for yourself? A simple set of ‘ult points wil do. Explain how you ‘make your work, entiy the kind of work you create, describe why you ‘make it and how you see it developing. Putting down your thinking on paper ‘ill push you beyond the simple fact that you make your artworks because you enjoy the process, and prompt you into thinking constructively about your eretivity instead. ‘Knowing your motivation and ‘understanding why you pick your ‘subject mater, your materais and your methods is key to develoning your personal tye. Writing. short statement wil make you question your work and consider where itis, {oing, This al sounds very cerebral, but the exercise is a good practical ‘way of pinpointing your interests anc ambitions. Noting where you have ‘come from and where you plan to go will clarify what to-do next, whether that’s @ plan for new artwork, booking ‘a class, or reading up onthe right Inspiring artist Anais statement is good for confidence too. Ifyou review your previous work witha view to joting ‘down a statement, youll gain an ‘overview of your entire output, rather than the usual snapshot of the piece you are curently making. Chances: ‘are you'l find your creativity is more Cohesive and better developed than you imagine and, if you should find you are in abit ofa rut or lackingin ‘motivation, your statement wll help you to recognise the problem and focus on constructive ways of moving {forward to benef you and your work wr tauraboewellco.uk€ Pas DANONE SF C BOXES OF DELIGHT Spread the joy of art this Christmas with Faber-Castell ee EN SOsAuthor and broadcaster DR JAMES FOX explores our changing tastes in pigments and why the favourite hues of leading painters has had a profound influence on their art 1 20ctober 1866, the PreRaphaelite arist Ford Madox Brown invited some friends over fora dinner pany. after the meal they played a parlour game called Favourte Things. The rules were simple: each player was bombarded with @ series of questions and had to respond with the fst thin that came te thoi mind. Extraordinary, Brown's ‘answers from that right survive Favourte costume? “Bathing dress” Favourite amusement? “Fiting’ Favourite artist? “Afraid to soy" Favourite aish? “Thunder & Lightning 8 Cornish dish prepared with pilchards, mutton, treacle & gate". He was then asked to name his ‘avourte colour. itera moments ‘thought, he picked up his pen and wrote the word ‘magenta’. “Most sensible artists would refuse tozanswer such a question. Painters ‘eed ots of colours to work fram, just 2 poets need lots of words ultimately What matters is how theyre combined. RIGHT Gustave Buthistorytells us that colours co Klimt Portrait ‘goin and out of fashion. The earliest oF Adele Bloch artsts appear to have had a clear aver, 907, Preference for red. Prehistoric humans il sverané Ivingall over tne world were making, goidon cans, ed ochve on near industrial scale, 13843380m ‘sometimes tothe exclusion of eventing ese. A staggering 94 percent of all surviving pigments {rom Stone Age Aca ae red. ‘Admittedly, our early ancestors ‘dnt have many colours to choose ‘rom: prehistoric people mage most of ther pigments from materials dug ‘rom the earth. Overtime a wider Palette of colaurants developed, with afferent societies forming different Preferences, Chinese artists devised 3 ‘vast spectrum of reds from cinnabar, Inian artsts made radiant yellows {rom turmeric and satron; and Midale Easter artists became masters of the intoxicating space between green and blue: territory innabited by jade ea, aquamarine, peacock and turquetse. > Painters need lots of colours, just as poets need lots of words... Ultimately what matters is how they're combined a0 Artists & HustratorsART HISTORY In medieval Europe, arsts became ‘obsessed withthe colour blue perhaps JMW Turner was always eae eee son on the lookout for new tommteves uterine te : Yammer stone call ais (ie oe hea. Gate shopkeepers and artists eee een ene {he test utremarine cost upto e hunced tes mor than oer Pigments, n 1525, the Roentine arist Area del Sarto pa ego florins fora mere ounce ofr cuaty utramarine the equivalent ove ears ren for Tuscan abou. its round ths me that we Bon to.se aritsexresing hr onn personal soar preferences: Mienelangeo appeared to have 8 penchant for babyve and cand fos i, Gorge dea Your Red reat orange, log Vlauer Used ‘ast quantes of back, while the {18treenury French art Jean Eaptite Oud pent is enti carer thinking about whit. nis frous painting of wht duck (hich was trail stolen in 1982 and hasn't ben sen since) he atoms to a2 Artists & Hustrators ‘cxocxmise FROM Ler Turner, The Bumingaf ta Houses of Partarent, 1836, ‘lloncamas, ‘ozei23em: ‘laude Monet, Woteroo Brae, 3903, ion canvas, 86x124em; Jean-Baptiste ‘ua, the wine ‘uc, 1753, oon ‘canvas, 5x84em: Fors Madox Brown, The Last of Engiand, 1856, ‘on pane 83x75em, capture the many shades of this ‘supposedly colourless colour. ‘Across the Engish Channel, JMW Turner was infatuated with yellow. He used more yellow pigments than ‘thase of ary other colour~ so many, in fact, that scholars haven't yet finshed ‘counting them. He was always on the lookout for new kinds of yellow, harassing shopkeepers, fellow ats, friends and even strangers to obtain them, When one man bumped into ‘Turner before makinga trip to aly, he politely asked if there was anything he could do forthe artist while abroad. *No," Turner barked. “Unless you wil bring me some Naples Yellow.” Inthe years after Turner's death, yellow's complementary hue finally rose te prominence. Before the mid-19th century, purple was curiously absent from the history of ‘ant (one study found it was present in ‘only 0.06 percent of paintings, but in the 1850s the PreRaphacltes placed — itat the heart oftheir pictures. Our alt {tend Ford Madox Brown was particularly drawn to the reddist-blue ‘end of the palette. The real star of The Last of England, his 1855 porvait ofen emigrating couple, 's 2 magenta ribbon that took him a month to paint. ‘The Impressionists s00n joined the purple bandwagon. The frst specks of Violet appeared in the works of Claude ‘Monet, Pierre-Auguste Renoir and Camille Pissarro in the late 1860s, before spreading lke veins through 2 slab of Roquefort. By the beginning ofthe 20th century, Monet's paintings at times became swirling oceans of purple. This new colour scheme wasn't well received. Cries, who had ‘own accustomed to warm golden ‘ones, claimed thatthe Impressionists ete suffering from “volettomania, hich they believed was a symptom of ‘2 much larger psychological disorder. Inthe 20th century, the monomania spread to other colours. Many modem tists adopted a signature hue think of Gustav Kits gold, Hens “Matisse's red, Bon Nicholson's white, Plerre Soulages' black and Gernare Fichter's gre. Other atsts even tried ‘0 take ownership of specific colours. In the 1950s, Yves Klein devised and patented his own hue~ International ‘ein Bue KB) then applied it to everything he could get his hands on. ‘few years ago, the British sculptor [Anish Kapoor provoked other aists! rage when he secured an exclusive cence tothe blackest black ever made, Today's worlds saturated with ‘colour. There are now more than 40,000 dyes and pigments on the market, wih new ones hit the shelves almost every week. Colour has become so common, and so ‘cheap, that we cant help taking it ‘or granted. A few centuries 260, basic box of erayons, wth its hues lined up tke a rainbow, would have ‘sent emperors and alchemists into raptures: nowadays, itcan barely ‘even keep a toddler occupied. Paint manufacturers, meanwhile, offer so many tints and shades that they've run cut of sensible names for them. [And yet despite this huge diversity ‘of colours. our preferences don't ‘seem to be much more varied than thoy used to be. Surveys show that in almost every country in the world, people's favourte colour - by some mmargin~is blue. James’ now book, The World According to Colour ~A Cultura History, Is published by Allon Lano. ww. dejamestox.co.uk Aists & MusratorsaaThe Japanese pen manufacturer SAKURA stands for creativity and innovation actly 100 years ago, Sakura, the ‘manufacturer and distributor for i writing instruments, was founded 1 In Osaka, Japan. The company was | ‘named after the beloved Japanese chery blossom, @ symbol of fragile beauty andthe highest possible quality 4 ‘The ultimate pursuit of perfection ~ also known as monozukurlin Japan ~ has ‘been consistent in Sakura’ colouring ‘and writing materials since 1922. Sakura products are all about making drawing and wing possible, while also realising the potential ideas and ‘reams of ilustratos, architects and antists ~ anyone wh wants and needs toeapress themselves. Sakura makes no distinction between home, office or industry. Sakura keeps - on striving towards innovation. Sakura ' limitless in terms of products, but ‘also in terms of abit. When it comes to crawing, sketching oe painting, ‘Sakura can help you express yourself creatively in every possible way.ADVERTORIAL Plgmaink, invented by Sakura over 30 years ago, continues tobe the most reliable permanent ink on the market today tis fae resistant, chemically stable and pigment based ink that wll not bleed or run. Pigma Micron pens leave 8 mark thet fst aifetime. The ios come in several sizes, from 003 tothe new 10 60mm) and 12 (70mm) so Peon ea ‘Te Pigma Graphic family consists of tee pers, each witn different nib sizes. Pigma Graphic 1 contains @ 4mm bul nib, great for shading or texturing, Both Pigma Graphic 2 and 3 have chisel nibs that ean make bath thin and thik lines to achieve stylised strokes and creative lettering. These bright, blendable pens have @ ‘urable tp that quickly springs back to te orginal shape tke @ paint brush, allowing for fine, mecium, or bold strokes, Odourless and water- based, they are perfect for adding vibrant colour to ary sketch, Journal or ilustration.Hearld The ever-curious artist-designer welcomes SALLY HALES into his shared York studio to preview his new exhibition and reveal the secret to staying creative on a daily basis colours Mace’ pane catoges © tearist ‘Sculpture Park ark Hearid is an artist in ally search of oy and he finds it, Whether tis talking about his deignt Inthe natural world and his latest ‘muse ~his new dog, rio ~ orhow he finds inspiration in his shared studio space his curiosity and creative {determination shines through. ‘That the artist designer refuses to wait for the muse to strike isa teat that has propelies him through his successful career to date. Bor in York in 1974, Mark studied illustration ‘at Giasgow School of Art before an (MA in natura history ilustation at the Royal College of At, which has led him tomake workin various media that ‘explore a fascination with nature. itis this work ethic that has also guarded him against the creativity: Stifing effects of lockdown. Mark has >IN THE STUDIO. feature new collages, inocuts, screenprint, letterpress prints, and even a large-scale mural. Marks detailing his desire to dispel the myth ofthe lightning ash idea in ‘a book, also called Raucous Invention: The Joy of Making, that wil be published by StJude's and accompany his YSP show. “in my view, the best ideas come in the doing” he says. “Creathvity happens atthe pit ace. ‘The making is the way int cretilty. It's really snout moving the hands ‘and, particulary it you work everyday, you can't walt to have a devastating idea before you sit down at the desk. You've gotto find your way into i.” Mark coined the tarm “raucous Invention” bath to banish the idea that creativity isa slck activity and ‘to.express the “brash rough-and readiness that goes into the most ‘audacious, commanding work’ of ‘which "good taste” I the enemy. “In my experience creativity isa messy business,” he sys. “It's ‘about ling your sleeves up and setting stuck in, The energy ana {freedom in my work come from uite a chaotic way of working” Mark's studios an A8th-certury ‘workshop in the heart of York, which he shares with other artists, makers, writers and fimmakers. “I choose to workin @ shared space because | am topped up by interaction rather than introspection.” he says. “like that people make each other's tea and ‘that, if you goin and you're having a bit ofa strug, other people getting ‘on with their creative life around you ‘can be realy energising. Even if youre ‘working quietly and nobody's takin, the fact that other wor is happening inthe space is stimulating” Mark feels prvlged to work inthis *warren-ike" building, which has a big ‘window that looks out ona courtyard but his creative day stats before ne artives there. "The walkto work is lovely” says the artist, wholes just © Morkrranges. | continued to create art Uoughout who knows how to tap into the outside York's city walls. “My dog pained pices of | the pandemic, frst making prints at wellspringof inspiration. His next comes with me to the stu, so | take cut paperfornis | home and then retumingto his studio exhibition, Raucous Invention: ‘a longcut, dropping down tothe river, tarestcatage | assoon as possible even whan he The Joy af Making, opens at Yorkshire and exhaust heron the way i.” @risstusio | was the only one there. And with his Sculpture Park (YSP) in November Bro, a one-year-old lurcher poodle fetes wth CCovid delayed shows now being fang celebrates the value he finds in cross, features in many of the YSP timate rescheduled in quick succession, collaborating with tie-minded makers works. “She's inecedibly drawable © Bio wars hhehas been ‘on the hop" ever since. and organisations, as well ashis and her silhouettes strong." he say. paver in me Tre need to create a substantial elle that inspiration can be found in Marks distinctive style focuses on ssyienkenen | body of work does not faze an artist the act of making, The exhibition wil exaoty such energetic and graphicsilhouettes depicting the vitality of the natural word, variously inspired by the particularly English visionaries Edward Bawden, Ere Revilous and John Piper, the neo-Romantic itustrators ofthe 1940s and 50s, such 8s Keith Vaughan and John CCraxtan, and anchored bya love of Pablo Picasso's confident mark ‘making. “Somebody once sad it was ‘more important to be unique than shill, and kind of agree,” he adds. Mark arrives at his studio at around 10am every day and often works until 6pm. “Im supposed to have a designated area ina room, but tend to spill out onto the communal table, party because lam a very messy worker and partly because l quite ke to work at te centre of things.” IN THE STUDIO Then itis @ matter of working with what ison hand onthe table, which is where he finds hisideas amid the potential of mess. He has various tactes for “suspending lsbeliet” and pushing through the ‘pain barrier of rot knowing” tobe able to create dally “Itake a big brush with a reutal colour and banish the white paper and then cut autan animal > | @Poinea cola OntIN THE STUDIO. sihouette place it, and respond toi.” says Mark, "Ort might be that ve ‘seen something on my dog walk the right before and, in that instance, ‘nave gota rather fully formed ides for an image that | want to make.” Working wit a wide range of media 's also part of this slignty chaotic process. Mark wll often start with sestural scene setting, before using oil paste, paints and pencils to add percussive, textural marks laterto create plumage, feathery marks or spots, specks and spatter. “find that working between media really adds to what Ido. | feel ike you're enersised by moving from one thing te another land | think the processes feed into each ater” ‘Mark enjoys using rational art materials such as Rotver& Klingner Antique Ink and Sennelir pasts, but he wil also use tester pots of household paints to give strong colours over large areas. He doesn't invest in “fancy brushes", instead opting forthe cheapest he can find as he invariably leaves them to dry out. ‘Among the many striking artworks In the forthcoming exhibstion is @ mixed-media work af an ow! perched ona branch. While its @ beautiful example of Mark's concem with using ‘raphio, cut shouettes to represent ide, also showcases his use of colourtuly painted borders, which, he ‘sas, help him tum an image into an abject. “Painting the whole ting, it becomes yours.” he explains. “You're In fll control of you gett right, it amplifies whats gong onin the image.” [As someone who views themsehes asan arstdesigner, "its natural for ime to want to work onal oft and ‘make that part of the image,” he says Despite reveling in the busynass of working towards his YSP show, as well ‘as York Open Stusios, in which he regularly takes part, and an exhibition ‘scheduled at The Scotish Gallery in Edinburgh towards the ond of next year, Mark i looking forward toa rather period tre from immediate work pressure, when he can experiment ‘and try new things. That said he ‘acknowledges that he finds ithard to break away from his deep-r00ted attachment tothe natural world as ‘subject. “often think that I ke tado other things but because the nature ting runs so deep, i's quite hard When Iwas 11, we moved from ‘a main road in the centre of York to 8 Title village right on the edge of York, ‘which inthe 1980s had working farms on the main streets. | go aly stuck I rede people's ponies and looked after hens, and loved al of that Itruns deep. 'm so much better fat doing nature than anything else” Whatever he ties next, is joyful approach to creatvty wll no doubt Continue to burst forth from his artworks to the delight of viewers. Raucous Invention: The Jy of Making runs fom 13 November to 6 February 2022 at Yorkshire Sculpture Park. wr studosprnts.c0.k ¥/ choose to work ina shared space because [am topped up by interaction than introspection Oman contempiates Otrerew Pater, Stes ETHE HEATHERLEY SCHOOL OF FINE ART Chelsea + Established 1845 Part Time Day & Evening Courses IN} 1 i Nt i) Ny: \ Encollingnow! Att) A range of courses for beginners as well as more experienced artists Also: Full time Diploma courses in portraiture and sculpture Painting * Ceramics * Life Drawing * Watercolour Printmaking Portraiture * Sculpture www.heatherleys.org 75 Lots Road, London, SW10 ORN Telephone: 020 7351 4190 Email: info@heatherleys.orgTHE PERFECT GIFT FOR FRIENDS AND FAMILY Artists rELrusTRATORS TIPS + TECHNIQUES « IDEAS + INSPIRATION acl a oe RAYMOND eT RCT eh as Everyday Duet your art, fone sketch at a time Dramatic PAINTING up Bro P72 ticks tohelp ansform your portrait C RECREATE A FAMILY PHOTO IN OILS WORK WITH COLLAGE + PAINT FROM IMAGINATION, Plus a FREE Derwent Paint ». Pen Palette set_ “3 i Et Sn era) Perro £42.95 €71.95 AUD $109.95 £63.95 USD $81.95Alii £1,159 WORTH OF COLOURED PENCILS Discover the wonders of CARAN D’ACHE'S light-loving Luminance range, courtesy of TURNHAM ARTS, Not only are coloured pencls perfect for those who love to draw, but they're also @ ‘match made in heaven for artists obsessed with colour. This month Artists & Mustrators has teamed up with Swiss brand Caran Ache ‘nd Chiswick-based art supplies company Turnham Arts to offer three lucky readers the chance to get creative witha huge set of ‘artists quality, coloured pencil “The prizes on offer ae thee boxes of 100 Caran Ache's Luminance 6901 pencils, retaling at £379.99 each. witha track record of providing creatives withthe finest-auality drawing and writing experience for more than 100 years, Caran che is world-renowned for the purty ofits pigments and elegance ofits design. The Luminance 6901 range fs equally prized for combining the highest lightfastness ratings with an exceptionally smooth lead, Such a formula banishes any Sign ofa waxy build up, making these pencil deal for mining, gradations, bending, shading and burrishing.Artsts can expect clean, accurate lines of intense, highiy pigmented colour from the 3.8mm wax lead, ‘a8 well as maximum coverage, no matter what the suppor. Luminance 6901 pencis can be mined with other media, such as fretipped pens, ‘or used to perform the sera technique =the act of revealing intense colours by soraping. To find out more about Caran (hohe, iit the UKs sole distributor, Jakar International id, at www jakarco.uke This high-lass set and many more great products can be found at Turnham Arts, & Specialist in professional rt supplies. For more details, vst wwwartistmateria.co.ke Tree winners, chosen at random, wll receive a box of 100 Caran eAche Luminance 6901 pencils (RRP £379.99), istributed in the UK by Jakar and courtesy of Turnham Ants. 2 | i CARAN D'ACHE PRIZE DRAW Adress: Postcode: mai Telephone: Enter online by neon on 23 December 2022 at wwwartistsandlllustrators.co.uk/ competitions or fil inthe form above and return ito: Caran dche Prize Ora, Artists & Imustrators, Chelsea Magazine Compary Lt, Jubilee House, 2Juilee Place, London SW3.37Q Prge fs non-transferable, No cash al or atemative pracucts availabe. Competition {or UK residents only, prize cannot be delivered overseas, For full terms, please Visit www.chelsoamagazine.com/torms.Ways of seeing Trecrased pars of the drawings eon tempt toretect Amys experience of aaubject $$ age left young portrait painter Al When a brain hae! partially blind, she never gave up on her passion for art. Here she reveals how she turned a tragic loss into a creative gain. 12.2044, Amy lat colapsed trom ‘a brain haemorrhage whilst ‘working nd living in Sarnia. ‘The 20-year-od's parents Now out Immediately and were told she had 3 80/50 chance of survival after two ‘weeks and an emergency operation, ‘Amy/s condition stabilsed and she was lown to hospital in the UK and Lnderwent numerous operations, ‘ter a year recovering at home, ‘amy enrolled onto the drawing and painting course t The Sarum Sludis. Her ambition was to become a classcaly-rained portrait painter, using tadtonal methods to capture ‘ikenesses in ois, However, 2 pattern of migraines, shunt pains, vision dsturbances, extreme fatigue anda constant fear of a relapse was stil present, making a huge impact ‘om her quality of fe and the amount of energy and focus ‘Amy could ve tothe course. Since then, A's health has improved but tring to ‘get back oa normalfe wes much harder than she could hhave imagined, Further complications from several more ‘operations left the young artist almost completly blind ~ {8 terifying and completely devastating moment. She had Jost her central point of focus ontop ofthe left-side, ‘making t dffcut to see a whole figure now ~ particulary frustrating because it seamed to dash her dreams of finishing her taining in portraiture. Any says her vision now 's lke looking trough a window and only seeing out ofthe top righthand panel. With no focus, everything moves and becomes confusing her brain, resulting in redness and lizzy spells, espacial in busy, crowded places. ‘ter hitting real low point and becoming any at ‘experiencingall this at an age when everyone else she knew was out having fun, a visit fom the local vicar reminded Amy about having trust and fait in ife again Choosing ife~ and to realy ive it~ was the hard option, but twas the choice she wanted to make. The next ‘morning, she woke up her mum and asked ner to take her ta the beach to watehthe sunrise. twas the ist time Amy was abl to feel a sense of gratitude for stil being able to ‘8 where the sun hit the water ~ even na citorted way ‘Amy may not see a whole face anymore, including her own, ‘out the gratitude of what ite she has left hasn't stopped her trom learning now to make sense of what she does see and putung ton canvas. “Perhaps strangely the whole ‘experience has increased my sensitivity when drawing 2 subject, ‘making me able to somehow capture ‘8 character better witha softness tommy mark making” she explains. “People often comment on the etal and sensitivity ofthe character "nave drawn. nave so much more etermination, so much appreciation {or the vision Ihave left. These ate gifts I don't think | would have had without everything Ive survived through. “Ihave spent the last few years drawing people's ‘animals, sending days creating an exact tkeness ofthe ‘subject by using aid techniques to try and create a \wel- proportioned figure. Tis exhibition is making me ‘explore not what see, but what I experience inthe fuzzy interactions between what I can and cannot see and what ‘this means for my perspective onthe word. Imagine large Arawing with a huge amount of blank space but stil framed as though it was there” Forher new touring exhibition, Windows ofthe Soul, Amy has produced a series of wildlife artworks based on her ‘own visual experience. She has drawn each subject with painstaking detail and precision. However, ina twst a fellow artis then erases the parts ofthe drawing that she couldnt ‘see clearly if she was looking ito the eyes of a subject. “The idea of having someone | trust take away something, ‘that was once beautiful and perfect and whole symbolises. ‘the process of every time I went into the operating room, having a bit of vision taken away.” she explains. “By letting ‘people nto how I experience the word now, ope to feel 8 ‘sense of internal peace a last, knowing thet my experience is being recognised and understood, presented alongside ‘other artists living wth visual impairments, “Through my work Rope to turn a loss into again: ‘something completely unique and individual that has been sifted tome by dint of never giving up... My work consists of specific subject matters that have helped me along the way ‘and hold symbolic meaning to every stage of my journey: ‘am amiza.com, ww instagram.com/amizat_art Windows ofthe Soul details at worn. windowsotth Aists & Musratorsaslage ced Strathmore 300gsm Toned Miued Media pape eco “Paints Ceo ees oer eae oe eee foe es an ee ens Pencils en ey ne et) eed on pastel pene) epee oe pron ORTRAIT If you have patience as you follow KIRSTEN BRITT’s methodical technique for painting in mixed media, you'll be rewarded with a bright. bold portrait full of life [— or as tong.as can remember, Ihave been drawn to portraiture. | especialy [ove melancholic or contemplative ‘expressions; ones in which it's not ‘obvious what the sitters thinking, and so viewers ae left to make theirown interpretations, When 'm looking for @ new sitter, | often use the Museum by Sktchy app (available on a smartphone or iPad) and | subsorbe to the refecence image library from the New Masters Academy (see www.nma, {an}, which bath provide photos of models. For this masterclass, l created a portrait of nny fiend, Jocelyn. The reference photograph was a besutiul example ofan intriguing wistful expression, looking ofTinto the dlatance ~ it reminded me of vintage tavel posters advertising holidays atthe beach. Im exited to share my technique, using pastels over the top of watercolour | chose a ‘smooth, 300g5m mixed-mecia paper fr this painting to ensure thatthe surface not onty held the watercolour without bucking, but also allowed the pastels to glide on easily Hove tis method because i allows me to.express a wide range of emotions in my subjects. l especialy enjoy the magical ‘moment when the highlights are added, and ‘each new portrait suddenly comes tie, tis important to have contdence. This ‘technique looks unfinished fora long time and then suddenly comes together atthe last moment, so have faith an keep going 1G: @kisten_brit_mbxedmeslartist >‘Sketch it out "began witha pencil sketch on grey toned paper. In general. find Select your lines ‘that 228 pene is dark enough tobe seen clearly on this paper and When twas happy with my pencil sketch crew over itwith 3 can be easly erased. As I sketched, constantly flicked my eyes back | waterproof reliner. have a variety of tools fr fneinng, but | keep and forth between the photograph and the drawing. limagined axis | returing to my favoutte Edding 1800s. | was selective about which lines running vertically and horlzontally around the head tohelpme | pencil marks became permanent ink lines ~ at this stage, | aways ty ‘gute out angles and proportions. I was constantly measuring by eye: | tostrke a balance between accuracy of line and gestural quality comparing shapes, stances and relationships. Apply a neutral wash My fist ayer of watercolour was 2 typically neutral, ‘mi¢toned wash. | often lean towards a purple or greyish- purple fr this tage, but here | chose a neutral blue mixed with Utramarine Finest and a touch of Transparent Orange. (find this orange can have quite @ kick, so use it spain, butt brings lovely warmth.) applied the neutral blue mix wherever Isaw a shadow, Including the skin the hair and the whites ofthe eyes. used my size 3 brush for this and adopted a fait loose approach. Mastrators [After the pen ines were compete, | erased the initia penol sketch. Find cooler areas [My choice of colour forthe second layer of pant always varies. Pink tones, ere prevalent in my orginal photo, so I decided to get some of those down carly. With a mix of Permanent Carmine and Cadmium Red Ligh, I painted & light pink wash on the lips, nose, cheeks and ears, as well asthe neck, jawline ‘and brow. included some pink nthe hair too. | always keep an offeut of pape tohand so that can test colours ~ especialy useful when using toned paper.MASTERCLASS Add warmer tones Having applied cool pinks, | decided to counter thom with ‘2 warm gold mixed with Quinacridone Gold and Raw Sienna. Deepen your focus ‘The result when cried was more brass than bronze, which didnt Having established the less dominant hues, Iwas now ready for feet right me, soneeded adjustment ate on. the focal colour ofthis porta With @ mix of Transparent Orange, Burnt ‘Always Keepin mind there are no mistakes; Keep @ postive mindset | Sienna and Burnt Umber, | created a rusty tne which was applied ‘and tustin your ability to drive through any surprises. My portraits | mostly tothe hair A thinner wash ofthe same mix brought warmth to often come together atthe very end and ve learned toembrace the | the lips and nose | switched to a midsized Polina Brigit brush for this. creative journey, responding to both the source photo and the painting |. These beautiful handmade brushes have an incredible watertiolding Ise. 's important to enjoy the process.as much as the outcome. | capacty and tina them perfect for loose, gestural mark making. aa sere Represent the shadows “The longer spent with the photo, the more colours emerged. Some buer shades became ‘apparent, 3 | decided to include these nest. Unite your colours Wile looking at a photo, | always ty to paint My inal layer of watercolour was a thin mx of Cadmium Colours instinctively wherever lsee them, without too | Red Light to bring the neck, face and hair together with 2 ‘much anaiysis.Ichosoto represent the turquoise | touch of blush. | was ready forthe pastls. Often, when | got to shadows with a stronger tel shade, mixing Prussian | what fets ike the end ofthe watercolour stag, | wil eave & Blue and Helio Turquoise, which sat beautifull next | portrait and come back tot the following day. Applying chalky to the orange. Adding darker values in a strong pastol can be a point of no return so seeing a portrait with fresh Colour gave the painting more depth and character. | eyestelps me tobe certain Fm ready to put my brushes ava. > Aists & Mas JonasMASTERCLASS Find the brightest highlights The pal penclamgeinahed eng ne anions | with both cressihatchng and freestyle marks, Squirting whe Adda little fire After the patience requited forthe earler stages, t's @ great feeling ‘examining the source photo helped me to see where the ight touches the skin and hai. The advantage of using toned paper should now become apparent. Using Titanium White, Wory an LUght Flesh Tint pastel penis on toned paper provides strong hlglignts that help the portrait to bounce ofthe page. tobe playful with vbrant colour. For this potalt,Ichose to bring out the fey sunset shades of her hat | used Carmine Red Middle, Magenta and Light Flesh Tint pastel penis to accentuate the hair, ins and nose. I varied the pressure, as well asthe sive of ines ~ some areas, such as the cheek and neck, required soft cross hatching, while others could take bold freesyle lines. THitcertee were mts bt hte sue pet fad tno bwin’ abba nar aso oe pa pte se oyna ase fy Dorin atuang pu Sac vendeur Crowe reer Twose Swed Pye eee ath ‘ethno tna Beane seme tan tat oot ean ona soe wnat tnt ove ad tele otngmats rte ne aa 1D Mialshing touches like to leave nishingthe eyes until the very end as they can realy breathe life into the face fnished the lashes, being careful not to ‘make them too uniform an paying attention to their direction. | added ‘specks ofthe palest turquoise tothe irises, a touch of ight catchina the lower watertine, and pure white highligh hiting the eyebal. To nish, Hooked at the whole portrait, as iting to see Ifo the frst time and | made some tna touchas using lof the coloured poncis.@ARTISES’ VALUE BRUSHES ee ete ps DARIN RoHS Sar ote Cetin Cee Deeg ce ea ce en a alee Ken, Bromley Peer eee ee eden coo Art Supplies chemo ARTSUPPLIES.CO.UK GREAT DISCOUNTS Seer eid cae eo ae Prater Cie nee eee eens4. Linear Perspective To continue his series on creating a sense of depth i drawings, JAKE SPICER shows the benefits of adding perspective lines {the five aspects of depth that we are exploring in tis series, tis near perspective with which students struggle the most. However, rather than viewing linear perspective as.arigd set of rules that must be learnt by ote, we should see them as {ves toad observation, helping us to better understand our perception of the space that we inabit. 2 Artists & Hustrators ‘Our visual experiance Is more ike ‘one of Davia Hockney’ “jlner” photo ‘collages than its attr depicvon of ‘events, such as Leonardo da Vine's Perspectival Study of te Adoration of the Mag. Like Hockney's work, our brains sich together the snapshots ‘made by our blinking eyes to create a {alible, working impression of space. Liner perspective takes the distortion of depth and packages it Into'a neat et of rules that ean help us to construc theilusion of space on a fat page, but we must never be tricked ito thinking that i really how we see the world, ‘A drawing that attempts to record the human experlence of space as something inhabited, holistic and frogmentary mgt lean upon the principles of linear perspective but should not be limited by them, an lcileea Cees \ uaazines.com shop.PRINCIPLES OF DEPTH Basic principles Linear perspective stems from the principle of diminution: that an object lose to us appears larger than a ‘more cistantobjoct of the same size. ‘A magazine cover isa rectangle, ‘made up of two sets of parallel edges: ‘each pair boing of equal lengths. If we place the magazine on a table and the distant top edge appears smaller than the loser bottom edge: this makes: tho left and right edges appear to tit In towards one another. t we extend those diagonals they would eventually ‘meet ata “vanishing point’ that ‘magazine is ined up with the edge fa table, and that table i ined up with the edges ofthe room, then every single edge that's paraliel to those left and rgnt magazine edges wil aso point towards that same vanishing point, providing a point of ‘ference fram which an ilusion of the space could be constructed. Linear perspective Is most usefully ‘appled tothe bul environment and \we tend to use three conventional systems for representing subiect within inear perspective, which | will explain below. ‘one-point perspective ‘Wwo-point perspective One-point Perspective ‘ene remain parallel in appearance Cne-point perspective isthe simplest ~ the ather two dimensions have their Sea onsoneunenresea Ds Rpeeaeleeplareireiey peentacberan E BE Sorcesmenranteos a Re trea isc altt noni recbasatameacas (aan ecmeaans oe Tyoaaiecunecanel siienamannrene: Seeriereain a eeeeeaten, eaceenuees Se, Cone eee oe a co | altering, | emeruiepsrenan ee me ‘assumes that the verticals in the vanishing points. > Anists & Mustratons 63PRINCIPLES OF DEPTH When making an observational drawing ofa space, an understanding of tear perspective is of siiler Importance to an artistas the knowledge of anatomy isto someone Inalife drawing class ~ in other words, linear perspective should support. rather han detract rom, observations ofthe subject Here are afew practical ideas to support your sketches: 1. Informal perspective When a student making observational cravings says that they need to “loam perspective, itis often @ rmisciagnosis; what they really need to {do sto learn to se the shapes that ‘make up the subject infront of them Whether working fom fe or @ photo, tartan observational drawing, withthe shapes you see in front of you, not a rig set of construction lines. 2. Recognise parallel lines Take a moment to look for known parallels inthe sane infront of you. 24 Artists & Hustrators ‘re the rows of houses on beth sides ‘of a street parallel to one another, for ‘example? Is the table ined up with the edges ofthe room or does ithave its own set of paralels? Ifyou can't ‘see many natural occurrences, near perspective might not be the tool to ‘applyto this drawing. 3. Establish extremes ‘Once you have noticed which Ines are parallel find the highest, lowest and ile tines in set of parallels and ‘sketch them on your drawing, carefully Judging their respective angles by using pencil or other straight edge held up in front of you. Think of each ‘angled edge asthe hand ofa clock = what time ist pointing towards? The ‘three lines should reughly converge on a single vanishing point. 4, Find an eye ‘The phrase "horizon line” is used to ‘doseribe the line an which the vanishing point sit, but tcan be misleading. as it doesn't necessarily refer to the horizon ofthe landscape. Standing ona fat plane that you share with yoursubject ~ street. sy. oF the floor of @ room =the horizon line of receding two-point perspective wil sit ‘exactly at your eye level. You can test Itby sticking tape toa wall at eye height atthe end of 8 room wih floorboards or les: as you step back their vanishing point wll bein tne with your eye line, whether you arelying on the floor or standing on a ladder. Because of his, youl see the Underside of parallel surfaces that are ‘above your eyeine and the top side of parallel surfaces below your eye tne READER OFFER - SAVE £9! ‘Artists & Mustrators readers can buy Jake's new book, Figure Drawing fora ‘reduced price of £1, including UK P&P. (Order by caling (01235) 759555 ane ‘quoting the code: 9952100052" Offer ends 20 January 2022, aug nursEXERCISE Cesena oe een ere neti errr tied Pree ery lines ofthe scene, using adfferent eee eet ee eet eee cee with a vanishing point, which in turn er ee Cone ees entrar rcs sy eee Pers cee ete focusing on your observation of poe eee Cree eed eee en ee eee cs eae Cees ee erty PSN)METHOD Golden Age illustrator Andrew Loomis developed a structured way of drawing. LIZET DINGEMANS gives a primer to his enduring techniques ists have always been fascinated by the endless variety ofthe human face and features. Some artists made it their primary pursult, while others have used the art of portrait drawing as 3 ‘means to an end. One of these artists was Andrew Loomis, who rose to fame Inthe 1920s and 1930s, during the Golden Age of lstration in America. Loomis was part ofa select group of illustrators, such as Harvey Dunn, Dean Cornwell and, of course, ‘Norman Rockwell, whose names remain an inspiration to this dey. Many of these great ilustrators were ‘also accomplished teachers and ‘much ean still be learned from thelt approaches today. etd the head is one creel ca rg cee ofthenose pore erred 8 Ariss & Musa these methods, ane ofthe most amnous isthe “Loomis method" for ‘drawing heads, which was lia out in his 1943 book, Drawing the Head ‘and Hands. This method can be @ Useful way to break down the human head into understandable blocks and ‘ves you the freedom to add the Porat to your own work without ‘ettng lost. In this article | wil cover the basic rules and proportions of ‘Andrew Loomis’ approach, gving you ‘a structural method for drawing the head that you wil be abe to use ‘ettner as supplemental knowledge ‘when working rom lif or when ‘reating standalone paintings. Before we stat | want to take you ‘through the basic proportions ofthe head as outined in more detain Drawing the Head and Hands. have made a schematic drawing of the human head, superimposed ona photograph, using his standard approach to measurements. Note that these proportions are idealised there ise huge amount of variety in portraiture and these measurements ‘are by no means one size fs a, but rather a place to start making sense of each sitters’ inaividual eitferences. In the diagrams below are some things tht will help you structure the head, suchas the eyetine tending to be located hafay down the skull The Loomis method ais involves solting the head into halves and thirds to simpity the structure,TECHNIQUE 8 Ariss DEMO Now we have established the main riniples, let's get drawing. The Loomis meth allows you to build fa structural head on which you can place the festures and i allows you to ‘raw a head from any angle. drew on ‘newsprint paper with Coates willow ‘charcoal and a General's Peel & Sketch charcoal pencil also used a Faner Castell kneadable eraser and @ ‘Cretacolor paper stump for blending. Lots bogin with measuring. Start by placing the top and bottom of, ‘the block ofthe skull onthe page. ‘This wil decide where the portrat willsiton the page and also be the ‘measurement with which all thers will elate. Foon this by pacing the centre lin and dividing the face into thie, while also marking where the ‘main features wil sit Instead of drawing rom the wrist, {ty standing beck a bit futher and ‘use your whole arm to shade. This wil Jetyou apply even pressure on the charcoal and make it easier to create Jong, flowing ines. Now start adding the main planes ofthe face, as well as the “wheel” ‘ofthe skull. When figuring out the ‘width ofthe front compared tothe side planes, keep in mind that, general, the skull wil be about wo thirds the wiath compared tothe telat, Drop down some vertical Ines to find the sides ofthe nose and start ‘adding some features too. IF you are happy withthe Dlacement of the features and ‘main planes ofthe skul tis te to start adding volume. Make a note of the drection ofthe light source an start shading the basie shadow ‘shapes inorder to make the features {eel voluminous. In my example, the ‘ig came from the top left and therefore Ishaded the planes turing towards the bottom ight. [Athis point, dort worry about any detals, the main thing isto establish ‘some volume to your forms. Always ‘work rom bigto small shapes. Imagine yourself asa sculptor, Chipping away ata block of marble you woulart start wth the eyelashestHaving shaded the main blocks ofthe face itis time te Bull up the tones. Form is the key thing to look for here. Keep imagining the shapes undemeath the features ‘and try to continuously preserve ‘and build on that orm. ‘Suitching to a compressea charcoal penel wil allow you to go arker inthe shadows. Ty not to wotk inside the shadows at this point; Instead, wor alongside the shadow ledge, bulding up the tone tere, Now its time to add smaller shapes. Ifyou are drawing on toned paper, addin some highlights Using white chalk you are using white paper, 35 am inthis example, you can ais tone the paper by going ‘over the whole drawing lightly wth tissue, so the drawing till shines. through, This wil allow you to pik ‘ut the highlights using an eraser. Connecting light and dark shapes ‘makes the drawing stronger. For ‘example, the highlights inthe eyes fare not isolated dots, but rather ‘extensions ofthe whites of he eves. To frish the drawing, Keep adding smaller and smaller volumes as you ald in steps four and five. Pay particular attention to the edge ofthe shadow shapes. Shadows don't ‘need much intemal information but stingushing between form and cast shadows can realy make a difference to the realism of your drawing Letyour pencil or charcoal lines follow the underlying forms when shading. Note how the lines around the mouth follow around the lps. vo lzetdingomans.com TECHNIQUE WHAT IS “COMPARATIVE MEASURE MEN Aists & Musrators 89a Dull weather shouldn't mean dull paintings. GRAHAME BOOTH shows how looking a little harder to find strong light and dark shapes can add interest to even a mediocre scene Col Tel Dea toKedDEMO et eee Cea ey Utramarine, Winsor Blue eee Ets Pee ey ed Professional Watercolours uy Son See) Seer et ota) eee — eer See Carty Porn ncn Make a light wash | always begin a painting with ‘a simole overall wash using any large soft brush, such a8 8 ‘squirrel mop. This frst wash is c|ffectively the lightest pat ofthe painting. $0 try to make it strong, ‘enough to be worth doing but not so strong that | compromise my highlights. I don't draw anything atthis stage, | simply layin colour roughly where its inthe subject. Here used a mix of Winsor Blue (Green Shade) anc Quinacrdone Magenta for the ‘ky, adinga litle Burt Sienna for the buleings. dropped in spots of stronger Indian Yolow ‘and Winsor Red where the boats ‘were, which looked strong but remember that watercolour dries lighter. | used a piece of kitchen rollto lift out some highlights on ‘the roof windows and on the transom stern of the boats Pick out clouds While the sky wash was stil wet, !could it ut slight lighter, softedged clouds, | used 6 scrunched:-up paper towel for this, but Ihelditas it were a brush: back from the tip and without Dressing too hard. tis important ‘that you don't eave ary paper vier you want your clouds to be: ‘the watercolour paper must be wet fr this iting out technique ‘0 work correctly. This s easy with practice buttake care as you can easily end up with disconnected clouds all oer the sky. Focus on shapes [A this early stage Itried to ‘void detail Instead, | used my size 24 brush to apply alight background wash, varying the coo! colour and softening parts ‘ofthe upper edge. Tis wash was. based on a stronger version of my ‘ky colour with a touch of indian yellow to aca green tinge in places. For the bullings, | again use a stronger sky colour, but tis time with more Burnt Sienna tocreate varied greys. lereated hare edges slong the outside but alowed everything to Blend within the area of the buildings so that | ‘essentially created a single darker shape. took great care to ensure that | dnt paint over the lightest parts of my subject. Compare tones {was important to continually compare tones. I eould see inthe subject thet my pontoons and walkway were lighter than the water and so added a second wash over the water, again using Winsor Blue (Green Shade) with Quinacridone Magenta, painting around the light pontoons. left few light > Anists & Musratorse,DEMO lines from the frst wash showing, ‘to suggest a tie movement on the water. Punch up colours used stronger versions of the previous washes to hint at more detal | was careful not completely cover the previous washes as | would lose my precious lt {also used a strong orange mix (indian Yeliow and Winsor Red) ‘as well as Winsor Red and French Urtramarine to suagest the boats. " yeated the boats simply a shapes, trying to paint only as ‘much as | saw with my ayes half-closed, rather than what knew to be there. Pick out details Itwas time to paint what litle deta! | planned to ad. Using Burt Sienna, | hinted atthe e2 Artists & Hustratrs planks of the walkway and the nearer pontoon taking care with my perspective. A touch of Winsor Redland French Ultramarine gave mea hint ofthe ensign and \Winsor Blue (Green Shade) with Winsor Yellow oreated the bight green of the pennant. Shape the forms ‘add a weak shadow of palette grey" the muck n the comer of my mixing wells! ~te the yellow bulaing. Ths was strong ‘enough only to give litle shape tothe building, not to compete with the stinger darks | added ‘around the boats. I added masts and posts with ‘a mix of Burnt Sienna and French Utramarine, using an old worn size 7 sable brush to lift out colour where the lines passed ‘vor a relatively dark background. Litting out can be achieved with 2 simple scrubbing action and 1 damp brush Even staning colours wil lighten as long. as they have been applied gent. Change perspective "added a stroke of water to ‘he upper part ofthe mlipond and Immecistely painted wash of French Uitramarine and Burnt Sienna into the bottom of it "continued the wash down the paper, strengthening as | went, eft afew ight areas for varity ‘Tocomplete my painting, ‘turned my board upsiae down (to avoid the risk of runs) and added a similar wash-in-wator over the sy, keeping everything softer and slighty biased more towards {urnt Sienna. | added a couple of barely natceable figures as well as afew final dark dots and ashes to finish www gahamebooth.com* TOOLS YOU NEED TO w 8 a a & 5 it = a 3 S iu Ff a S rt shes Siting: ual travel bags ofr ee . encase > ( Be inspired by the natural world Visit us this December and get crafty on ‘one of our festive art and craft coursest «Natural Christmas Wreaths * Stained Glass Christmas Decorations * Stained Glass Stars, ‘= Weave Christmas Decorations “We ‘Angel * Christmas in Pen and Ink Ve also have a range of creative courses available in spring 2022 if you're looking, to learn something new in the New Year. Visit: wwwafield-studies-counciLorg/arts [Rr Brand New Products Arte from your favourite brushmaker Haro at Po Ait we've boon busy, very busy Coss of bth Squinal and Scbie no nave ison ctomatcaly necasseling @ noed for aternatves. ‘ner painstaking research ond development in oder to sole this problem, we bing ou a brond new product OF Soblone tly synthe vason of Sab, ashioned tom ‘bend new syrneticforeris which mime mony ol the properties hat nature created Pro Alte have akon a vay those ‘oth he look and ne fo! (of b)9 ke never Defoe. For ae overs ie ee omens M cieeriaien Rip, waoniiaecwees Pro Ao, Pork Mil Brougham Stoo, Skipton, 8023 29 ‘el 01755 792929 + Fex 01758 790909 fedminaipoarte ca.ue * wu poareco.uk @ rotow ws eninsagem aproatebnuner I] Ftow us on PoatebusnosYour paintings can be enhanced by ugfng ngbre than one media at a time. AINE DIVINE’s expegigfental series concludes with a floral painting using cut-up elements ‘ew subjects contain as much | 28 lowers they are so alive, rchiy coloured and deeply attractive to paint ‘The spit of play isa very useful thing tohave in your creative practice and flowers encourage that in me every time. n fact, during the lockdown, "believe itis what kept me on an leven kee and also kept sense of hharmony at home. Working inthe livingroom, twas surrounded by flowers, or paintings of them, and it was a lovely atmosphere tobe in (One athe main ingredlents in my recent foral work has been collage. ' could onl stisyingly explain the free, dancing action ofthe various flowers by adding bits of torn paper extending beyond the page ~ ‘a nightmare for the tamer, but joy for me. tft ike the shackles were dropped when | was making those paintings, as the flowers’ yearning for light and freedom merged with my own, ‘Another medicine forthe souls. playing with colour. When setting up ‘my floral compositions, I often tune into how | felt: what colour tablecloth, vase and flower combination ds I fee! like painting today? These decisions were the heginning of the creative process for me. often set up the right before, sometimes even splashing ona colour forthe background or cloth soit was already fon ts way an | could launch right In after breakfast. (Our focus this month is the joy of collage. You can't beat the citdike playfulness of tearing and sticking yetyou can stil achieve impressive results itis dane inthe right way. 4 Ants & Mlustrat‘Begin by seting up your subject on a table: flowers, @ cloth, a teacup. (Choose anything witha pattern or colour that you love, No matter my ‘mood, ! am always inspired by this lite blue ug, $0 pickea some flowers from the garden to put in it ‘and embellished the bunch with some rowan berries from my moring walk | wanted harmony in the painting and 50 chose a blue velvet tablecloth | set the flowers and easel up so that the light fling on the flowers ‘appealed to me. Then | made sure that there was nothing distracting Inthe backgroure. The flowers were deliberately sat at eye eve. lke to look across at them, to witness the spaces between the flowers and the shape of the jug clearly. The next consideration was to sot mysotf up, so fot comfortable. | needed enough light on my easel and tobe close enough tothe flowers. also wanted e large surface neat me fr al the collage paraphernalia there are a lt of options in mixed ‘media, so make some space so that you can easily access what you need when you start to create. Collet together collage papers, anything will do. often use snippets from gardening magazines ~ once ‘there's a layer of PVA gue over them, ‘the pages retain their colour wel Origami papers are also lovely. used paisley patterned origami papers in the background for this painting Tearing appeals more than cutting, 35 it angenders a feeling of confidence as ip the colour I want with ‘oursh. Often the ripped piace is Just the shape needed; it needs adjusting the edge can be easily restated with cl pastel, paint ora simple line of ink drawn witha tion. >MIXED MEDIA DEMO Jug of flowers Place the shapes I started with @ Payne's Grey background applied witha large flat brush. This provided tne main shade behing the flowers and allowed me to begin to explain the volume of the flowers as well as the shape of the Jug. This stage is. as much about removing paint as itis adding It the bulge ofthe jug was indicates by removing the paint with a wet rag before it ies Draw the lines Piacing masking tape along the tabletop alowed me to paint the grey background cleanly | then covered the grey with tape inorder to paint the Cerulean Blue tabletop with freedom, knowing fa keep the clean tne. ke varying the consistency of paint in diferent pants ofthe painting, 0 the runs of blue served to contrast withthe dryorush background swipes. Begin to collage ‘The switest way know to explain aumble of leaves ina stil ite a9 isto paste an torn pleces of greenery ‘rom gardening magazines. Yeu"! notice some painted paper collage 100. love to use up old pant by preparing sheets of paper for use as Collage. These inky green and blue pieces were Just what | needed here. Drop an anchor et ike the bright yellow flower facing me was signiieant, so wanted toestablish it early on as an anchor tothe painting. could then locate ‘other Rowers in space according to {heir reationsnips with this yellow ‘one. The stronger colour was also useful for relating otner colours to it ‘The orange flashes were also Important establish ear on, as, they danced on the outskirts of the ‘7oup and expanded the whole image. Collage was ideal fortis as the loves are movable ana bright: they ‘stood out in rliet fom the support tohelp further eserine the tives: dimensional petals Introduce patterns | used a stencil to stipple on a pleasing pattern for the jug. This helped sett apart clearly, as the ‘geometry ofthe pattem contrasted with the organi, chactic marks elsewhere It’s worth noting the dark green in the leaves here. Hookers Green mixed with Utramarine Blue and Vandyke Brown gave me a good dark to hang the composition together and to contrast with the brighter flowers. Get your hands dirty 2s | continued to make order ‘rom the chaos of marks, | painted ‘thicker appiation of Payne's Grey ‘onto the background between the flowers. As the tone in the wall varied, | mixed it with white to lighten the «rey in places. My sim is always to keep my brushstrokes lively and loose, while responding as faithfully {san tothe shape ofthe negative spaces | see. The purple daisy-ike flowers were placed with collage paper and | used my fingertip to ‘dance on the red rowan beries over the dark green fling. Loften use my fingers to manipulate the paint, the frst mark you make isnt quite what you want, Seif you ‘can change the shape with a swipeMIXED MEDIA ec Har ae peer ofa thumb rather than a brush. I can ‘eel good to physically engage with Your artwork and get your hands dit Be dynamic | higtignted the brlgntest berries with re ink on my fingers, while of pastels embelished the orange and Durple towers. A thin sick ciped in Indian ink aso helped me clarify the petals. ofthe yellow lower and various leaves. Soft pastels came in useful for the bright green sunit leaves and another stencil created some patterns inthe bottom lft comer. | wanted to keep the action on the tablecloth to one side only as it fet ‘more dynamic tis way. | also sought twestablish the energetic direction of every ower and leaf there were so many curves, ares and angles in each, | aimed to find the single most dynamic direction and swept it in with conviction. ve alnelvinopalntings.co.tkPo The Royal Watercolour Society member tells STEVE PILL his tips for drawing complex subjects, balancing bold colours, and suggesting details in just a few simple markspe A Vins. TOS SD Yes. In 2020, pefore things locked own had already been to Malta, to the carnival, and then a things were inthe process of locking down here, we were in South Arca, ‘and then when | gat home, | decided to take time to go through der things ~ things that put to one sie, projects that hd been shelved, o ones | wanted to go back towhen | had more time. | generally work inthe studi fom sketches and Photographs that | gather on sie, so ‘that was a normal thing for me to do. ‘There are a numberof paintings of Paris and Ive always been interested in ites. place. I's so steeped inthe history of painting and ve always ‘made short visits there. One ofthe things that Id with my adult, leamers during lockéown was a short course on the cy of Paris in art history, so ats, photography and fm. Iwas something | was reading about and thinking about as wel | suppose Ido and | don't. Ihave a slighty haphazard approach to technique and fm not by any means HOW | PAINT 2 standard watercolours wh would build up a picture from very light washes. | sometimes experiment with ‘acrylics and inks as wel, 80 do have 2 slighty idosyneratc approach and that may be because | ook at so ‘much ar. I quite tke the idea that a watercolour bears the traces ofits history | always draw in pencil before | start using paint, so 've got an utlne of the composition beneath ‘and | sometimes look upon the palntingas blocks af colour in quite ‘an abstract way Sometimes I might have an aim: for Instance, to vist a historic place orto ‘make some sort of record. Often what find mse doing is putting that to fone side and looking for accidental inspiration. In Greece, | had the idea that there ‘might be a wonderful ishing port wth lots of activity and such tke. twas. ‘never there ata time of day when that was demonstrated to me, but actualy there were quite a lot of lovely details, like nets and ropes and upturned boats, which I made a numberof pictures of, I's about leaving yoursaf ‘pen to finding things and not having 00 preconceived an idea, realy.HOW | PAINT Most recently I've been using a ‘combination of pene and pen and [a.sketen on location] tends to be an ‘outine ofan idea which means something to me ~ and that might be something very sens, very rough and realy quite unattractive. I don't develop a more considered drawing unt ve gota bit more of an idea that this is something want to focus upon in my painting ‘What part does photography play in ‘composing your pictures’ Invaries. do take an awful lot of ‘photographs. With some ofthe paintings, you could finda photograph in my collection that is pretty close. The bests to have six or eight reference photos. If have too mary, HT Steps, Koro, It gets confusing Ihave too fe it Peloponnese, _may eel something is missing, Greece, watercolour ‘onpaner, 63x34em Boulevard Malesherbes has @ rather BELOW Boutevard overwhelming perspective, How dd Moreverte de you come up with that composition? Rochechouart, was. a kind of patchwork. They are watercolouron wide boulevards and Ido have @ paper, 2453em number of panorama shots. ‘yyTre passersby came from Includes writing down the name of@ evening, but then the next morningit ABOVE Soutevars sketchbooks and one or two of them place orthe name ofa bus that gets looks Ike Ive gone wrong somenow. _Maleshrbes, aris, ‘appeared inthe photographs. quite you there. They lve abit longer, do tend not to throw things out Ke watercolour on liked the idea ofthe grand facade because they area diary, you ike, to put things to one side and see if pape, 115x80em withthe trees dancing across it, ofa period oftime spentin a place. something could be made of it that was the visual treat oft |don't make finished pictures inthe prefer tobe working on a group ‘sketehbooks. Ihave very rarely torn of pictures too. At the moment, ve n b ing Something out ofa sketchbook and gota dozen quite big paintings that sketchbooks t find new sour puttin a frame. Fm trying to do tied to just eral for paintings recently, have concentrate on one things may £0 come better at knowing what Yo ronan relation to everything else, ory drawings 50 ke to move in and around and nd what doesnt? ha always been very jealous of and uso. What Between them. And t means f seven people wh have very complete tings wll cause you to start again? do go wrong, Ive stil got ve let. looking sketchbooks. Mine lock a common thing would be an apen bitmare spasmodic. That's party __and enthusiastic use ofa great block sv unatraid of bright because sketchbooks arent of colour, that then becomes really colour. something! use inthe stucio: quite dominant in a way that ldon’t Yes, I probably sek them out. use them out and about. and they _intenditt. Ora piece of drawing that The place thats not represented in ‘become lke notebooks, £0 that looked good when Iwas doingitin the this current exhibition, but whic Ive >| suppose the paintings that go right ‘88 opposed to the ones that go ‘wrong, have often gotan element of ‘quay in the way in which the bold colour is placed on. That may be that ‘a colour has been placed sensitively in relation to the rest ofthe drawing ‘rit might nave a serendipity which lean just retain, a splash of yellow painted many, mary times, is Malta. a very pale, yellow land. Colour has wall or whatever My solution to painting Malta is big always been the wayin which I solved areas of colour because the island painting ther. : has bright sunshine most of the year anda great contrast between avery Itcan be oificul bie sky, a very green-blue sea and 4ABOVE Inthe Bo.Koap, cae on paper, 34652em vec Four oper 39%532m Sometimes what l would do would be topaint on damp paper. | might damp the enti sheet or wth a larger Stretched sheet of paper, I might dampen a section and allow the paint tof. fyou [experiment lke] this, it becomes important to realise what you've done, leave it lone for a while, ‘and then come back tot. ‘re you particular about the paper youuse? | most often use a smooth Saunders Waterford 300g5m paper, which | would stretch using gum strips. | sometimes use a rougher Saunders Waterford paper, whichis 480gsm. | use that for smaler pictures and, because that’s heavler, | don't need tostretch that. | gather you stand wp to paint [Not slumping off to sleep, suppose! | nave the watercolour paintings on @ raised fat surface I's @ standard ‘uestle table, butitis higher than you would have a desk. encourages you to not get Involved in the ricky details and to ‘think promptly. Ana you do work more ‘rom the shoulder rather than the wrist if you'e standing There fs lots of lovely blac line work In Rue du Faubourg, Montmartre. s No that's all watercolour. suppose the way in which I could ade ‘observations and bring the ‘composition together was to work witha smaller ine, but rarely use en or ink ona painting is always paint of some sort. So, the detailed work, where you've added areas of lighter colour over darker passages Is that all watercolour as well? Yes, itmay well be. For larger Pictures, I would often blockin using a wash of acrylic paint. use Golden Fluid Acryl, is quite intense paint that you got initlebotties. HOW | PAINT use fess gouache now than | have done in the past, but quite ke the quality oft insolation ~ can add ‘an extra ft texture, which can be duite interesting. Just afew choles marks, How d0 you plan those out? | suppose its @ question of showing the depth ofa scene, about making ‘equivalent marks forthe dark interior ‘and the things in the foreground, without thinking: sit a book? Is ita dress? Is it @ shoe? {im na the sort of person who would record exactly what was in the shop window, fm much more interested in ‘the overall impact and effect. Youve maintained an experimental approach, yet always produce gallery auality paintings to sel {re there certain things you always ‘ensure you do to achieve this? 1 probably time and thought spent with the painting. The things that do fina their way toa gallery are generally things 've spent time and thought with. | stopped oil painting because | ide ike the materials, they didnt ‘agree wth me, realy, so | decided | would specialise in watercolour. ‘The clamour fr my watercolour paintings has never stoppee and fm hhapay with the variety of marks and the freedom that watercolour allows. wn poteriquionongBreeton Ask an Artist’s PETER KEEGAN continues his three-part still life painting workshop by sharing a foolproof way of mixing colours based around two simple questions colour offers usa rich spectrum of potential ‘and excitement in our paintings. For many artists, the allure of colour can be the Sole reason to pick up those paint brushes. Unfortunately, simply playing ‘ith colour without having a deeper understanding of how cferent Pigments interact can often lead toa paint surface that is dull ]and muda. However colour does not have to bea scary or complicated subjoct ‘ether. Infact, approaching it by‘asking ust two simple questions can lead usta make better choices and {ve us the ability to mix accurate Colours that are rch and delicious. Colour has several properties, but the most important here are tonal value (how light or dar its) and temperature (how warm or eaol it may be). The trek is toask yourself ithe colour in the subject appears lighter lor darker and warmer or cooler than the one in your palette. In doing s, you ml find the right way to mix a colour, accurately, st time When tm mixing @ colour, the frst thing do is ask myself which colour ‘ony palette is closest to my chosen ‘subject. nthe example on page 76, | was trying to match the colour of ‘an orange (rit witha palette of primaries ~ red, yellow and blue Idide'thave a pre-mixed orange ane I saw the fut as more of @yellowy- ‘orange than a redalist-orange, so began my mix by moving some Yellow into the cant of my palette. (aftwo colours ar squall close, my STILL LIFE WORKSHOP tip is to start with the lighter colour) Looking at the yellow, lashed myselt the two important questions: D0 | need this to be lighter or darker? And {| need this to be warmer or cooler? | could see the fut was warmer in ‘temperature and darker in tone, 80 the abwious choice of pigment to introduce to my mix was red, as tis both warmer and darker than yellow. | now had a good, rich orange but it ‘was not yet an exact match. It would be tompting to accopt that it's near ‘enough, but youre aimingfor >STILL LIFE WORKSHOP eater accuracy its essential to _there are afew options. Adding white Adding a touch ofa complementary keep asking those two questions and may cool a mixture, but tan also colour those are the colours found Fefining urther unt you reallydo lighten ttoo much. Overuse of white opposite each other on the colour havea closer match, can also lead to chalky, at colours. wheel, such as orange and blue) is ‘When compared my orange paint What Ieallyneeded was a colour alwaysa clever way of keeping any mixture and the fuit(and compare ig that was cooler in temperature and colour in check. ‘the important word here), Icould see lighter in tone. This s where blues Sonext time you are strugging to ‘that my paint wastoo intense. 1als0 come nto their own. By addinga Ite mia colour, askyourself those two atic that my mixture seemed too blue, the intensity of my orange ‘imple questions and constantly ht and could be cooled down 2 mixture was knocked back a bit ‘compare your mix until you manage ‘ouch, When getingto this point, without over ligntening te tone. ‘twachieve your target colour. DEMO wiped away the greasy moisture Subject of the residual ol paint to give a For this painting. chose to painta smooth, thn and even coverage bow! of colourul fruit, fesh from the Using the same Yellow Ochre armors’ market. ve arranged the mixture with ite soNent on a ize {rultin away that provided me wien brush | divided the board Into four ‘a ange of ciferent tones and colour equal sections and began aloting ‘temperatures that would prove atest what! saw before me. Istarted wth torecreate in paint From the warm the bowl, followed bythe fru, colours ofthe oranges tothe cooler Keeping the drawing as simple as sreens ofthe pears and almostbiues possible. then shaded the darkest ofthe plums, there was plenty of tonal areas ‘mixing to be done with my imied, primary-based colour palette. | started painting the brightest, boldest colours on each fut = Materials in this ease, the oranges. made the Paints bright orange colour with a mixture of Tanium White, Yellow Lake, Yellow Yellow Lake and alte Scariet Lake Ochre, Scarlet Lake, Alzarin Crimson, witha size 8 lt brush. Where the Transparent Oxide Red, Cobalt Blue orange became darker, added more ‘and Utramarine Blue, allMichael_Alzarn Crimson tothe mixture. As | Harding ol colours work, 'm constantly checking the Brushes mixes on my palete against the fut Rosemary & Co Ivory shor at infront of me, adjusting as necessary. brushes, sizes 2,4, and 10 Support | eeated al the oranges as one Primed pywood board, 21x24em single, large area to paint putting Low-odour solvent all the bold, strong colours down fst, Rags followed by the darker ons, and then finally all the lighter marks. I used a Process dash ofthe Ultramarine and Scarot "began by gvingthe board a wash Lake mixto get the warm dark of Yellow Ochre ta match the Ssadow under the oranges and more wooden bow and bringa warmer Yellow Lake witha dash of Ttanium {quality othe whole painting. then White to show where the highlight wil