Lei Spain 0318

LP June cover £4.
40 V5_News 1st 28/03/2018 13:16 Page 6
THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE
Portraits
in miniature
JUNE 2018 £4.40
BEGINNERS’
WATERCOLOUR How to paint
from photographs
PAINT BOATS AND

HARBOURS IN OILS
NEW SERIES!
Paint weather
effects in acrylics
SPRING FLOWERS
IN WATERCOLOUR
STEP BY STEP
still life using
coloured pencils
!
FIRST STEPS SCRATCHBOARD

with water- step by step
mixable oils for beginners

TRY THIS! HOW TO PAINT

Watercolour the texture of
on canvas metal and wood

Norf
orf
rfo
fol
olk Pain
inti
nti
ting School
Experi
erieenc
nce Day 2018
01
Join
oin Mart
art
rtin
tin Ki
Kinnear for an ins
nspi
pir
irin
ring mix
mix of ideas & demonst
nstr
strrati
atio
ons
Sat June 23, 11am-
m-3pm, ti
ticket
ets £10 fr
from the School,
l, inc a li
light lunch.
E: Jane@norfolkpaintingschool.com T: 01485 528588 W: norfolkpaintingschool.com
Ins
In
nsp
spir
sp
pirin
ing
ng an
and
nd ins
ins
nsttr
truc
ucting
ing
ng oil
oil pa
pain
int
nters
ters
rs sin
inc
nce
ce 20
200
007
p02_lpjune18.indd 1 05/04/2018 11:11:46
3 welcome_Layout 1 09/04/2018 11:37 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 52/6
ISSUE 574
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
JUNE 2018
Editor
Ingrid Lyon
Contributing Editor
I am confident that you will find within
these pages plenty to inspire you this
month. If you are ready to walk in the
Jane Stroud
Editorial Consultants footsteps of the Great Masters and paint with oils, but concerned
Diana Armfield RA, NEAC (Hon), RWS
David Bellamy about how you will handle the fumes associated with this
Tony Paul STP
Advertising Sales traditional medium, why not explore water-mixable oils? Murray
Anna-Marie Brown 01778 392048
annamarieb@warnersgroup.co.uk Ince introduces materials and techniques (pages 12 to 17) before
Advertising Copy
Sue Woodgates 01778 392062 demonstrating just what ten colours can do for landscape
suewoodgates@warnersgroup.co.uk
painters, and proving that water and oil mix after all. There are
Accounts
creditcontrol@warnersgroup.co.uk more water-mixable oil tutorials planned over the year so this
Events Manager
Caroline Griffiths is a good time to try painting with a different medium.
Subscriptions & Marketing Manager
Wendy Gregory
Another newcomer to our pages is the celebrated miniature
Subscriptions portraitist, Bill Mundy. Bill’s articles, featured this month (pages
Nicci Salmon & Liza Kitney
01580 763315/763673 30 to 32) and next, launch a series of tutorials and
subscriptions@tapc.co.uk
Online Editor demonstrations by well-known miniaturists. I am in awe of the
Dawn Farley
Designers
detail and time that go into producing these tiny gems that must
Alison Renno fit in the palm of a hand when framed. Even if miniature
Sarah Poole
Leisure Painter is published every

painting isn’t your interest, over the coming months I am sure
four weeks by: that you will gleen helpful information on drawing and painting
The Artists’ Publishing Company
Limited (TAPC), Caxton House, portraits successfully.
63-65 High Street, Tenterden,
Kent TN30 6BD We also publish the first article in a six-month series on
01580 763315
www.painters-online.co.uk painting the effects of weather in acrylics (pages 35 to 38).
Publisher
Dr Sally Bulgin, Hon VPRBSA Tim Fisher begins his new series with a look at how to paint
Publication of an article or inclusion of cloud, wind and unsettled weather, but there’s a plethora of
an advertisement does not necessarily
imply that TAPC is in agreement with tutorials on changing weather patterns ahead. I hope you have
the views expressed, or represents
endorsement of products, materials fun with the techniques and effects achieved.
or techniques. TAPC does not accept
responsibility for errors, omissions You still have plenty of time to enter your best work in
or images received in good faith
David Bellamy’s sketchbook challenge, which we launched in
Annual subscription rates (13 issues):
UK £47.20; USA $80; Canada $92; EC the April issue (your deadline for the first challenge is 15 May).
member countries €67; all other
countries (sterling rate) £57 Don’t forget to take on the task each month – we love to see
Foreign currency prices include bank your work.
charges. Payments made by credit/
debit card are taken in sterling at the
rate of £57
Printed by Warners Midlands plc,

The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
INGRID LYON Editor
Newstrade distribution by
Warners Group Publications plc
(Tel: 01778 391000) JULY 2018 issue on sale 18 May
www.painters-online.co.uk JUNE 2018 3

LP05_contents_News 1st 09/04/2018 13:23 Page 4
Contents JUNE 2018

36
54 25
48 12
25 Watercolour basics and beyond

IN EVERY ISSUE Part 6 Use multiple washes to build up
your watercolour paintings in layers, by
7 Diary 74 Art clubs David Webb
Things to do this month News, highlights and exhibition
listings 30 The world in miniature
8 Exhibitions Part 1 Bill Mundy introduces the history of
Some of the best shows 78 Online gallery painting miniature portraits before discussing
around the country Jane Stroud chooses a pastel the materials and techniques you can use
landscape from PaintersOnline
10 Letters 33 Lock and key
Your tips, suggestions, Elena Parashko demonstrates how to paint the
ideas and questions texture of old wood, metal and string in the
painting of a lock and key in oils
36 Weather report
Part 1 Begin your exploration of acrylics as you
paint cloudy, windy and unsettled weather, by
FEATURES Tim Fisher
12 Water and oil 40 Boats and harbours

Murray Ince introduces water-mixable oils How to compose simple and effective scenes
and the materials you will need before of boats, waterways and people in oils, with
painting a bluebell wood Christine Pybus
18 Painting project 45 Welcome to the dark side

Part 2 Follow Colin Steed step by step Part 2 Follow Jenny Dalleywater step by step
as he paints an old cottage in watercolour as you produce your own scratchboard portrait
On the cover from a reference photograph of a cat
Colin Steed Swallows Rest,
watercolour, 15x22in. (38x56cm). 21 Painting project 48 Watercolour plus
Learn to paint old buildings from Part 1 How to paint a spring landscape Part 1 How to paint larger and looser
photographs on pages 18 to 20 from several photos, by Jem Bowden watercolours on canvas, with Liz Chaderton
4 JUNE 2018 www.painters-online.co.uk

LP05_contents_News 1st 09/04/2018 13:24 Page 5
Coming
next month
From exploring drawing methods to painting
reflections in acrylics, animals in watercolour
and buildings in pastels, enjoy another month
of painting practice with the July issue of LP
4 25 ON SALE 18 MAY
n Practise the direct
method of watercolour
painting with our back-
to-basics series
n NEW SERIES! Paint
street scenes in pastel
n How to paint puddles
and reflections in
acrylics
n Go big and bold with
watercolour on canvas
n Easy steps to simplify
your compositions
Rebecca de Mendonça Gateway
t
8 12 PLUS... to Verrucola, Italy, pastel and

Conté crayon, 1812⁄ x15in. (47x38cm).
n Yes, you can draw! Explore pastel techniques for
Tips and techniques painting buildings next month
OFFERS, NEWS AND COMPETITIONS to inspire you
n How to paint seascapes
24 David Bellamy introduces your third sketchbook LEISURE PAINTER
challenge, in association with Jakar International in oils ON-SALE DATES
28 Join David Webb and Judi Whitton in half-day
n First steps to painting
Issue On sale
watercolour workshops in July July 18 May
44 Subscribe to Leisure Painter and save money a detailed watercolour Summer 15 June
53 The latest news on Patchings Art, Craft and Design
portrait of a roe deer August 13 July
Festival 2018 n Step-by-step demos
65 Save money on practical art books from photographs for
you to follow t Ian Pethers Seashore,
72 Win Clairefontaine paper worth £26 with this
watercolour, 8x12in. (21x30cm).
month’s PaintersOnline competition n Competitions to enter Follow Ian step by step to paint
77 How to enter Art Club of the Year 2018 with details the texture of seashells, pebbles
of fantastic prizes from Jackson’s Art Supplies AND LOTS MORE! and sand in watercolour
54 Orange blossom time

Learn to draw a still life using just four coloured pencils, with tips
on colour-pencil technique and colour mixing on the paper, with
Ekaterina Putyatina
58 Inspired by nature
Part 2 This month Michelle Campbell covers the colours and
materials she uses to paint the natural world in watercolour
62 Painting the sea

Part 2 Paint sparkling seascapes using a multitude of watercolour
techniques, from masking fluid and scraping out to gouache, with
Linda Birch
66 Ready for spring

Rachel McNaughton demonstrates the painting of spring flowers

ov
sh £40
FR
er
ip t
pi o
ng U
EE
on K m
or ain
de la
rs nd
*
www.artsupplies.co.uk
GREAT DISCOUNTS UNBEATABLE SERVICE
READER
OFFER
£5
OFF†
your first order
when you quote: LPMF5
* See shipping policy for full details † No minimum spend, one use for new customers only
 tel: 01204 690 114  email: sales@artsupplies.co.uk

 facebook.com/KenBromleyArt
L @KenBromleyArt
leisure-painter-advert-0518.indd 1 27/03/2018 13:49:23
Just want to paint?

Enjoy a pain�ng holiday with like-minded people who just
want to paint ‘without instruc�on’ on the private estate of the
beau�ful Château de la Chesnaye in the Loire Valley
• Private, luxurious suites

• Wholesome French Cuisine • Fabulous regional wines
• Pain�ng materials & setup included • Excep�onal value
Sandra Kelly Williams +353 86 045 5888

www.chesnaye.com info@chesnaye.com
p06_lpjune18.indd 6 05/04/2018 12:00:32

LP June 2018 Diary p_News 1st 04/04/2018 12:17 Page 6
Diary
THINGS TO DO THIS MONTH
OPEN STUDIOS
n Artists around Wetherby Jan Bulley
t
The studios of 24 artists within a six- Wetlands Way, mixed
media, 351⁄2x351⁄2in.
mile radius of Wetherby will be open (90x90cm).
over two weekends in May – 19 and Jan will be showing
20, and 26 to 28. Exhibitors will her work as part of
the Artists Around
demonstrate a variety of media, from Wetherby Open Studio
painting and printmaking to ceramics event in May.
and hand-blown glass. Download a
brochure and map at weekends in May, starting on the 5 May, 16 days in June (2 to 17) as part of the
www.artistsaroundwetherby.com or giving visitors the chance to buy artwork annual Surrey Artists’ Open Studios.
email clare@clarescreations.co.uk direct from the artists and makers. The To launch the event on Saturday 2 June,
n Artists Open Houses Festival houses are grouped into 14 trails around there will be a range of special activities,
Around 200 houses and studio spaces different areas of the city and beyond. A including taster workshops, handling
across the city of Brighton and Hove full list of open houses can be found at sessions with different materials,
will open their doors to exhibit the www.aoh.org.uk collaborative paintings and drawings, as
work of over 1,500 artists and makers, n Surrey Artists’ Open Studios well as family events. For full details of
in the largest open studios event of its Surrey artists will be welcoming the all the open studios, visit
kind. The event runs over four public into their studios and homes for www.surreyopenstudios.org.uk
WORKSHOPS
En plein-air
Popular tutor, Fran Russell, will be running
one-day en plein air painting workshops for
beginners using oils or acrylics at two
venues this June. The first will take place on
Tuesday 5 June at The Hub, Bodiam, East
Sussex, and the second on Tuesday 26 June
ARTS FESTIVAL at Lime Wharf Café, Newenden, Kent. Fran
The jewel of the Cotswolds will offer advice on setting up your easel,
The Cotswold village of Broadway
composition, perspective, colour mixing and
(above) has a lively programme of
application of your chosen medium. For
events planned for its biennial Arts
details, go to the workshop page of Fran’s
Festival, from 8 to 17 June,
website at www.franrussellart.co.uk
including The Great Broadway Paint
Off in and around the village on Fran Russell Ripple Reflections, River Medway, oil on
t
17 June. A new event for this year, board, 113⁄4x8in. (30x20cm)

called Artbeat, from 8 to 10 June,
will see painters, printmakers,
sculptors, ceramicists, designer-
makers and traditional artisans Opportunities Painting
working on the village green. Society of Women Artists challenge
Demonstrating artists include Ann The Society of Women Artists is Easter Sunday saw
Blockley, Tony Allain and Trevor inviting entries to its annual the return of
Waugh. A host of exhibitions will exhibition at the Mall Galleries in BBC1’s Big Painting Challenge. The third
run throughout the event, London, from 25 to 30 September. series of six programmes is scheduled to
including the international open Prizes include the £2000 Special run at 6pm on Sunday evenings, with
competition at the Little Buckland Fine Art Award. Online entry is presenters Mariella Frostrup and Rev.
Gallery; closing date for entries is 6 now open at www.society-women- Richard Coles (above). Judges Lachlan
May. For details visit artists.org.uk until 22 June. Goudie and Daphne Todd will be
www.broadwayartsfestival.com assessing the work of ten artists as they
battle it out for the top spot.

LP June 2018 Exhibitions p8-9_Layout 1 04/04/2018 12:22 Page 2
ExhibitionsJANE STROUD RECOMMENDS

LONDON
n Bankside Gallery
48 Hopton Street SE1. 020 7928 7521;
www.banksidegallery.com
‘Print Rebels’, celebrating the 200th
anniversary of the birth of Francis Seymour
Hayden, founder of the Royal Society of
Painter-Printmakers (RE), 25 April to 13
May. ‘RE Original Prints’, 18 May to 20 June.
n Bernard Jacobson Gallery
28 Duke Street, St. James’s SW1. 020 7734
3431; www.jacobsongallery.com
‘Picasso’: featuring master paintings from
1901 to 1972, until 12 May.
n Dulwich Picture Gallery
Gallery Road SE21. 020 8693 5254;
www.dulwichpicturegallery.org.uk
‘David Milne: Modern Painting’, until 7 May.
‘Edward Bawden’, 23 May to 9 September.
n Gallery 8
8 Duke Street, St James SW1. 020 7930 0375;
www.8dukestreet.co.uk
‘The Alchemy of Paint’: works by five British
Artists: Tom Coates, Fred Cuming, Julie
Jackson, Mary Jackson and Andrew Roberts,
21 to 26 May.
n Grosvenor Gallery
32 St. James’s Street SW1. 020 7484 7979.
www.grosvenorgallery.com
‘Olivia Fraser: The Lotus Within’,
6 to 26 June.
n Jonathan Cooper
Park Walk Gallery, 20 Park Walk SW10. 020
7351 0410; www.jonathancooper.co.uk
‘Haven’: new works by David Grossmann,
7 to 30 June.
n Mall Galleries
The Mall SW1. 020 7930 6844;
www.mallgalleries.org.uk
‘Wildlife Artist of the Year 2018’: hosted by
the David Shepherd Wildlife Foundation,
2 to 6 May ‘The New English Art Club’:
annual exhibition, 15 to 23 June.
n National Gallery
Trafalgar Square WC2. 020 7747 2885;
www.nationalgallery.org.uk
‘Drawn in Colour: Degas from the Burrell’,
until 7 May. ‘Murillo: The Self-Portraits’,
until 21 May. ‘Monet and Architecture’,
until 29 July.
n Osborne Studio Gallery
2 Motcomb Street, Belgravia SW1. 020 7235
9667; www.osg.uk.com
t
John William Waterhouse Mariana in the South c. 1897, oil on canvas, 53x34in. (134.5x86.3cm) ‘Lincoln Seligman’: 40 new works based on
Seligman’s recent travels in Gujarat and
Rajasthan, 23 May to 13 June.
Pre-Raphaelites unveiled
A collection of rarely seen later Pre-Raphaelite paintings and drawings are n Royal Academy of Arts
currently on show at the Watts Gallery in Surrey. The collection, which was built Piccadilly W1. 020 7300 8000;
www.royalacademy.org.uk
up by Cecil French (1879-1953), includes important works by Frederic Leighton,
‘Tacita Dean: Landscape’, 19 May to 12
Lawrence Alma-Tadema, John William Waterhouse, Edward Burne-Jones and August. ‘250th Summer Exhibition’, 12 June
Albert Moore. There will be an opportunity to join an expert guide for a tour of to 19 August.
the collection on 29 May (2 to 2.40pm). Telephone 01483 810235 for details. n Tate Britain
A Pre-Raphaelite Collection Unveiled: The Cecil French Bequest continues at Watts Millbank SW1. 020 7887 8888;
Gallery, Down Lane, Compton, Surrey, until 3 June; www.wattsgallery.org.uk www.tate.org.uk/Tate_Britain
‘Impressionists in London’, until 7 May.

LP June 2018 Exhibitions p8-9_Layout 1 04/04/2018 12:22 Page 3
‘Aftermath: Art in the Wake of World War

One’, 5 June to 23 September. ‘All Too Portrait painters
Human: Bacon, Freud and a Century of Over 200 portraits will go on
Painting Life’, until 27 August. show at the annual
n Tate Modern exhibition of the Royal
Bankside SE1. 020 7887 8888; Society of Portrait Painters
www.tate.org.uk/Tate_Modern at the Mall Galleries in May,
‘Modigliani’: until 2 April. ‘The EY featuring work by members,
Exhibition: Picasso 1932 – Love, Fame, alongside paintings selected
Tragedy’, until 9 September. ‘Joan Jonas’, from open submission. This
until 5 August. year, as part of the Mall
n Westminster Abbey Galleries’ In the Studio
Chapter House, 20 Dean’s Yard SW1. 020 project, there will be a
7222 5152. ‘Glimpses of Eternity’: 35 special exhibition of
paintings by watercolourist, Alexander photographic portraits of
Creswell, created during a six-year residency
at the Abbey, until 16 May; artists in their studios. Free
www.alexandercreswell.com demonstrations will also
take place in the galleries
REGIONAL throughout the event,
n Ashmolean Museum including a Portrait Paint-
Beaumont Street, Oxford. 01865 278000; Off with artists Andrew
www.ashmolean.org James, Anastasia Pollard and
‘America’s Cool Modernism: O’Keeffe to Sam Dalby. Each artist will
Hopper’, until 22 July. be painting the same subject
n The Bowes Museum throughout the day on 17
Barnard Castle, Co. Durham. 01833 690606; May, from 11am until 5pm.
www.thebowesmuseum.org.uk For a full list of
‘Queen Victoria in Paris’: bringing together demonstrations, go to
44 watercolours created for Queen Victoria www.mallgalleries.org.uk or
to remember the events of her visit to Paris, telephone the gallery on
celebrating the defeat of Napoleon at the
Battle of Waterloo, until 24 June.
020 7930 6844. More
information about the Royal
n Harbour House Society of Portrait Painters
The Promenade, Kingsbridge, Devon. 01548
(RP) can be found at
854708; www.harbourhouse.org.uk
‘Artist Down Under’: travel paintings by www.therp.co.uk
Janette Jagger, 15 to 20 May. ‘Passion for The Royal Society of
Colour’: paintings by Ian Carr and F G Davis, Portrait Painters: Annual
22 May to 3 June. Exhibition will be on show at
n Ilminster Arts Centre the Mall Galleries, London
East Street, Ilminster, Somerset. 01460 SW1 from 10 to 25 May.
55783; www.themeetinghouse.org.uk Open daily, from 10am until
‘Quiet’: paintings and drawing by 5pm; and until 7pm on t
Toby Wiggins Girl with a Ring, oil on linen, 601⁄4x281⁄4in.
Lawrence Nash, 30 April to 19 May. 15 and 22 May. (153x72cm)
‘A Passion for Paint’: work by three long-
standing friends with a passion for paint:
Valerie Wall, Louise Melikoff and Jenny
Worrall, 21 May to 9 June.
n Royal Botanic Garden n Tate Liverpool
n Malthouse Gallery John Hope Gateway, Arboretum Place, Albert Dock, Liverpool Waterfront. 0151 702
East Lambrook Manor Gardens, Silver Street, Edinburgh. 0131 248 2909; 7400; www.tate.org.uk/liverpool
East Lambrook, Somerset. 07966 300293; www.rbge.org.uk ‘Life in Motion: Egon Schiele and Francesca
www.eastlambrook.com ‘Flora Scotia’: organised by the Scottish Woodman’, 24 May to 23 September.
‘Landscape – Light & Colour’: landscapes Botanical Art Collective, the exhibition
from Somerset to Tasmania by Kate n Tate St. Ives
features work by 34 artists as part of a
Cochrane and Jason Nosworthy, 5 to 28 May. major international arts initiative to Porthmeor Beach, St. Ives, Cornwall. 01736
n National Gallery of Ireland showcase native plants, until 3 June. 796226; www.tate.org.uk/Tate-St-Ives
‘Patrick Heron’, 19 May to 9 September.
Merrion Square, Dublin 2. +353 1 661 5133; n Sarah Wiseman Gallery
www.nationalgallery.ie n Victoria Art Gallery
40-41 South Parade, Oxford. 01865 515123;
‘Emil Nolde: Colour is Life,’ paintings, www.wisegal.com Bridge Street, Bath. 01225 477233;
drawings, etchings and woodcuts, ‘Foundations’: solo exhibition of work by www.victoriagal.org.uk
until 10 June. Daniel Ablitt, 5 to 26 May. ‘Bath Society of Artists’, until 12 May.
n National Gallery of Modern Art
73 Belford Road, Edinburgh. 0131 624 6200; All information given here is correct at the time of going to press, but you are
www.nationalgalleries.org advised to check details and opening times with the galleries prior to your visit
‘A New Era: Scottish Modern Art 1900-1950’, in case of unavoidable alterations to their exhibition schedules
until 10 June.

p10_LPJune18_News 1st 09/04/2018 14:39 Page 11
Letters
paint, as a child would, making marks,
dabbing on the page and using blocks
of colour to form a picture. I really
enjoyed my playful weekend; I feel like
I have managed to let go a little.
SHARE YOUR TIPS, SUGGESTIONS, IDEAS My children (aged five and four) also
took an interest in what I was doing and
AND QUESTIONS WITH OTHER READERS joined in. We painted a large abstract
together, and their imagination made
the painting 100 times better than I
Challenge yourself Scratchboard could do alone. It opened my eyes to
I would just like to say how much I look Reading Jenny Dalleywater’s article (LP, my rigid way of thinking when it comes
forward to each issue of Leisure Painter. May), Welcome to the Dark Side, gave to art and colouring within the lines.
I love Leisure Painter’s projects and me a light-bulb moment. In recent years Jen Edwards
exercises in old and new issues. A friend I have been trying to source plain
and I have an ongoing challenge each scraperboard, which I enjoyed using last
week. We select a magazine, pick a page century. Large art stores stock it with pre-
at random and complete the painting printed designs, but not in plain black.
in a medium of our choosing. It is very difficult to find any using online
Last week, my challenge was to tackle searches. Now I know why; it is called
Rodney Kingston’s still lifes in acrylics scratchboard. I also know where to find
from the September 2017 issue. Instead it, thanks to Jenny’s very informative
of using the System 3 acrylics he used, article. I loved her work, too! Send your letters to
I thought I’d give my new Derwent 2B I also used it for making collagraph Leisure Painter, 63-65 High Street,
and 6B water-soluble Graphitone pencils plates, inked up intaglio for printing onto Tenterden, Kent TN30 6BD.
a go, as I followed Rodney’s marmite jar damp paper. Now I can resume the fun. Alternatively, email the editor at
demonstration. Chrissy Stangroom leisurepainterletters@tapc.co.uk.
What great fun these challenges are. www.facebook.com/gdartbychrissy All letters published here win
We are completing paintings we never Jaxell soft pastels courtesy of
even dreamed of trying. Letting go GreatArt (www.greatart.co.uk)
Helen Shepherd I spent this weekend playing with acrylic
the watercolour
enigma
A COMPLETE PAINTING COURSE REVEALING THE SECRETS AND SCIENCE OF WATERCOLOUR
‘A progressive, informative art course for beginner

watercolourists, revealing the secrets and science behind
watercolour’
Available to order from: RRP

www.painters-online.co.uk/store/ £12.99
category,specialoffers_107.htm £10.99
Offers available to UK READERS ONLY - use promo code JUN18
closing date 25th july 2018
See the author demonstrate at Patchings Art Festival
Saturday 14th July 2018 2pm - Marquee 15 - Search Press
BAF Artist and Leisure Painter Ad 12-3-18_Layout 1 19/03/2018 17:36 Page 1
8 – 17 JUNE 2018
A Celebration of the Arts in the North Cotswolds
Cow Parsley & Lavender by Ann Blockley
Workshops Demonstrations Exhibitions

l l
Celebrity Talks Competitions Theatre Music

l l l
NEW FOR 2018

Watch your favourite artists at work and
learn new techniques
BEAT
B R OA DWAY
See Britain’s top designers and artisans
demonstrating their skills & selling work
Printmakers - Illustrators - Sculptors
8 – 10 JUNE Ceramicists - Jewellers - Glassworkers
Book tickets and plan your visit at:

www.broadwayartsfestival.com
THE
ALL INCLUSIVE ART HOLIDAYS B BUXTON SPA
PRIZE
IN INSPIRATIONAL ITALY 2018
Painters of all abili�es and non-pain�ng

partners welcome.
• Relaxed, informal tui�on by professional tutors
• Realise your dream, unwind & immerse
yourself amidst the beau�ful scenery of the
Emilia Romagna region 1st Prize £5,000 Prize & Exhibition
Sponsors
• Make new friends, enjoy tradi�onal local cuisine Open for Entry from 1st April Trevor Osborne
Charitable
• Newly renovated studio and small groups Trust
Exhibition 1st to 31st July
• Very aﬀordable rates The Riley
• Charming rus�c accommoda�on. The return of the art Educational
Foundation
competition and exhibition
celebrating the town’s The
www.casabezzia.com culture, natural beauty Bingham Trust
Tel: 0039 052571370 and heritage.
An opportunity for all

artists to work ‘en plein air’
throughout the beautiful Peak
District spa town of Buxton.
BuxtonSpaPrize.co.uk
p11_lpjune18.indd 11 05/04/2018 11:24:05

LP06 12-17 Ince_Layout 1 06/04/2018 11:02 Page 12
Water-mixable oils
Water and oil

Ready to try oil painting, but concerned about the fumes?
Here’s an introduction to your alternative, by Murray Ince
MY LANDSCAPE PALETTE
l Ultramarine blue (warm)
l Cobalt blue (cool)
l Cadmium red pale (warm)
l Permanent alizarin crimson (cool)
l Cadmium yellow light (warm)
l Lemon yellow (cool)
l Earth colours: yellow ochre, raw sienna,
burnt sienna, raw umber, burnt umber.
l Mixing colours: Payne’s grey, titanium
white and zinc white
l Occasional colours: Prussian and
cerulean blue, cadmium red medium
and dark, Naples yellow and Indian red,
permanent sap green and olive green
which is the application of thinned, oily

paint over a dry area of opaque colour;
wet in wet; scumbling (dragging one colour
over the top of another); and sfumato, from
the Italian fumo meaning smoke, the subtle
blending together of neighbouring colours
as used by Leonardo da Vinci in the Mona
Lisa and Virgin of the Rocks.
A forgiving medium
An error in your painting or a colour or
tonal value you don’t like is very easily
remedied with water-mixable oils. If the
colour you have applied is too dark, you
t
A Stormy Sky at Le Manoir de Gurson, water-mixable oil on canvas board, 10x12in. simply blend a lighter colour into it until
(25.5x30.5cm). Here is an example of a dramatic sky with a simple foreground. you achieve the correct colour or tonal
value, or darken a colour that is too light.
If you really make a mistake, simply
as my wife is asthmatic and the noxious remove the offending area with a painting
LEARNING OBJECTIVES fumes of the spirits causes her breathing knife and wipe with a damp cloth (with
n Beginner’s steps in water- problems. I now paint in oil at home and water, of course) and do it again!
mixable oils anywhere else I like and, as a result, I am If the painting is dry and you wish to
now leading water-mixable oil painting make alterations, simply paint over it,
n Surfaces to use with the medium holidays all over the UK where guests are making sure to mix the paint with a little
n Step-by-step painting process free to paint indoors in oils! more oil content than the preceding layer.
to follow This is known as painting ‘fat on lean’,
What is water-mixable oil? the fat being the linseed or safflower
Like traditional oil paint, Artisan is made oil in the mix.
I n 1998 Winsor & Newton launched a

new medium, Artisan water-mixable oil.
It changed my life, and the future of
painting for so many people. Traditional
oils are thinned with distilled spirit of
from finely ground pigments mixed with
linseed and safflower oils; the difference
is that the oils have been modified to
accept water molecules, allowing for
thinning and cleaning up with water.
Surfaces for painting
Many surfaces can be painted with water-
mixable oils so long as they are correctly
prepared. Acrylic primers and acrylic gesso
turpentine and equipment cleaned with The drying times are the same as primers are best for speed of drying, and
white (mineral) spirits, the fumes of which traditional oils, depending on the pigment; at least three coats should be applied to
affect a great many people, causing some dry in just a couple of days while any porous surface to prevent the oils from
headaches and nausea as well as making some take a few days longer. This is an being drawn out of the paint. Surfaces
equipment cleaning hazardous and not advantage over other wet media, as you such as hardboard, MDF (medium-density
particularly eco-friendly. For the first time, have time to go back and blend colours fibreboard), plywood and similar surfaces
oil painting became possible in public wet in wet, allowing you to colour mix on should be treated this way. Watercolour
places, schools, colleges, art groups the canvas for at least a day, particularly paper can also be used for oil painting,
and at workshops; to clean up, all you useful in portraiture. All of the methods requiring at least two to three coats of
needed was a little soap and water. used in traditional oil painting can be done acrylic primer. You have the option of Hot-
I am unable to use traditional oils indoors with water-mixable oil, including: glazing, Pressed (smooth), NOT, which is medium

grained, and Rough, which lends itself to

my style of painting. You can also use
any paper product so long as it is
sufficiently primed.
Most commonly used are canvas boards
and stretched canvases, which are ready
for painting. I prefer stretched canvases,
as they respond to the brush well.
Having prepared my painting surface
I draw the basic elements of my
composition although some subjects
need no drawing at all. I prepare a
watered-down wash of acrylic colour,
thin enough to be transparent, which
I then paint over the entire canvas. This
serves three purposes: it seals down the
graphite pencil lines so that they don’t
sully pale colours; it makes colour and
the tonal value of colours easier to judge;
and it kills the white of the canvas,
which, when painting out of doors in
bright sunshine, can give false colour
value readings and cause headaches
and nausea.
The choice of colour is personal but,
if in doubt, any of the earth colours
will work well. To give a background
warmth to a painting, I like to use a
mix of permanent alizarin crimson, plus
white with a touch of raw umber, which
takes the prettiness off the pink. I use
this on any painting with warmth and,
to many people’s surprise, I use it as
the preparation under snow. Whichever
underlying colour you use will show t
Low Tide Stag Rock, water-mixable oil on stretched cotton canvas, 12x12in. (30.5x30.5cm).
through in places and unify the The challenge here was the portraying of the rocks and stones below the surface of the water.
whole painting.
Linseed oil is a slightly yellow oil, which drying time by as much as 50 per cent.
Mediums and varnishes I used mixed with Artisan thinner as Impasto medium is an impasto and
Tap water can be used as a thinner, but a painting medium. texturing medium, which also speeds
will appear to lighten colours although Safflower oil is paler than linseed oil the drying time by up to 50 per cent.
they do return to the pre-thinned colour. and better used in pale colour mixes. Artisan varnishes: gloss, satin and matt,
Many Artisan oil painting mediums are Stand oil, which slows drying time. and Artisan varnish remover.
available and include the following: Painting medium is a general-purpose I hope you pick up useful tips and
Artisan thinner will thin the paint with stand oil-based medium. techniques by following the
no perceptible change of colour. Fast-drying medium, speeds up the demonstration painting over the page. LP
t
Towards Yarmouth Boatyard, water-mixable oil on stretched canvas, 12x24in. (30.5x61cm). The quality of light was the attraction to this scene.

Water-mixable oils
Demonstration Bluebells at Alltshellach

You will need
BEFORE YOU BEGIN n Surface n Artisan water-mixable oils
I always use thumbnail sketches of a scene to decide on the l Medium-grained l Raw umber
composition I am going to use then use my computer to crop stretched cotton canvas, l Cerulean blue
my photograph to replicate my chosen composition. 12x24in. (30.5x61cm) l Titanium white
l Cobalt blue
n Brushes
l Raw sienna
Three
t
l Filbert No. 8
l Yellow ochre
views of the
same scene l Old small Round
l Payne’s grey
A traditional l Rigger No. 1
l Cadmium yellow pale
landscape l Round bristle No. 2
l Permanent alizarin
format, such l Bristle fan blender
as 12x16in. crimson
n Painting knife l Zinc white
(30.5x40.5cm)
A square format,
t
such as 12x12in.
(30.5x30.5cm)
t A double square
format, such as
12x24in. (30.5x61cm)
Step 1
t
Using thinned raw umber acrylic, block in

the scene. I used thicker paint for the darker
areas and wiped it out for the palest areas.
This gives you a good idea of how the
finished painting will look in terms of
tonal value distribution.
Step 2
t
My method of painting is to work in layers,

from the distance to the foreground. This
way works best for me, but there is no right or
wrong way to work. Some artists paint the entire
canvas gradually. Practise different methods
to work out which way works best for you.
1 Using a No. 8 filbert, paint the sky with a mix
of cerulean blue and titanium white, with a tiny
amount of raw umber to stop the blue looking
too Mediterranean.
2 Clouds are hardly ever perfectly white
so paint the clouds in white with the same
wiped, but not cleaned brush.

Water-mixable oils
Step 3
t
1 Add distant
mountains using mixes
of cobalt blue, raw
sienna, yellow ochre
and white.
2 Paint the varying
shadow colours of the
trees using mixes of
raw umber, Payne’s
grey, yellow ochre and
white.
Step 4
t
For this stage I used an

old, worn small Round
brush, which I stabbed
vertically into the paint
on the palette, spreading
the bristles. I then gently
touched the brush into
the paint so that I had
paint on the very tips of
the bristles and just as
gently applied the paint
to the tree. If you find
that you are making blobs
and not specks, you are
probably pushing the
brush too hard so make
sure you keep the bristle
tips well loaded so that
the lightest of touch
achieves the desired
effect. Place the slightly
larger leaves using the tip 1 The next step is to add the t 2 Then add the highlights using much lighter
t
of a small brush; I even mid greens using mixes of cadmium shades of green from the same four colours used
used the tip of a No. 1 yellow pale, cobalt blue, raw umber on the distant trees. Again, begin with the trees
Rigger to achieve this. and titanium white. furthest away to create a natural, layered look.

Water-mixable oils
Demonstration Continued
Step 5
t
1 Add the branches and
leaves coming in from
above. Paint the branches
and twigs using the No. 1
Rigger and raw umber,
mixed with a little cobalt
blue here and there to
make a slightly greyer mix.
2 Paint the leaves using
the No. 2 Round bristle
brush and the same basic
green mix, with the lighter
tones being made with the
addition of more
cadmium yellow pale and
titanium white to the base
green mix. The branches
were painted using a No. 1
Rigger brush, again using
mixes of raw umber with a
little cobalt blue with the
foliage
TIPS
l Create a colour chart for yourself with l Raw umber is an invaluable colour
the colours that you have, mix one and is extremely useful in landscape
colour at a time with all of your other painting. A little added to greens and
colours in equal amounts. This will other colours make colours natural t Step 6
make a handy reference chart when looking; after all, it is an earth colour. Again, working in layers from the
you are trying to arrive at a colour. l Mixing colour with zinc white allows distant tree line to the foreground,
l Remember: cool colours recede and more colour saturation. Lightening paint the meadow using an old square
warm colours advance. a colour with titanium white, brush and a bristle fan blender,
l To create a greyer shade of green, however, will weaken the vibrancy, working along in lines of varying mixes
add a little red to the mix. This is giving a less saturated colour whilst of green, using cobalt blue, cadmium
especially useful when wanting to lightening it. yellow pale, yellow ochre, raw umber
push trees back into the distance. l Never throw old worn brushes away;
and white. The marks made with the
brush should become larger as you
l Prussian blue is great for making these simply become your special-
come to the foreground and each
stormy, moody and winter skies. effect brushes.
successive line should overlap
the previous one.

t
Step 7
Make two shades of mauve-blue with cobalt Murray Ince
blue, permanent alizarin crimson and zinc
TIP
white, using the darker tone to paint the How do you know when your painting Murray specialises in landscape and
bluebells in shadow and the lighter tone is finished? When you look at it and seascape painting in water-mixable oils,
for the ones in the light. don’t know what else to do. Now sign although he also works in other media.
it and think about your next project. He leads sketching and painting
holidays privately in France and for
t Step 8 HF Holidays in the UK and Italy. He
The final stages of the painting bring the 3 Brambles were added in the foreground demonstrates to art groups, runs
whole together, adding detail and a few with raw umber, slightly thinned and workshops and provides one-to-one
finishing touches. painted with the Rigger. tuition. His book, Landscape Painting
1 I put highlighting colours on the bluebells 4 I added linear marks to suggest grasses in Artisan Water-Mixable Oils, is
in lighter shades of the blue and mauve with the edge of a painting knife. To do available through Amazon, eBay or his
mixes, using the corner of the bristle fan this, pull the knife edge across a flattened website at www.murrayince.com. Also
blender, and used a No. 2 Round for the area of the desired colour on your palette visit murraysart.blogspot.com or
foreground bluebells. at about a 45-degree angle, which will put e-mail hello@murrayince.com
2 For the white flowers, I used the Rigger a thin line of paint right on the edge of
to dot pinpricks of white with an added hint the blade. Place the edge on the painting
of the green used in the distance and middle and pull the knife gently downwards to
distance. Using the same colour I added leave a thin line. This is very effective t The finished painting, Bluebells
umbrella-shaped marks with a small with practice, but as with everything at Alltshellach, water-mixable oils,
Round bristle brush in the foreground. else, less is more! 12x24in. (30.5x61cm)

LP06 18-20 PP2_Layout 1 06/04/2018 11:18 Page 18
t
Your reference photograph for this demonstration: Swallows Rest in Docking, Norfolk
Painting project
Part 2 Inspired by the photograph Colin Steed introduced last month,
here’s how to capture the character of an old building using watercolour
the garden with an entrance gate and pylon adds nothing to the composition
LEARNING OBJECTIVES a flint and brick building on the right. so will be left out. LP
n How to produce studies of older These I will paint, because they give
buildings scale and depth to the cottage. The t A close-up of the cottage
n Colour-mixing ideas for painting
buildings
I n last month’s issue I looked

at some of the reasons why old
buildings have so much character.
With the use of three examples
I touched on materials they used when
building them and the way they are
built. I hope that gave you the
confidence to paint from the photos
of Swallows Rest (above and right),
a lovely old building set in the heart of
the north Norfolk village of Docking.
The building has real character: two
chimneys, a pan tile roof, an old
lean-too wooden shed and plenty of
interesting features in the unmanaged
rustic garden. The walls have been
whitened with masonry paint, which
gives a strong tonal quality to the
subject. There is a fence surrounding

LP06 18-20 PP2_Layout 1 06/04/2018 11:19 Page 19
Watercolour
Demonstration Swallows Rest
You will need

n Surface n Winsor &
l Use any good Newton
quality watercolour Professional
paper, but I Water Colour
recommend l Raw sienna
Canson Moulin l Cadmium
du Roy 140lb NOT yellow
watercolour paper, l Light red
15x22in. (38x56xm) l Alizarin
n Pro Arte brushes crimson

l Burnt sienna
l Squirrel mop
l Cobalt blue
brush No. 4
l Ultramarine
l Round Nos. 6
and 8 blue
l Prussian blue
l Rigger No. 4
n 3B pencil
Step 1
t
1 Make a rough outline drawing of the

buildings, including the windows and
doors, and an indication of where the
bin, water butts and old chimney pot
planter will be. Suggest the fence and white paper in places. 7 Paint a base colour of cadmium
tops of the planting with light pencil 3 Add a light alizarin crimson to darken yellow over the planting and shrubs,
work. With the gate shut, your eye is not the blue in the sky around the right- leaving white paper in places. Add
automatically led to the cottage so leave hand building. weak light red on the rest of the garden
it open. All drawing and painting should 4 To suggest distant trees between the and foreground road.
be done freely and loosely; that’s the key two cottages, while the sky is still damp 8 The lean-to garage and green
to giving these old buildings age. drop in a grey-green colour using a mix door is raw sienna and cobalt blue.
2 Dampen the sky with the No. 4 squirrel of cobalt blue and raw sienna. The pantile roof, chimneys and
mop brush, painting around the buildings 5 After cleaning the brush, paint all the brickwork are mainly light red,
and chimneys and down to the fence very light colours. White is very cold so with burnt sienna to darken the
between the two buildings. Using just to give the building warmth add a very mix where necessary.
cobalt blue paint a dark area at the top weak wash of light red on the walls, 9 This first stage should be painted
and around the higher chimney then add painting around windows and doors. fast and loose so the washes look
more water to create a very light blue 6 The flint wall on the right-hand clean and fresh. Painted in this manner
where the wind vane will be and around cottage is raw sienna, light red and will give that all-important ageing
the right-hand chimney, leaving some a touch of cobalt blue. effect to the building and grounds.
Step 2
t
1 Paint all glazed window areas leaving

the white frame surrounds using a No. 6
Round brush. The first floor windows
often reflect the sky so use cobalt blue
to begin. Once dry, add the tops of the
glazing and all other windows using
ultramarine blue and burnt sienna.
2 Paint gutters and down pipes with the
same mix, but much darker. Paint the
gutters and down pipes quickly so you
don’t make them look new.
3 Add the wooden garage details.
Use the Rigger for the small details
and gutters.
4 The painted metal S and reverse S
shapes on the front of the cottage are
the ends of tension bars that run
through the cottage to the wall at the
back and can be seen on many buildings
of this age. They stop the wall from
moving and bulging. Paint these with
raw sienna and cobalt blue using
the Rigger.
5 Add the chimney pot used as
a planter with light red.

LP06 18-20 PP2_Layout 1 06/04/2018 11:19 Page 20
Watercolour
Demonstration continued
Step 3
t
1 Paint all the trees, shrubs and garden

planting with a No. 8 Round. The light distant
trees between the buildings appear to be blue
in colour so mix a blue-green with raw sienna
and cobalt blue. Use downward strokes with
the side of the brush, leaving plenty of gaps.
2 Dark trees and planting make the building
look sunlit so paint the tree behind the right
side of the cottage very dark. A strong mix of
Prussian blue and burnt sienna will give you
that dark blue-green. Use the side of the
brush, changing to the point to paint around
the building and fence.
3 Add cadmium yellow to the Prussian blue
and burnt sienna for all the ground shrubs
and border plants, changing colour and tone
as you go. Leave plenty of gaps so the cadmium ridge tile joints, gable end tiles and tile ends the left-hand sides.
yellow underpainting can be seen. This is just along the gutter line. Add only a suggestion 5 The right-hand side of the bins, water butt
a suggestion of planting so no detail is needed. of detail. Use more ultramarine to finish the and planting pots are shadowed so paint a
4 The water butt and bins are cobalt blue gutters’ down pipes and wind vane. small casting shadow at an angle onto the wall.
and raw sienna. 3 Dark shadows always make foliage look sunlit. Add more blue before painting the foreground
Paint these with a dark mix of Prussian blue shadow in the bottom right-hand corner.
and burnt sienna, using a dry mix and the side 6 Don’t forget to share your work with other
t Step 4 of the No. 8 Round. To maintain that sunlit readers on Leisure Painter’s website,
1 The final stage is to paint all finishing effect try not to over-paint too much of the PaintersOnline. Simply email an image of
touches and shadows. The height of the fence light colour. your finished painting to dawn@tapc.co.uk.
is crucial. If it’s too high it will block the 4 Ultramarine and alizarin crimson is my Your work will appear on LP’s Painting Project
planting and ground floor window, and the favourite mix for most shadows created by area of the website.
fence would become a focal point. Apply the strong sunlight. The mix should be slightly
paint using a Rigger, mixing burnt sienna and purple in colour and quite dark. Add this using
ultramarine blue together to create a dark the No. 6 Round to the walls under the gutters
brown. Paint the thicker supporting posts first and the right-hand side of the down pipes and Colin Steed
then the smaller picket fence posts between. chimney shadows. Because the windows and Find out more about Colin and his
Add the open gate next. doors are recessed their shadows are cast onto work at colinsteedart.magix.net
2 Add more burnt sienna before painting the the window frames across the tops and down
t
The finished painting Swallows Rest, watercolour on Canson Moulin du Roy 140lb watercolour paper, 15x22in. (38x56xm)
LP06 21-23 PP1_Layout 1 06/04/2018 11:35 Page 21
Paint along with LP
Photo A Your main reference photo, taken in summertime and the basis of this composition
t
Painting project
Part 1 How to paint a springtime pond and trees
from several photographs, by Jem Bowden
LEARNING OBJECTIVES
n Combine aspects from different
photos
I n this painting project I will
demonstrate how you can produce a
scene by carefully observing and
combining the most relevant aspects from
three photos then adding artistic licence
important to observe this fact, and also
note just how dark the shaded areas are.
The ivy-covered trunk, branches and
hedgerow are almost black in tone.
Many painters enjoy painting towards
n Sharpen your observation skills to the process. The aim will be to the light, as the silhouetting effect can
n Use artistic licence with your produce a painting full of the refreshing often be very atmospheric. A fairly low
composition light and atmosphere of a sunny spring sun is typical of springtime too. Photo C
morning. (middle left, page 22) was taken directly
towards the light, and provides a good
Your reference material reference for backlit clouds. A camera
Photo A (above) was taken last August. I somewhat exaggerates the darkness of the
You will need like the composition for its depth and the
balance of the main shapes. The pond is
land in relation to a bright sky, but we’ll
aim to capture this general light effect.
l Sketchpad or sketching paper interesting too, but the light isn’t great and Note that colour is always limited in a
l Soft (such as 8B) pencil and eraser could be changed. To create a springtime fairly low light. It is the strong tonal
l Bockingford NOT 200lb watercolour scene I will also need to change the contrast that we need to observe, and will
paper nature of the foliage by thinning it out, have to replicate boldly, whereas our
l Medium large Round brush with a thus allowing more branches and distance colour use will involve subtle variation.
good point (I use my own modified to show.
brush: the Black Sheep) Photo B (top left, page 22) shows an Compositional sketches
l Large mixing palette interestingly lopsided springtime tree. It is You can develop a composition through
l Tubes of Winsor & Newton almost backlit by the sun, and note the sketching at a small scale. Your sketches
Professional Water Colour: Winsor effect this has on colour. Its leaves don’t needn’t be neat or refined, since they are
blue (red shade), light red, Indian appear bright green as you might expect about testing ideas for the placement of
red and raw umber new spring foliage to be, but rather a shapes to create interest and balance.
These sketches should be tonal rather
t
muted, only slightly green-grey. It is

LP06 21-23 PP1_Layout 1 06/04/2018 11:37 Page 22
than just outlines, in order to represent

properly how the final painting would
look. You will find that a very soft pencil,
such as an 8B, will enable you to achieve
fully dark shading to match the tones in
the photos. It is tone, as well as shapes,
that will create a convincing depiction of
reality so careful observation is essential.
When working from photos we need to
be fully aware of the tones we’re seeing
so aiming to match them in pencil is a
good way of becoming familiar with
what we’ll need to do in paint later.
The value of sketches

I made two sketches. In the first one
(bottom left) I took the basic placement
of trees, pond and distant hillside from
Photo A. I lowered the horizon line a bit
to create more space for the sky and
central tree, and made the distant hillside
lower in height. I replaced the tree by the
pond with the more interesting tree from
Photo B. Also here I imagined the other
trees with thinner foliage.
Photo B A backlit spring tree
t
In spring, you will notice gaps in tree
foliage, with branches more visible and
leaves formed into sparser clumps. I find
it usually provides more varied shapes
than summer foliage, with areas of
distance also sometimes visible through
lower gaps, thus creating a more open
feel to the finished painting.
In a second sketch (above right)
I improved the scene a little more.
Assessing the first sketch I decided to
lean the central tree, which I think gives
it a bit more character and adds
dynamism to the composition. To make
the most of possible variation in foliage
shapes I also added more vertical,
poplar-shaped trees on the right, which
were intended as more distant. I also
took a real liberty and invented a church
in the background! I hope this adds
depth to the scene, drawing the eye
and providing a ‘hard’ shape to contrast
with the softer foliage.
It is a challenge to compose a scene
of trees and foliage that has enough
Photo C Backlit clouds
t
overlapping of features to create depth,
whilst avoiding the confusion that occurs
when forms all appear to merge together.
For this reason I aimed to vary the height
of the trees on the right, including smaller
bushes, and made sure the central tree is
set against a light section of sky.
Mixing your greens

Spring foliage can be very bright when
sunlit, and although beautiful in reality
can appear quite lurid in a painting. If we
choose a scene facing towards the light
we achieve a different effect. I hope
you’ll find it refreshing to paint a spring
scene that conveys the season without
frightening colour! Try out the following
mixes (far right) that I will be using as
the basis for my trees and grasses when
I paint the full watercolour next month.
Sketch 1 First compositional sketch,

t
combining elements of Photo A with

the tree in Photo B

LP06 21-23 PP1_Layout 1 06/04/2018 11:38 Page 23
Paint along with LP
The aim here is to create greyed

mixes of green, with some cooler –
in other words, with a blue bias – and
some warmer – with a yellow bias.
The cooler mixes will be used for the
distant areas of the painting, and the
warmer for more close-up areas, as
this should help with creating a sense
of distance. The variation in colour
will mainly be subtle, but tonally the
variation will at times be strong.
Therefore I’ve shown in the exercises
(below right) very diluted mixes of the
colours as well as a darker one. The
latter requires you to use tube paint,
with very little water content; in other
words, barely diluted at all. You will
need to squeeze out a fair bit of
pigment, and don’t be afraid
of the dark!
TIP
People can be just as afraid to use
greys (neutrals) in a painting as t
Sketch 2 The final composition sketch
they are afraid to use starker
colours. Isolate small sections of a
photograph and observe closely the t EXERCISE 1 Mixes for grey-greens
colour to build confidence in what
you see, and if what you see is grey
then paint grey! Turning a photo
upside down can also help us see
the truth of the colour contained,
rather than any preconception
we might have. Winsor blue Light red
(red shade)
The mixes
I found that various mixes of Winsor
blue (red shade), light red and raw
umber will provide subtle variations
on the grey-greens my eye perceives
in the backlit foliage. I will use just
about every variation of these mixes
together for the painting. Stronger
mixes of Winsor blue and Indian red
are similar to the very dark-toned, Winsor blue Raw umber
dense areas and, when used slightly (red shade)
paler, will be good for the distant
church. Join me next month to put this
all together into a watercolour full of
bright spring sunlight.
In the meantime, if you finish your
own version of this project over the
coming weeks, don’t forget to send
an image to dawn@tapc.co.uk so we
can show it on the Leisure Painter
Painting Project area of our website,
PaintersOnline. LP
t EXERCISE 2 How to mix a powerful dark for dense shadowed areas
Jem Bowden
Jem is a full-time watercolour
landscape artist and tutor. For a list
of his courses, workshops and Winsor blue
painting holidays, please visit (red shade) Indian red
www.jembowdenwatercolour.co.uk;
telephone 0117 9711735 or email
jembowdenwatercolour@gmail.com

May sketchbook comp_StartArt 1 04/04/2018 09:42 Page 2
& David Bellamy present
Your Sketchbook Challenge

in association with Jakar International Ltd
Leisure Painter and artist/explorer, David Bellamy

invite you to participate in our sketchbook challenge.
In each issue of Leisure Painter over the next five
months, David will set you a drawing project to
complete in your journal/sketchbook and offer
practical advice on how to tackle it. Upload a scan
of your best page each month on our website,
PaintersOnline (see below for details), and David and
LP editor, Ingrid Lyon, will select the month’s winner.
Whether you want to go out and about to sketch
on-site or stay at home and work from your own
reference material and memories, we are looking
forward to seeing your work.
Leisure Painter will publish all the winning artwork at TASK 3 This is a lovely time of year for
the end of this year – and you can see all the entries getting out and making the most of the great
as they are uploaded on PaintersOnline each month. outdoors, so this month we’ll concentrate on the
seaside before it gets too crowded in the school
holidays. Try to find a spot by the sea, whether
Please it’s a lonely beach, busy harbour, high cliffs, or
upload your perhaps an estuary, with or without boats or
people. Take advantage of splashes of flowers
June entry by in the foreground – estuarine scenes especially
12 noon on benefit from this.
9 July Try to inject a sense of life into the work in the
form of seabirds, dogs, cats, or have your figures
doing something, like battling against the wind,
sunning themselves in a deckchair, or that beach
fisherman heavily laden with fishing gear. These
features will give your work a narrative feel. Add
notes to the page with your observations, either
on-the-spot or later. Any brilliant ideas that pop
The prizes into your head should be jotted down quickly, as
Sponsored by Jakar International Ltd otherwise they have a habit of vanishing forever.
If you are unable to get to the sea, seek out some
Each month we will send wild or garden flowers or hanging baskets.
Concentrate on one or two blooms and let the rest
the winning artist a fade away, as this will give you a real focal point.
Caran d’Ache sketching pack Creating a story here might be a little more
worth £50(rrp), comprising challenging, but watch out for insect and bird
behaviour, and other people’s responses to the
12 water-soluble coloured pencils flowers. Asking young children for their feelings
about the flowers is a possible way of triggering
and a book to illustrate interesting and humorous responses.
Make the most of these longer spring days and
4 graphite pencils with sharpener record both your visual and written thoughts, for
how much we all love recalling lovely warm days
when trapped indoors in the bleak midwinter.
David Bellamy
HOW TO ENTER
Only online entries can be accepted. Only original work will be considered and informed later in the month.
sketches based on reference photographs must have been taken by the artist 4 You will be invited to send a high-resolution image of your winning entry to
or used with the permission of the photographer. Only one painting per artist Leisure Painter for publication in the magazine at the end of the year.
each month will be accepted. 5 All work entered will be featured on our website at www.painters-online.co.uk.
1 Online digital entries must be sent via our website at www.painters- 6 All entries must be original. Submission of entry in this competition automatically
online.co.uk. Click through the Current Painting Competition links to constitutes acceptance of all the competition rules and agreement to allow
Leisure Painter Sketchbook Competition. You must be registered and Leisure Painter to publish, republish and repurpose entries in print and digital
logged in to PaintersOnline before you can upload an image. formats, including but not limited to magazines, promotion materials, websites,
2 Upload your June entry by the closing date of 9 July at 12 noon. databases and as part of downloadable digital products.
3 Entries will be judged after 11 July and the winning entrant will be 7 The judges’ choice will be final. No correspondence will be entered into.
LP06 25-27 Webb_Layout 1 06/04/2018 11:57 Page 25
t
Seen Better Days, watercolour on Bockingford NOT 200lb (425gsm) watercolour paper, 9x13in. (23x33cm)
Watercolour basics
and beyond
Part 6 David Webb continues his beginners’ watercolour series
with a look at how to use multiple washes to build up your paintings
multiple-wash method provides a way
LEARNING OBJECTIVES of achieving this. I endeavour to complete TECHNIQUE
n How to paint multiple washes a painting in three washes, although it may
on dry paper sometimes require an extra wash in really
n
dark areas.
Colour mixing on the paper The painting Seen Better Days (above)
n Paint a simple landscape clearly illustrates how several washes have
been overlaid to create a feeling of solidity
T here is more than one way of

applying watercolour to the paper
surface to create a painting. In
this month’s article, I would like to talk
about the multiple-wash method.
in the boat wreck lying in the mud. The
lightest, sunlit parts of the wreck are
achieved in the initial, palest wash. The
mid-tones along the sides are achieved
by applying a second, darker wash over
the first. Finally, the darkest darks of the
What is a multiple wash? interior ribs and cracks are painted over 1 Make a flat wash of colour, 4x4in.
With this method, a series of layers or the previous two washes. square, using a strong wash of diluted
washes are built up gradually to achieve The darkest areas may be three washes Indian yellow. Make separate dilutions
a variety of tonal values from the lightest deep. The lightest tones, however, receive of cobalt blue and alizarin crimson.
lights to the darkest darks, using the only one. My first palest wash covers 2 Once the first wash is completely dry,
whiteness of the paper to achieve most or all of the paper. Any highlights wash cobalt blue over the top half of
luminosity. will need to be either masked or painted the square.
around. Once dry, my second darker-toned 3 Wash alizarin crimson over the lower
Why would you use it? wash is then applied, covering only the half. You will see that where the washes
Whatever the subject, a painting needs to middle-toned area. Finally, I apply my overlap, secondary colours are produced:
show a full range of tonal values from the darkest tones, carefully avoiding green and orange.
lightest lights to the darkest darks. The
t
highlights and light areas. LP

Watercolour
Demonstration Fernworthy Clapper Bridge

I chose this Dartmoor scene for this month’s demonstration as, with its
interesting variety of tonal values, it lends itself to the multiple-wash method.
You will need
n Paper n Brushes
BEFORE YOU BEGIN l Bockingford NOT l One large Round
Make five separate dilutions of cobalt blue, alizarin crimson, raw sienna, 200lb (425gsm) l One small Round
Indian yellow and raw sienna in your mixing wells. These should be watercolour paper,
fairly strong. n Miscellaneous
71⁄2x11in. (19x28cm)
l Mixing palette
taped around all four
with large wells
edges to a board
l Board
n Watercolour l Masking tape
l Cobalt blue l Water
l Alizarin crimson l Kitchen towel
l Raw sienna l 3B to 5B pencil
l Indian yellow
l Burnt sienna
Step 1
t
Carefully draw the outline of the bridge,
taking care to get the correct angle. The
right-hand end starts roughly halfway up
the paper. Draw a simple shape for the
sheep, taking care not to make it too large
or small in comparison with the bridge.
t
Step 2
1 Prop your board up at an angle of about 3 Rinse your brush and add a little cobalt blue, soft. You may find you need to add a touch of
20 degrees. mixing it wet-into-wet with the raw sienna. burnt sienna to the blue to grey it down a little.
2 Wet the surface of the paper with your large 4 When you get to the top of the bridge, rinse 5 When you reach the base of the bridge, paint
brush. Give it a minute to let the water soak in your brush again. Dip into the cobalt blue and the foreground grass area with wet-in-wet blends
slightly. Now, dip your brush into the raw sienna paint the bridge. It will bleed into the of raw sienna, cobalt blue and Indian yellow.
and, starting at the top, begin to add colour surrounding area a little, but don’t worry at 6 Paint the two rocks with cobalt blue and a little
to the paper. this stage. This initial wash should be quite burnt sienna. Allow this wash to dry completely.

Watercolour
Step 3
t
This step is carried out on dry paper,
but colours are mixed on the surface.
1 Pick up raw sienna on your brush. Start
to paint a wash in the top-left corner,
working down and right. Leave some gaps
to allow the lighter underwash to show
through. Add burnt sienna to the top
right then add a little cobalt blue.
2 Begin painting the green area just
above the bridge, working from the left
to the right. Mix cobalt blue, raw sienna
and Indian yellow on the paper.
3 Paint this wash carefully around the top
of the bridge and also the sheep. Paint a
little shadow on the right side of the sheep.
4 Paint the shadow areas under the bridge
using a wet-in-wet blend of cobalt blue,
alizarin crimson and burnt sienna. Use
it also for the shadows on the two rocks.
5 Paint the foreground grasses using
wet-in-wet blends of raw sienna, cobalt
blue and Indian yellow. Try to create
some texture by painting negative
and positive shapes to indicate grass.
Allow the second wash to dry.
t Step 4
1 Strengthen your colours by adding right of the sheep and the stronger
a little more pigment. foreground rock shadows.
2 Paint the black face of the sheep using 4 Use stronger green mixes for a few David Webb
a mix of cobalt blue and burnt sienna. details in the grass. Find out about David’s work
3 Under the bridge, paint the stronger and workshops by visiting
darks using blends of cobalt blue, alizarin t The finished painting Fernworthy Clapper www.davidwebbart.co.uk
crimson and burnt sienna. Use this also Bridge, watercolour on Bockingford NOT 200lb
for the cracks, the little shadow to the (425gsm) watercolour paper, 712⁄ x11in. (19x28cm)

June DPS Patchings workshop v2.qxp_News 1st 28/03/2018 16:02 Page 1
artist & Patchings Art, Craft & Design Festival,
Organised by The Artist and Leisure Painter in association

with Daler-Rowney who will provide each participant with
art materials for each session worth over £65(rrp)
Watercolour in Three Washes with
David Webb, Thursday, July 12
YOUR TUTOR
David Webb is a
regular contributor to
Leisure Painter, author
of many watercolour books
and a popular tutor and
demonstrator. David will
show you how to paint
bold, loose paintings in
watercolour using only three washes from start
to finish. Working from light to dark, you will
keep the colours clean and transparent. After the
demonstration, you will paint a watercolour
landscape in three washes from reference material
provided, with individual tuition.
Lordat, watercolour by David Webb

t
YOUR MATERIALS
Daler-Rowney will provide each
student with five 8ml tubes of
Aquafine Watercolour, DALER-ROWNEY MATERIALS
two bottles of The Aquafine Watercolour range has been reengineered to bring to market the
Aquafine Watercolour best and most comprehensive ‘Student’ quality range of watercolours, offering
Ink, two Aquafine artists a superior lightfastness, wetting agent, and fineness of grind.
brushes, one Langton The new range of Aquafine Gouache has been formulated to match the
pad, an FW Marker watercolour range tone for tone, offering artists the possibility of working with
Set and a plastic the two ranges together seamlessly. Aquafine Gouache combines the graphic
palette, worth elements from Daler-Rowney’s historic Designers’ Gouache with a new highly
opaque formula that dries to an eggshell finish.
over 65(rrp). The new Aquafine Watercolour Ink range has 20 highly saturated, lightfast
pigment-based watercolour inks. Formulated with the same pigments as
Aquafine Watercolour and Gouache, these colours will not fade over time and
can be applied directly from the dropper, by brush, with paint markers, technical
pens and by airbrush, making them practical and easy to use.
For more details about Daler-Rowney products please visit
www.daler-rowney.com
GREAT VALUE – BOOK YOUR PLACE TODAY!

The sessions will run from 10am to 1pm and 2pm to 5pm. PLUS FREE ENTRY
The cost of each three-hour session is just £60(inc VAT) per person and includes to Patchings Art, Craft and Design
instruction from your tutor and Daler-Rowney materials worth over £65(rrp) Festival for the day, worth £10.
June DPS Patchings workshop v2.qxp_News 1st 28/03/2018 16:02 Page 2
WORKSHOPS
Nottinghamshire, July 12 to 15, 2018
Creative and Spontaneous Watercolours

with Judi Whitton, Saturday, July 14
YOUR TUTOR
Judi Whitton is a
professional artist who
paints in a free style
with transparency of
colour and is well
known for her articles
in The Artist. Judi will
demonstrate how to
produce a free and
spontaneous watercolour and you will have the
opportunity to paint translucent watercolours on
a lovely smooth paper and add lively calligraphic
marks and a touch of colourful gouache. Judi will
talk about the essential ways in which you can
give a look of free spontaneity in your work, vary
the techniques and materials used to produce
energetic work and how to decide when the
picture is finished. Working from reference
material provided by Judi, you will be
Dartmouth, watercolour by Judi Whitton
t
encouraged to produce a painting with a colourful fresh and free
look. Individual tuition will be provided throughout the session.
Includes
YOUR MATERIALS FREE ENTRY
Each student will receive, courtesy of Daler-Rowney, to the festival
one Aquafine Watercolour Pocket Set, two 15ml tubes
of Aquafine Gouache, two bottles of Aquafine PATCHINGS ART, CRAFT worth £10!
Watercolour Ink, one Aquafine Watercolour Pad, one & DESIGN FESTIVAL 2018
Aquafine Sable Round Brush and One of the UK’s finest practical art,
an FW Marker Set. The total craft and design events, set in 60 acres of picturesque
value is worth over £65(rrp). Nottinghamshire countryside. The event showcases
some of the best professional artists and craft makers,
along with paintings, textiles, jewellery, glasswork,
photography, ceramics, woodwork and sculpture.
There will also be art and craft materials for testing and
purchase, guest artists, demonstration marquees and
hands-on workshops. The festival at Patchings Art
Centre in Calverton, Nottinghamshire, runs from
Thursday to Sunday, July 12 to 15, 10am to 5pm daily.
For further information visit
www.patchingsartcentre.co.uk
BOOK NOW
For more information and to book your place, please visit
www.painters-online.co.uk/courses-holidays/reader-workshops
If you don’t have internet access please telephone Liza or Nicci on 01580 763673
LP06 30-32 Mundy_Layout 1 06/04/2018 12:05 Page 30
Miniature painting
The world in miniature

Part 1 Bill Mundy introduces a new series on
painting miniatures with a look at the history of miniature
portrait painting and the materials used, then and now
LEARNING OBJECTIVES
n The history of miniature
painting
n Understand the materials
used
B efore I demonstrate the stages

in painting a miniature portrait
next month, a short history
of the art may be of interest to the
aspiring miniaturist.
In the Middle Ages illuminated
manuscripts, bibles and books of
hours all contained miniature portraits.
However, it wasn’t until the reign
of Henry VIII that likenesses were
painted on documents in diplomatic
use for communication between one
court and another. These little portraits
Jade, watercolour were used almost as a signature –
t
on vellum, 334⁄ x3in. or proof – that the document had

(9.5x7.5cm) been seen and agreed by the sender,
who was the person portrayed.
When miniature portraits first
evolved as individual little paintings
in the early 16th century, the work
was executed on vellum (vellum
being the skin of the unborn, or
aborted, calf). It was stuck on
cardboard for extra support. These
card tablets, as they were called,
were cut from playing cards and the
vellum stuck to them with starch.
Miniatures were originally called
limnings or ‘paintings in little’ and
the artists were called limners. This
name survived well into the 17th
century. George C. Williamson (1858-
1942), who wrote the definitive The
Art of the Miniature Painter, defines a
miniature thus: ‘It is not easy to adopt
a definition that will be simple and
accurate for what we now call a
miniature. Perhaps the easiest way is
to speak of a miniature as a portrait
that can be held in one hand. It may,
perhaps be no bigger than the
thumbnail; it may perchance be as
large as the palm of the hand, or
Spike Milligan, even larger, but it must be a portable
t
watercolour on vellum, portrait.’

334⁄ x3in. (9.5x7.5cm)
Traditional colours
Colours were ground on marble slabs
and were mixed in little mussel shells.
The colours were moistened with
water and thickened with gum arabic,

Miniature painting
t
Gilbert Adams FRPS, watercolour t
Red Hesser, watercolour on
on vellum, 334⁄ x3in. (9.5x7.5cm) vellum, 334⁄ x3in. (9.5x7.5cm)
which served as a binder and painter, Rosalba Carriera (1673-1757)

preservative. The preparation of was the first to use this innovative
pigments in the 16th and 17th centuries technique. Other artists soon began to
was undertaken by the artists use the same material. Ivory doesn’t
themselves, who also selected and absorb paint as well as vellum, and the
purchased the raw materials. Besides paint needed to be more carefully
black and white, there were floated on. Prepared ivory also needed
approximately ten shades of blue, to have a ‘tooth’ added, to take the
green, red and yellow, obtained from edge off its very shiny surface. This
minerals, plants or chemicals. One of was achieved by rubbing it all over
the greens was made from the leaves with pumice powder.
of wild irises and, surprisingly, the When painting on ivory, excess grease
sunflower produced a violet colour. was removed by the application of
Other colours were obtained from vinegar or garlic. However, I normally
white lead, chalk, eggshells, ore, mix soap with my water when working
cobalt, burnt ivory and cherry stones. on old ivory, which is equally effective.
Brilliant blue, normally used for the
backgrounds of miniatures until the Modern times
end of the 16th century, was made
t
Annabel Mundy, watercolour With the introduction of photography
on vellum, 3x212⁄ in. (7.5x6.5cm) in 1839 miniature painting soon lost
from azurite. However, genuine
ultramarine is made from lapis lazuli, its popularity. Portrait photographers
which, in the 16th century, made the quickly took over from the artist
long journey to Western Europe from aside to dry. The resulting powdered because, of course, there was a vast
Afghanistan. Its price of 11 pounds pigment was stored in boxes, or folded difference in cost.
10 shillings an ounce in 1600 explains in papers, ready for use. The art of miniature painting is
its rarity in 16th century painting. kept alive today by many practising
There were two main methods of Materials used artists throughout the world. In
preparing pigments to sufficient Brushes were made from squirrel hair England annual exhibitions are held
fineness – grinding and washing. and artists made their own brushes, or by the Royal Society of Miniature
The pigments had to be extremely ‘pencils’, as they were called then, from Painters, Sculptors and Gravers (RMS),
finely ground for miniature painting. the tail of the squirrel. A limner’s The Hilliard Society and the Society
The pulverised pigment was placed materials comprised a mother-of-pearl of Limners. Demonstrations are held
on a flat surface, dampened with clean palette, burnishers (usually made from by all three societies at their annual
water, and levigated (reduced to a a canine or stoat tooth), used to burnish exhibitions.
smooth paste) using a muller (similar gold, and an assortment of ‘pencils’. The RMS celebrated its centenary in
to a pestle), made from the same These were set in quills of waterfowls. 1995, and in 1997 was granted letters
material as the surface. When the At the beginning of the 18th century patent and armorial bearings. The
pigment was sufficiently fine for the use of ivory as a base began to design was carried out by the College
of Arms. It includes sable supporters
t
limning the paste was removed and set replace vellum. The Venetian Rococo

Miniature painting
t
Sir Felix Brunner, sepia watercolour t
Ade Edmonson, watercolour
on vellum, 334⁄ x3in. (9.5x7.5cm) on vellum, 334⁄ x3in. (9.5x7.5cm)
for the sable brushes we now use, and Surfaces Miniatures can be painted
an elephant standing for strength and on a variety of materials. Most
longevity. The five crowned palettes miniaturists these days use ivorine
represent the society’s art, which is or polymin, both man-made
honoured by the patronage of five substances. Parchment, Bristol
successive monarchs. To carry on this board, vellum or old ivory are
tradition, the Prince of Wales became the other main surfaces.
our patron in 2000. Now I paint on vellum, but have,
in the past, painted on old ivory.
My technique Recently, I found a source of very
When people see me at work they old ivory: mammoths! Mammoths
often remark on my somewhat dirty originated in Africa 540 million
paintbox. In fact I like my colours to years ago. The woolly mammoth
become a bit mixed up in their pans is my source of material. It has
as I feel this adds to their subtlety, been deep frozen for the past
but I don’t allow dust to take over. 10,000 years in Siberia. The tusks
It is a common myth that miniature are approximately 15 feet long and
painters’ brushes are made up of only a few have been released by the
one hair, but one-haired brushes
t
Margherita Imperiali di Russian government.
couldn’t possibly hold enough colour. Francavilla, watercolour on vellum, Next month, I will take you
Brushes should have a good body of 334⁄ x3in. (9.5x7.5cm) through the painting of a miniature
hair descending to a reasonably sharp portrait in watercolour. LP
point. However, from time to time detail needed for the mouth or eyes.
I come across new brushes where the For backgrounds and coarse clothing,
points are too wispy. I then follow I frequently use old brushes that have
Nicholas Hilliard’s advice on brushes: become worn and blunt with use.
‘If you find any hair longer than the One new brush can, if I’m lucky, Bill Mundy
rest, either take it away with a sharp last for one miniature portrait. Bill is one of the world’s most
penknife or scissors that are sharp, or Colours Artists today don’t need prominent miniature portrait
pass it suddenly through the flame of to grind their own pigments. painters. He has published three
a candle’. How many brushes have Watercolour comes ready for use books on miniature portrait
I ruined by passing them through a in pans or tubes. I only use pans, painting, and an autobiography,
flame too slowly! They end up only as tubes tend to dry out and become A Brush With Life. See more of his
suitable for coarse background effects. hard too quickly. We all paint in our work on www.billmundy.co.uk.
own individual styles. In fact all the This year’s RMS annual exhibition
Materials used miniature portrait painters I know will be held from 28 November
Brushes My collection of Kolinsky are self-taught and most of us have to 5 December at The Mall
sable brushes vary in size. Mostly I use studied the methods of the Galleries, London.
Nos. 00 or 000 for the incredibly fine Old Masters.

LP06 33-35 Parashko_Layout 1 06/04/2018 13:00 Page 33
Oils or acrylics
Lock and key

Follow Elena Parashko as she paints the texture of old metal, string and wood
construction, provided a unique I called the painting, Key to John Oxley’s

LEARNING OBJECTIVES opportunity to witness the painstaking Heart, referring to both the key that unlocks
n Paint the texture of old wood, work of volunteer shipbuilders of the this door and the heart of the man John,
metal and string Sydney Heritage Fleet. whom I nostalgically imagined the vessel
Passing by the pilot’s dining area, was named after. Although my painting
n How to transfer a drawing I was intrigued by a locked door with was completed in oils, the techniques used
onto board a key dangling from the doorknob. in the following demonstration also work
n How to create the effect of I loved the colours and texture of the well with acrylics. LP
depth in your painting rich woodgrain of the door,
which contrasted with the
tarnished silver keyhole.
T his painting (right) was inspired by

my visit on board the coastal steam
ship John Oxley (1927), which was
undergoing major restoration. Donning
a hard hat and climbing the scaffolding
My imagination took over
as I pondered the mystery
of what was locked away
behind that door. It was an
image I was compelled to
to board this vessel during a pause in paint.
t
Your reference photograph for this project: the mysterious key t
The finished painting Key to John Oxley’s Heart,
t
dangling from a doorknob on board the ship, John Oxley. oil on MDF board, 16x8in. (40x20cm)

Oils or acrylics
Demonstration Key to John Oxley’s Heart
You will need

n n n Miscellaneous Step 1
t
Surface Artist’s oils
l MDF board l Titanium white l Burnt umber acrylic Draw this
16x8in. l Blue black l Gesso simple
(40x20cm) l Burnt sienna l Paper composition
l Burnt umber l Pencil
n Brushes
for the painting
l Raw umber l White transfer to scale onto
l Flats Nos. 6 and 2
l Yellow ochre or paper paper using a
l Liner No. 1
yellow oxide l Pen graphite pencil.
l Bristle No. 4
l Ultramarine blue l Gloss varnish
t Step 2
1 Apply gesso thickly and unevenly on a smooth
MDF board to indicate the textured wooden surface
of the door. It is important to apply brushstrokes
TIP If you are
painting using oils,
in the correct direction as most of the door has
it is useful to apply
vertical panels, but the top-left corner has a
the burnt umber
horizontal section. In the area of the key, doorknob
underpainting with
and keyhole keep the gesso fairly smooth.
acrylics as it will
2 When the gesso is completely dry, give the
dry very quickly
surface a coat of burnt umber acrylic paint.
and you can get
3 When this paint layer is dry, trace the
on with the next
composition with a pen onto the board by
step in oils.
inserting a sheet of white transfer paper face
down between the drawing and the board.
Step 3
t
1 Use varying ratios of burnt

sienna, raw umber, blue black
and yellow ochre to make several
shades of light and dark brown for
the wooden panels. Apply each
colour with a large flat brush in
the direction of the woodgrain,
allowing some of the burnt umber
underpainting to show through
streaks of broken colour. To
achieve the broken colour effect,
don’t add too much paint to the
brush and wipe it gently across
the surface so the colour on the
brush breaks to reveal the colour
of the surface beneath.
2 Fill the centre of the keyhole
blue-black. Paint the metal plate
and screws with a dark, medium
and light shade of grey made
from a mixture of blue-black,
titanium white and raw umber.
For interest, the centre grooves
of the screws are all aligned in
slightly different directions.

Oils or acrylics
t
Step 4
1 As the doorknob is reflecting the surrounding woodgrain,
use the same range of browns to paint it. It also has a slightly
tarnished look so suggest in places a hint of green by adding
ultramarine blue to the woodgrain mix. Smudge titanium
white on the upper right and left sides to indicate shine.
2 Complete the details of the keyhole plate by adding
a sliver of highlight on the inner edge of the hole and dabbing
browns on with a dry bristle brush to indicate tarnish.
t
Step 5
1 Add a line for the whole string with its darkest shade
made from a combination of the dark brown underpainting
colour, burnt sienna and a touch of titanium white. Add the
contoured texture of the string with a fine liner brush and
a lightened version of this underpainting colour.
2 Paint the key with the same range of dark, medium and
light greys you used for the keyhole plate. To shape the
contours of the key use the darker greys on the left and
underside, and the highlight grey on the top and right side.
To indicate the shadow of the key on the door, paint the
darkest woodgrain colour to the left of the key.
Elena Parashko
Elena is the author of the empowering book Survival
Guide for Artists: How to Thrive in the Creative Arts,
t
The finished painting Key to John Oxley’s Heart, oil on MDF
available via her website and Amazon. For more
board, 16x8in. (40x20cm)
information about her work visit www.elena t
Step 6
parashko.com or email info@elenaparashko.com. 1 To complete the painting, brighten the woodgrain in places
Her blog www.survivalguideforartists.com has with lighter shades of brown.
a wealth of information for artists. 2 When completely dry, apply two coats of gloss varnish to the
painting which added to the sheen of the various depicted surfaces.

LP06 36-39 Fisher_Layout 1 06/04/2018 14:51 Page 36
Acrylics
Weather report
Part 1 Tim Fisher begins a six-part series on painting the weather in acrylics.
This month, how to paint cloudy, windy and unsettled weather
quite a mundane scene. I can spot more to just a few colours: primary yellow,
LEARNING OBJECTIVES potential subjects when the sun comes cobalt blue hue, cadmium red light hue,
n How to paint the effects of out as compared to a dull day. In this burnt sienna, yellow ochre, titanium
cloud and wind series, I’ll be exploring techniques that white and Mars black.
will help us to represent different Most acrylics are quick to dry when
n Acrylic techniques to get you weather effects in acrylics. spread thinly with very little water
started Unsettled weather gives us exciting especially if they are worked onto an
n Colour mixing for acrylic cloud shapes, showers and unexpected absorbent surface. This can make
landscapes flashes of light as the sun peeps through. capturing the vagaries of the weather
I like to use a more fluid acrylic and challenging. The drying time can be
usually choose to work with Sennelier extended by adding a waterproof primer
T he capricious nature of the British

weather can provide the artist with
a wealth of subjects and different
themes. The weather plays an important
role in adding that little something extra
Abstract acrylics, which are supplied in
plastic pouches. They dry at the normal
rate, but to a satin rather than glossy
finish. The plastic pouches help to
prevent air ingress, which extends the life
to the ground or by misting the painted
surface with water from an atomiser.
Alternatively, a retarder can be added
into the paint to delay drying or
by switching to the slower drying
to what may appear at first glance to be of the contents. I try to limit my collection Golden Open acrylics. LP
Demonstration Mill over the Meadows

At certain times of the year we experience unsettled weather, often You will need
accompanied by winds, and rising cumulus clouds. Capturing these
moments requires observation and a good camera, or even painting n Surface n Sennelier Abstract
directly outside within these elements. Resulting photographs can l Canvas-covered gessoed acrylics
be a little disappointing when printed on a smaller scale and are board 11x15in. (28x38cm) l Yellow ochre
l Cadmium red light hue
often best viewed on a tablet or computer monitor. n Brushes
l Cobalt blue
For the painting Mill over the Meadows, I had already produced an l ⁄ in. flat nylon
3
l White
4
oil sketch out of doors on what was a particularly unsettled and very l 1in. ox hair brush
windy day (see the bottom of page 38). I had to abandon the work l Burnt sienna
uncompleted as the gusts kept blowing my easel over! The sketch n Miscellaneous l Mars black
provided a good record to work from when developing this painting l Fibre-tipped fine Faber- l Primary yellow
in the studio. The rapidly moving clouds presented an unsettled Castell Pitt Artist pen l Cadmium red
and busy sky.
Step 1
t
1 Selecting a canvas-covered gessoed board,

I started by drawing the mill house a little
further into the distance so as not to compete
with the two windswept figures that I then
added on the right. The whole drawing was
completed using a fibre-tipped fine Faber-
Castell Pitt Artist pen. These pens are
completely waterproof and allow me to see
the line work as layers of acrylic are applied.
2 After adding all the detail a diluted wash
of yellow ochre and cadmium red light hue
was added over the surface. Whilst the paint
was still wet, I lifted out light areas with
a piece of kitchen roll.
TIP Placing figures within a scene

can present difficulties for some and
it is a good tip to draw out your idea
on a sheet of acetate first then line
them up on the board. As they are
walking on a flat surface the heads
should roughly line up with the first
floor windows of the distant cottage.

Step 3
t
1 After painting the
whole sky area roughly,
I lightly misted the
surface with a fine spray
of water to keep the
paint mobile. In a warm
studio, the paint can dry
t
Step 2 quite quickly, making
Once the surface was completely dry, blending difficult if
I used a ¾in. flat nylon brush to paint the working too slowly.
sky. I worked quickly, starting with a mix 2 Next, I mixed a grey
of cobalt blue and white then switching by adding cadmium red
to white and yellow ochre without and burnt sienna to the
washing out the brush. This allowed me cobalt blue and applied this over riverside willows using a flat brush,
to blend the clouds together more easily the previously painted clouds. Mars black and curved strokes to
as subtle colour changes came from 3 I then placed a piece of masking tape over suggest wind blowing across from
the unwashed brush. the edge of the distant field and painted the the left.
Step 5
t
1 The masking tape

was then removed to
reveal a sharp edge
between the trees and
the field. I decided to
turn the bush on the
left into a large tree
using a 1in. ox hair
brush. The soft bristles
break up nicely,
making this a good
brush to use when
representing foliage.
2 For a darker green
t
Step 4 I mixed primary yellow
Once the black had dried, I used a small section with Mars black.
of a jumbo car sponge that I bent into a round 3 Using a fine brush,
shape and added more leaves and texture with I added branch details
primary yellow followed by cobalt blue, dabbing and leaves blowing
these two colours together to make a green. away from the canopy.
Step 6
t
1 I started to add the green

into the foreground, beginning
with yellow ochre for the path
then mixing in cobalt blue for
a distant green. As I painted
nearer I introduced primary
yellow into the mix.
2 The figures were painted
next, using cadmium red for
the hat then cobalt blue for
the clothing. Darks and
shadows were added by
introducing Mars black into
the mix.
3 To finish, I added a little
distant chimney smoke to the
Mill house and painted cows
huddling in the corner of
the distant field.
The finished painting

t
Mill over the Meadow, Golden

Abstract acrylic on canvas
board, 11x15in. (28x38cm)

t
Approaching Storm, Golden Abstract acrylic on canvas board, 12x16in. (30.5x40.5cm)
Unsettled weather sealing the surface to make it easier to

Approaching Storm (above) was painted paint over. It took about half an hour to TIP Sometimes the masking tape can
in much the same way as Mill over the dry in a warm room after which I could stick to and tear the paper when using
Meadow. This time I used picture add a piece of masking tape, forming mountcard. An easy way to overcome
framer’s mountcard as the base for the it into a slight curve for the distant this problem is to warm the surface
painting and covered the surface with horizon. gently with a hairdryer then the tape
yellow ochre in the sky area and Yellow ochre was added as the base will peel off cleanly and easily.
primary yellow with burnt sienna in the colour for the sky area as there was
foreground. This was applied slightly less likelihood of the sky turning green
more thickly than on the previous when further colours were added over
painting and acted as a means of it. The sky was painted using cobalt
blue with a touch of burnt sienna, same way as the previous examples,
swapping to white to create clouds. the only difference being that I used
To complete the sky, I added a grey French ultramarine blue instead of
mix of cobalt, burnt sienna and cobalt for the sky. I reverted back to
cadmium red for the approaching cobalt blue for the trees as
storm cloud over the now dry surface, ultramarine, when mixed in acrylics,
dragging downwards the base of the tends to produce quite muddy greens.
cloud to suggest distant rain. This time the trees were painted with
The trees were added with a sponge, a 3⁄4in. flat brush, using the chisel edge
beginning with a base colour of Mars to suggest branches and structure.
black, over which I worked primary To balance the composition I added
yellow then cobalt blue. I removed the livestock and the distant tower of
masking tape then added the near tree. Holme village church.
Once the tape was removed, I added Acrylics are so versatile that we
the nearer tree using a sponge and can explore a wide range of weather
adding a little Mars black into the effects. Next month I’ll be taking a
green mix. look at painting rain, puddles and
To complete the painting, I added reflections in acrylics. LP
a few dry strokes of burnt sienna then
splattered reds and yellows into the
foreground (left). I found using the
flat surface of my tear-off palette and Tim Fisher
a stiff brush worked well. Find out more about Tim, his
t
Flicking and splattering acrylic paint to The final painting Towards Holme work and workshops by visiting
add texture and interest to the foreground (above right) again shows a very www.timfisherartist.co.uk
in Appoaching Storm (above) unsettled sky. This was painted the

t
Towards Holme, Golden Abstract acrylic on canvas board, 11x15in. (28x38cm
t
Mill over the Meadow, oil sketch on canvas board, 11x15in. (28x38cm). This plein-air sketch proved invaluable as reference material
to complete the demonstration painting on pages 36 to 37 in the studio

LP06 40-43 Pybus_Layout 1 06/04/2018 15:25 Page 40
Oils
Boats and harbours

How to compose simple, effective scenes of boats, waterways and figures
in changing light, inspired by Whitby habour, with Christine Pybus
LEARNING OBJECTIVES
A SIMPLE BOAT STUDY
n How to depict boats
accurately
n Ideas for painting water,
mud and figures
n Develop your composition
skills
I t is with a degree of envy that I

look at those idyllic, atmospheric
19th century paintings of Whitby
harbour. Huge brown fishing boat
sails, limply hanging, drying in a
gentle breeze. Men in rowing boats
busily going about their business,
and a forest of sailing ship masts
and rigging.
That has all long gone now,
replaced by different, yet equally
interesting subjects. There is still
exactly the same sparkling light, an
abundance of yachts and craft of all
descriptions and in various states of
repair, but now there are huge steel
often work-worn fishing boats, rust
dripping down their battered sides.
In fairness, also long gone now
are the heavy curtains of smoke,
the most unsavoury smells and,
indeed, marauding press gangs.
t
Dinghy Study, oil on board, 712⁄ x812⁄ in. (19x22cm). The shape of a boat is usually defined
by both the light catching on the top edge (gunwale) and the shape of the waterline. This
study (above) was initially built up of simple blocks of shapes and colour, the white Your subjects
highlights only added once I was satisfied that the shape was roughly correct. Painting this I find that the degree of decay and
stern view has highlighted the hard edges of the planking, light against dark, which make disrepair increases in proportion to
defining the shape of the hull much simpler. That said, whilst looking reasonably boat-like, the distance I get from those
it may in fact be nothing like the boat that I was painting and no one will ever know! gleaming, smart, neat and ordered
There’s much more latitude to be had with this subject than many might imagine. marinas. I prefer to look slightly off
the beaten track, into hidden
corners, streams and old boatyards
Preliminary stage of
t
to where the more colourful and

painting. Once the boat characterful boats idly lie in various
was roughly painted, the stages of retirement and beyond.
water was fitted around Despite being simply a series of
it. The reflections and shapes, some of those shapes can
both the angles and size be quite fiendish to reproduce, and
of the ripples in the water boats therefore are a subject often
are so difficult to judge
until the boat itself is avoided by the amateur painter.
established. Those waves A few simple compositional choices
and ripples consist of can, however, make painting them
larger brushmarks to the so much easier.
foreground, becoming Also bear in mind that with such a
smaller as they recede multitude of craft out there, many of
into the distance. The few which have evolved over decades,
marks shown here were there are rarely two the same. Hence
put down as a tentative there’s probably one somewhere
guide allowing me then that looks just like the one that
to paint the rest of the you’ve painted, in other words, you
water with confidence. can’t, unless commissioned to paint
a specific boat, go too far wrong.

Oils
t
Low Tide at Spital Bridge, oil, 7x7in. (18x18cm). Keeping the subject roughly at thirds, I then used the stream with those flashes of light as
a lead in. I avoided the extreme temptation to put either light or another boat through that archway, which would have led the eye away from the
subject and, in effect, created a competing subject. Those two figures are so important. Whilst only loosely suggested, they give the entire picture
scale and also describe the size of the boat.
Make life easier importantly, hard edges. Those edges above the boat, level with, or from
There are, of course, many angles from make defining the shape of the hull below (low tide only). That low tide
which to paint a boat, the most obvious much simpler. In complete contrast, option is always one worth considering,
being from the front, back or side (bow, when painting a boat side-on, its shape bringing to the fore the glorious lines of
stern or abeam). is often described only by subtle the ‘belly’ and those around the keel.
Inevitably when painting the front or gradations of tone, all blending gently For those not keen on painting water,
back views, depending on the direction one into the other to sculpt the form of the rich purples, greens and reflected
of light, there will be both a light and the hull and much more difficult to paint. blues of wet river mud are always
t
shadow side to the vessel and, more Next to consider there’s looking from a joy to paint. LP

TIPS
1 Painting the boat is one skill,
painting the water another.
Bringing the two convincingly
together is an often overlooked,
but very necessary third part of
the conundrum. Painting the
boat first and making the water
fit around it often helps here (see
boat study on page 40).
2 The vertical lines of a boat’s
hull and planking are notoriously
difficult to get just right and if
they look wrong then they
probably are. Help is at hand
though in the form of fenders.
A few carefully placed fenders,
will not only cover up problem
areas, but can also be used to add
a splash of colour where needed.
t
Summer across the Esk, Whitby, oil on canvas, 30x40in. (76x102cm). This large oil with all the
action happening on the thirds line was composed around that cross, formed by the train, its smoke
and its reflection, with everything else leading in towards it. I used a rowing boat to punctuate
that large expanse of water.
Demonstration Afternoon Light on the Esk
You will need

n Surface n Rosemary & Co n Daler-Rowney l Ultramarine blue thicker Roberson’s or
l Gesso-primed MDF brushes Artists’ oils l Cerulean blue Mike Harding’s titanium
board 10x12in. l 3 x long flat hog l Naples yellow 1 l Cobalt violet white are preferable
(25x30cm), primed and oil brushes, l Lemon yellow l Winsor or Prussian
washed with burnt between Nos. 2 (Hue) blue (used sparingly) n Miscellaneous
sienna, or ground and 8 l Yellow ochre can also be useful l A large clean cloth
colour of your choice. l Rigger No. 2 l Raw sienna here depending on l Turpentine or Sansodor
Alternatively, oil board, l Watercolour type l Burnt sienna your locality to keep the brushes clean
pad or canvas brush No. 2 l Light red l Titanium white – the only, not used for mixing
Step 1
t
1 Roughly establish the boats and their

reflections using flat blocks of colour (still
reflections are always painted downwards).
2 Next, using a large brush, broadly put
down colour and shapes to suggest the
background trees and wall to the right.
3 Then with just a few more broad
brushmarks, add some of the lightest lights.
The extreme tones are now established, from
the darkest darks to the lightest lights hence
it’s now much easier to gauge everything
in-between.
4 Add a little middle distance, at this stage
that distant shed is simply two horizontal
brushmarks.
5 There’s enough elements established now
for you to check your composition. If, like
mine, there’s too much board, cut the board
down at this stage with a few paintmarks,
as opposed to stretching your picture to fit it.
Should it still look wrong when you’ve
finished you can also, of course, trim some
off the picture when dry. If using a canvas
then careful selection of the canvas size
is required before starting.

Step 2
t
1 The next step is to get the board covered,
because only then will it become obvious
which areas need adjusting.
2 Using the shapes in the water is a wonderful
way to lead the eye into the distance; it isn’t
simply horizontal stripes, rather subtle ‘Z’ shapes.
Establish the darker marks first. Too dark is
preferable to too light then simply place
the light ones next to them in a jigsaw-like
fashion. Gaps can be filled in later and the
darker marks lightened where necessary.
3 With the board now covered and the
background water behind them established,
next suggest the windows in the boat
wheelhouses.
4 Those lights are as white as you can possibly
get them, so are fixed and all else must tone
in with them. What then was too dark becomes
glaringly obvious now and that final process
of refining can begin. 3 Now to the boats. Refine the overall yellow help define the background,
shapes by highlighting the top edges the top of the harbour wall and a
(gunwales) and establishing the waterline. distant flagpole or mast.
t Step 3 A few softer flashes of light to help suggest
1 Tone down the background as required, the roundness or ‘belly’ of the boat then the
remembering that blues and purples recede, fenders come into play. Place them, if needed,
giving a sense of distance. Likewise at the same
time, whilst suggesting a little structure, tone
to hide any lines that don’t quite work.
They are also a great way of introducing
Christine Pybus
Find out about Christine, her
down the wall and its reflection as needed. complementary colours; those oranges against work and classes by visiting
2 Any gaps left in the water can now be filled in, the blue really accentuate the subject. www.pybusfinearts.co.uk
taking care to retain some of those ‘crisp’ edges. 4 Finally, a few highlights of pure Naples
t
The finished painting Afternoon Light on the Esk, oil on board, 8x10in. (20x25cm)

Sub June LP in LP_StartArt 1 28/03/2018 14:16 Page 2
Subscribe to
FREE
Enjoy over 1,000 pages of expert SUPPLEMENTS
tuition and inspiration for the amateur
painter with an annual subscription to
Leisure Painter, for only £39.99*
L E A R N -T O
-P A IN T M A
G A Z IN E PAY ONLY
T -S E L L IN G
T H E U K ’S
BES
Portraits
in miniature £3.08
PER ISSUE
40
JUNE 2018 £4.
BEGINNERS’ UR How to poationgtraphs SUBSCRIBE NOW and:

WATERCOLO
from ph l Secure a SAVING of 30% on the
shop price
l Pay only £3.08 per issue
l Receive digital editions of our retail

AND
PAINT BOATSIN OILS
supplements published throughout
HARBOURS the year FREE (these are £1 each for
NEW SERIES!er
non-subscribers)
Paint weath rylics
effects in ac
l Enjoy easy home delivery,
ERS
SPRING FLOWLOUR direct to your door, every 4 weeks
IN WATER CO
STEP BY STEPg l Ensure you’ll receive every issue of

still life usinncils
coloured pe a part-series
!
RD
SCRATCHBOA
l Take advantage of our exclusive

step by step s
FIRST STEPS

for beginner

with water-
mixable oils T FREE transfer to sister magazine
HOW TO PAIN
TRY THIS!
the texture of The Artist, at any time

od
metal and wo
Watercolour
on canvas * The price shown is for payment by Direct Debit, the price for cheques,
debit and credit cards is £47.20. A subscription outside of the UK is £57.
You can purchase your subscription online at

painters-online.co.uk/store
or by telephone on 01580 763315 Please enter or quote code LP1806
LP06 45-47 Dalleywater_Layout 1 06/04/2018 15:42 Page 45
Scratchboard
Welcome to the dark side

Part 2 Following a discussion on materials and techniques last month,
Jenny Dalleywater takes you through the making of a scratchboard portrait
LEARNING OBJECTIVES Your reference
t
material for this
n Understand scratchboard demonstration:
and its possibilities Pepsi the cat
n First steps working in negative
n Creating texture and depth
in your scratchboard
Your reference
S cratchboard is not well known in
the UK – something I am trying
to change! It is a way of working
in negative, black to white, and is a
form of direct engraving, using a hard
Last month I promised
a tutorial and, after
a lot of thought,
I decided to make
masonite board, which has a layer of my own cat, Pepsi,
white clay, finished with black ink. famous for five
Working with sharp or abrasive tools, minutes and use
the black ink is scratched off to reveal a photo of her as
the white clay underneath. The board my example (right).
can take an amazing amount of detail I often scratch an
and is much more forgiving than you overall first layer then
might think and, providing you don’t add a diluted wash
scratch down to the board, you can of black ink over the
generally cover up mistakes with top, wait for it to
black India ink and then re-scratch. dry (which is very
There is so much more to share with important) then re-
you about this fascinating medium scratch. This can be
than I have space for here, but I hope done a few times
the following demonstration gives to build up layers,
you a flavour and desire to try it for making fur look really
yourself. For detail freaks, it is very thick or textures
satisfying. realistic. However,
for this tutorial, the
finished example has
only had one layer.
My advice to you is to work
really lightly, building up layers,
rather than going in heavy at the
start. This is a slow process and,
to achieve a good finish, it is
important not to rush.
When buying the materials,
I would advise beginning with
a couple of scratchboards and keep
one as a test board to try out tools
and new strokes, before starting
on the main board. None of the
materials are expensive, but if you
just want to try before buying it
all, you can achieve some very
impressive work with just a board
and a craft knife with a sharp blade.
On the following pages I describe
how I worked on my image of
Pepsi, but if you apply all the
techniques shown to your own
work, you won’t go far wrong. LP
The finished picture Pepsi,

t
t
The reference photo in black and white scratchboard, 7x5in. (18x12.5cm)

Scratchboard
Demonstration Pepsi Essdee cutting tool

Fibre glass brush refill, inserted
into a clutch pencil holder
You will need

l Ampersand scratchboard (from l Essdee cutting tools from
Jackson’s or Cass Art), 7x5in. eBay or Jackson’s for whiskers
(18x12.5cm) and removing larger areas
l X-acto or craft knife with No. 11 of black ink
blades (from craft shops or Ebay) l White carbon paper (Tracedown
l Fibreglass brush (refills from from art and craft shops or
Ebay. Search for ‘2mm Scratch Amazon) or white pastel
Brush Pen, spare glass fibre l Pencil for freehand drawing
inserts. L: 110mm’. They fit into l Rustoleum Crystal Clear
a standard clutch pencil Spray Varnish
l Black India Ink and paintbrush l Faber-Castell Pitt black Artists’
l Tattoo needles available on eBay pens (useful for tidying up edges)
X-acto or craft knife Tattoo needle, inserted
into a vice handle
t Step 1
1 If freehand drawing, use a white pastel pencil, of paper and/or use a photograph and
taking care not to wipe the image off as you trace onto the scratchboard using the
work, or make your initial drawing on a sheet white carbon paper.
2 Use a photo-editing program on the
computer to adjust the size of your image
to fit the size of the scratchboard you
are using.
3 Many subjects are suitable for
scratchboard, but animal fur lends itself
to the medium. I usually print one colour
image, which I fix to the board and one
black-and-white image for reference, which
helps to show the tonal values more easily.
4 Leave an overlap one side of the printed
image to fold over and tape to the back
of the board, helping to keep the image
in place when tracing. I leave this printed
image taped to the board in case I need
to retrace anything.
5 Next place the white carbon paper, face
down, between the board and the image.
6 Trace around the image, enough to see
the key points. Using a coloured pencil
helps you see where you have drawn.
Don’t think you are cheating by tracing the
image, as the end result will be your own
t
Step 2
interpretation of the original photograph. 1 The scratching begins. Use a very light touch
and a craft knife. There is no particular place to
start. Using the back tip of the blade and short
TIP Bear in mind that fur is strokes, I started scratching around the lightest
usually clumped and doesn’t grow edge of the ear then, with longer scratches,
in straight lines so gently vary the moved onto the longer fur in the ears.
direction of the strokes you make 2 For the nose, use the tiniest of strokes.
and build up the layers gradually. Always watch the direction of the fur and
follow the contours of the skull.
Step 3
t
There are various ways to tackle

eyes. I used the craft knife then
very gently brushed the fibre glass
brush over the scratching, followed
by a light diluted wash of black
India ink then lightly scratched
it again. Practise this on your test
board first. Here you can see the
scratches radiating out from the
pupil. The highlighted areas (right)
can be scratched out at the end
using the Essdee cutting tool,
the fibre glass brush, or even
the craft knife.

Scratchboard
VARNISH
Don’t worry if your board gets scuffed.
Mine always does, no matter how
Step 4
t
carefully I work, but varnishing your
Carry on working work at the end will protect it and make
around the image, with the marks disappear, the whites stand
light scratches, building out and the whole thing ‘pop’. However,
up the scratched layers once sprayed, you won’t be able to make
and remembering not to any more scratches. I use Rustoleum
go in the same direction varnish. Follow the instructions on the
all the time or you will can carefully and lightly spray the first
just create ruts and the coat, let it dry and repeat the exercise.
fur will look unrealistic.
Any remaining white
carbon marks can be
gently rubbed off with
a clean finger or very TIP It is important to spray the
soft cloth, but generally varnish in a well ventilated, dry, clean,
the scratching process still area. Any moisture in the air could
removes most of them. grab the varnish particles and end up
causing white droplets on your picture,
which after all your hard work, would
be very upsetting.
TIP All scratchboard artists say their work goes

through an ugly stage; this is quite normal so don’t
give up. It is amazing that with gentle scratching
and refining, it will all come good.
Step 5
t
1 When the image is completed, add the whiskers.

It is better to use the Essdee cutting blade for this, as
it is a bit sturdier than the craft knife blade. With a firm
and steady hand, follow the whisker lines. Practise
this movement on the test board first.
2 It is possible to add colour to your creation, using
watercolour, coloured inks or even coloured pencils.
Sometimes I just like to colour the eyes, which is
effective, and you can re-scratch into coloured areas
to lift highlights.
3 If adding colour, it is important to scratch more than
if leaving it black and white, or painting colour on it
can move the remaining black ink around and spoil it.
4 Finally, don’t forget to sign your work, either using
the craft knife (again practise on the test board first)
or a white or silver gel pen.
Jenny Dalleywater
Jenny, a Kent-based artist living near Tunbridge
Wells, specialises in realistic work of domestic and
wild animals, using various media, but with a
special love for scratchboard. See more of Jenny’s
work on Instagram jennyD_art and Facebook
JennyD Art. If you have questions about this article
or want to book a demonstration or workshop,
please email her on JennyDart18@gmail.com
t
The finished picture Pepsi, scratchboard, 7x5in. (18x12.5cm)

LP06 48-52 Chadderton_Layout 1 06/04/2018 15:51 Page 48
Watercolour
Watercolour plus
Part 1 How to paint larger and looser watercolours on canvas, by Liz Chaderton
LEARNING OBJECTIVES
n First steps in painting
watercolour on canvas
I f you are a watercolourist who
wants to paint larger than the
average sheet of paper, or you fancy
creating paintings that can be handled
in the same way as acrylics or oils, or
will place new demands upon your
established technique!
Pros and cons

Works on paper are beautiful, but
n Understand your materials if you are simply looking for a new works on canvas have some distinct
n How to prepare your surface surface to paint on, then why not try advantages. On a deep-edge canvas,
painting on canvas. Be warned, no framing is required, or your paintings
though, it can become addictive, and can be framed and hung without glass

Watercolour
t
Turquoise Flamingos, watercolour on deep-edge canvas, 2312⁄ x3112⁄ in. (60x80cm). Size matters! The only constraint is the length of your arms,
as you will need to work with the canvas flat or at a slight angle. Of course, you could move to the floor…
or mounts. Not only is this a cost On the downside, painting on for. On cheap canvas, the stretcher
saving, it cuts the weight considerably canvas is a different experience than bars may warp, the thread count on
if you are transporting them, and there paper, as even properly prepared it is the canvas could be be low and the
is no barrier between the viewer and not as absorbent. You will find paint priming a little skimpy. You may
the image. There is also perceived lifts, making glazing tricky or even not be able to adjust the tension
value – annoyingly works on canvas impossible. The colour may pool on and the canvas may sag.
are considered more valuable than the canvas so you might want to use Please also consider the texture
those on paper. less water. As it stays wet for longer, of the canvas when buying, as this
Size is also no longer a constraint. you may need an added dose of will become an integral part of your
As you will need to work fairly flat, patience. Even experienced painters painting, just as paper texture plays
the constraint is the length of your will need to adapt their process. a key role.
arms! The paint can be lifted off very
easily. You can even wash the paint Canvas Watercolour ground
off and start again. The canvas stays While ready prepared watercolour As I write this, three manufacturers
wet for longer, which may give an canvases (such as Frisk) are available, produce watercolour grounds; each
advantage for blending. they are only offered in a limited behaves slightly differently. My
range of sizes. Ordinary canvas is favourite is Daniel Smith, but the major
non-absorbent, so before watercolour downside is that in the UK it is only
Homeward, watercolour, ink and and canvas can be combined, the available in tiny jars. In America
t
imitation gold leaf on deep-edge canvas, canvas must be primed. it comes in pint pots!
3512⁄ x3512⁄ in. (90x90cm). Once you have If you are a pure watercolourist Schmincke’s Fine Watercolour Primer
experimented with watercolour on canvas, canvases may seem alien. They come and Coarse Watercolour Primer are
you might want to explore mixed media. in a huge range of sizes, in thin or available, depending on the surface
In this case India ink and watercolour were deep edge, canvas or cotton. As with you prefer. I would suggest starting
used then imitation gold leaf applied.
t
so many things, you get what you pay with the fine. Transparent ground

Watercolour
allows the surface to remain visible DIY watercolour ground you thin the first layer with 10 per
and can be used to ‘fix’ your painting If you cannot find a watercolour cent water it will level some of the
if you are finding glazing an issue. ground or the cost is prohibitive, do texture better.
All are available in 250ml and 500ml. not despair – did you realise you can Leave each coat to dry for a few
Daniel Smith’s Watercolour Ground make your own? The recipe is simple: hours before applying the next.
is available in white, buff, black, three parts white gesso mixed very Multiple thin coats are better than
transparent, pearlescent white and thoroughly with one part modelling one thick.
iridescent gold. The only size paste. I use Winsor & Newton Galeria 3 Dry for 24 hours. If there is a
available in the UK is 118ml. with great success. Three coats are chalky residue, wipe with a damp
QoR/Golden’s Hot Press Watercolour required to prime the canvas. lint-free cloth.
Ground, Cold Press Watercolour Ground
and Light Dimensional Watercolour Surface preparation To begin painting
Ground are also available, allowing you 1 You are likely to have bought If you are considering the switch to
to create a smooth or more textured a primed canvas. If not, it will need canvas, do a test first. I suggest getting
surface. I prefer the Cold Press. These a couple of layers of gesso first. some off-cuts of mountboard – many
are available in 237ml pots. Golden 2 Apply the ground following the framers are only too happy to give the
Absorbent Ground goes onto a toothy, manufacturer’s directions. Daniel Smith centres of mounts away. If you prime
porous surface to provide a more suggests one coat is enough. Schminke these with three coats, they are cheap
absorbent finish and is available in suggests at least three. I would agree and cheerful ways to familiarise
237ml, 473ml, 946ml and 3.78 litres. I with Schminke. The more coats you yourself with this new surface. You
personally haven’t got on well with this! apply, the better the absorbency, and will need to paint flat or at a slight
If you prefer to work on a rigid panel generally three thin coats seem to work angle; a vertical canvas is a recipe
rather than canvas, everything said here for me. I use a good-quality decorating for many dribbles.
still applies, but you could consider brush, a sponge brush or a roller, to
Art Boards’ Superior Quality Panel keep brushmarks from showing. Tips and techniques
Gesso, which is not designed for You can sand the ground-prepared 1 Draw your image. Keep the lines
application to canvas. canvas using very fine sandpaper. If light and to a minimum unless you
t
Work in progress. Canvas repels so it needs to be carefully prepared before it will accept watercolour. Care at this point will make all
the difference

Watercolour
t
Move Over Darling, watercolour on deep-edge canvas, 39x39in. (100x100cm). Consider making your first canvas one of your favourite subjects. If you
have to adapt your technique, you don’t want to be worrying about the subject matter. This was my first large-scale canvas so I painted my favourite cows.
want them to show. If you need to need to know where you are going. salt, Clingfilm – are more pronounced.
erase errors, I find that damp Magic 4 The paint lifts easily. This might be 7 Staining colours may still stain – not
Eraser works best, not a normal rubber. good or bad as you cannot glaze easily; much, but you may wish to recoat
2 Consider your whites and apply the bottom layer will lift. On the plus with white ground.
masking fluid if required. Of course side, mistakes are easier to rectify. Life 8 Consider the canvas edges. Do you
gouache or even white ground could will be simpler if you are direct in your want to continue the painting on the
be applied for highlights at the end. painting. If you really want to glaze, deep edge of the canvas, will you use
3 You need to plan your composition apply a transparent watercolour ground a frame to hide it, or will you leave
more than usual. On paper I often over your base layers and leave to dry. it white? I like the three-dimensional
adjust the composition at the end, by Carefully lift off any mistakes with effect of continuing the painting.
the way I crop the image or sometimes a damp (not wet) brush. 9 If the worst comes to the worst, just
I rotate it a few degrees. This is fine 5 Colours are brighter and clearer re-paint the canvas with watercolour
if the edges are hidden under a mount, on canvas. ground, leave it to dry for 24 hours
but on a canvas it’s all on show so you 6 Textural effects – such as back runs, and start again.
t

Watercolour
t
Reclining Hare, ink and watercolour on deep-edge canvas, 3512⁄ x3512⁄ in. (90x90cm).
India ink reacts beautifully on prepared canvas, too, so line and wash is a super way to work.
10 India ink is fantastic on watercolour coats. Do not use a brush varnish, for Liz Chaderton
canvas. You can mix ink and watercolour fear of moving the watercolour. A word Liz Chaderton is a professional artist
beautifully. of warning: make sure you really have based in Berkshire. She runs weekly
finished before you varnish. You cannot classes and monthly workshops
The final touches paint over the top of the sealant. (see www.joedaisy.co.uk) and will
The watercolour needs sealing with Alternatively, a lovely way of finishing be leading a week in Italy with Arte
an UV/archival varnish. I prefer a matt your piece is waxing it. Dorland’s Wax Umbria (www.arteumbria.com) from
finish, applying lots of thin layers to is a lovely Artists’ wax that can be 4 to 11 July, where she hopes to paint
really protect it. I use Ghiant H2O applied and once dry can be buffed to Italian black bees, honey buzzards
varnish, which comes in gloss or matt. a mid-sheen. Now all you need to do and wild boar. Visit her website
It has 90 per cent less solvents than is string your painting and hang it. www.lizchaderton.co.uk for details
typical sealants so is far kinder on your Next month I will put this all into or her blog for tips and ideas:
lungs and the environment. Please follow action as I demonstrate the painting http://lizintheshed.wordpress.com
the instructions and apply at least three of a picture, step by step. LP

Patchings full page ad May_Layout 1 08/03/2018 13:53 Page 1
YEARS ART . CRAFT . DESIGN
JULY 12-15
18 Celebrating 25 years!
PATCHINGS
ART, CRAFT & DESIGN
FESTIVAL
2018 NEW FOR
2018
Enjoy an Printmakers including
Laura Boswell & printmakers’
inspirational
materials PLUS the Mall
Galleries represented by
artists including Robert
day out!
Brindley RSMA, Lewis
Hazelwood-Horner RBA
and John Martin
ARSMA
Supported by artist and magazines

July 12 to 15, 10am to 5pm daily
SAVE & BOOK YOUR
Come and be inspired by over 250 of your favourite artists, craft
makers, photographers and designers, demonstrating their skills and
ADVANCE TICKETS
techniques in one of the UK’s finest creative events, set in 60 acres TODAY!
of picturesque Nottinghamshire countryside Advance tickets are on sale NOW
for just £9 for a standard one-day
The Artist and Leisure Painter ticket or £8 for a concession one-
Enjoy FREE daily painting demonstrations by Carole Baker (Thursday day ticket* with additional group
to Saturday, July 12-14) and Tim Fisher (Sunday, July 15) sponsored by booking discounts available.
Daler-Rowney AND view the 140 selected works in The Artist and *Concessions: over 65, school children,
Leisure Painter exhibitions, selected from this year’s student card holders and registered
Open Art Competition disabled.
Tickets can be purchased in
FESTIVAL WATERCOLOUR DEMOS & TEST & advance online at
DEMONSTRATIONS TRY ART MATERIALS www.patchingsartcentre.co.uk
Sponsored by St Cuthberts Mill See, try and buy the latest
Thursday, July 12 David Bellamy, materials from the leading art or by telephone 0115 965 3479
Ann Blockley, Charles Evans, Jean Haines and craft manufacturers and No booking fee for online advanced ticket
Friday, July 13 David Bellamy, Ann Blockley, suppliers including Artmaster, sales. The standard one-day ticket price on
Charles Evans, Jean Haines Canson, Caran d’Ache, Daler- the day is £10. Ticket price includes VAT
Saturday, July 14 David Bellamy, Rowney, Daniel Smith, and Festival Guide with the programme of
Charles Evans, Jean Haines, Hazel Soan Derwent, Hahnemuhle, free demonstrations and workshops.
Longridge, Lyra, Maimeri,
MEET & TALK TO OUR GUESTS Melanie Cambridge Artist FREE CAR PARKING
ARTISTS Colours and Brushes, Coaches and group bookings welcome.
Thursday, July 12 Pollyanna Pickering, PanPastels, Pebeo, Premium
Keep up to date with festival news at
John Sprakes DA(Edin), ROI, RBA, MAFA, Art Brands, Pro Arte, Pro-
Friday, July 13 Roger Dellar ROI, PS, RI, Colour, Rosemary Brushes, www.patchingsartcentre.co.uk
Bruce Mulcahy RSMA Royal Talens, St Cuthberts PATCHINGS ART CENTRE, OXTON
Saturday, July 14 David Curtis ROI, RSMA, Mill, Two Rivers Paper, ROAD, CALVERTON, NOTTINGHAM
David Howell PPRSMA Unison, Winsor & Newton, NG14 6NU TELEPHONE 0115 9653 479
Sunday, July 15 Soraya French, Carne Griffiths Yew Tree Studios festival@patchingsartcentre.co.uk
LP06 54-57 Putyatina_Layout 1 06/04/2018 16:10 Page 54
Coloured pencil
Orange blossom time

Follow Ekaterina Putyatina as you draw a realistic
still life using just four coloured pencils
LEARNING OBJECTIVES
n How to draw with a limited
palette
n Practise layering coloured
pencils
n Learn lifting-out techniques
using erasers
I n this article I want to demonstrate

how you can produce finished
drawings without using a lot of
pencils and other materials, and how
to mix primary colours to achieve all
the colours you need. You will also
learn how to lighten areas without
using a white pencil. LP
PENCIL TECHNIQUES
Very light pressure
Strawberry, Prismacolor Premier and Faber-Castell Polychromos pencils

t
Light pressure on Strathmore Bristol paper, 1134⁄ x1534⁄ in. (30x40cm)
Average pressure
COLOUR MIXING
Pencil pressure I always add many
t
Producing other colours from coloured pencils is very easy to do. For paler colours,
layers in my work to ensure the picture use fewer layers, and for brighter and more saturated colour, add more layers.
doesn’t fade over time. Usually I apply
light pressure with the pencil as I build
up the layers.
t
To make green, add two vertical t
To make orange, add two layers
layers of yellow pencil using a medium of yellow pencil using medium pressure
pressure and two layers of blue pencil and two layers of red pencil using
with light pressure. light pressure.
Strokes To create smooth strokes
t
hold your pencil as you would normally

then touch it to the paper and slide it
gently up and down without lifting your
To make brown, add two layers
t
hand from the paper. Try this exercise:

take a blank white sheet of paper and of red pencil and two layers of yellow
begin stroking the paper with the pencil, both using medium pressure,
pencil, moving from left to right. and two layers of black pencil using
Imagine you are writing. Your stroke light pressure. If you want to achieve
should not exceed 2cm in height; the a brown cold shade, add blue.
smaller the stroke, the more accurate
it will be.

Demonstration Oranges
You will need

n Surface n Faber-Castell
l Strathmore Bristol Polychromos
paper 81⁄4x9in. coloured pencils
(21x23cm) l Red 117
l Blue 152
n Miscellaneous l Yellow 108
l Pencil sharpener l Black 199
l Eraser
l Derwent electric
eraser
l Graphite pencil
t
Your reference photograph for this still life
Step 2
t
1 Layer over the yellow with red 117

to make orange.
2 The uncut orange is deeper in colour
t
Step 1 and juicier looking than the pieces. For
1 Make a drawing of your subject using this add three layers of red using light
an H-grade graphite pencil. vertical strokes of the pencil.
2 Use yellow 108 and medium pressure to 3 Apply two layers of yellow, using
add three layers of colour to each orange. average pressure on the pencil.
Use a smooth stroke, alternating vertical 4 The original photo shows shadow of
and horizontal strokes. a cold shade so apply a smooth stroke of
3 Leave the areas where the light hits the blue 152 in the shade of the large orange.
surface of the oranges white, but you can
use light pressure of the yellow pencil to
cover them. Take your time. If you
accidentally go too far with a colour, it TIP When you come closer to areas
can be corrected. I’ll show you how to fix of light, relax the pressure on the
this later in the demonstration. pencil, and in the shadowed areas,
increase the pressure.
t Step 3
1 Add form to the large orange using light
pressure of the black pencil. Again work 3 Draw small spots with the red and
very slowly. black pencils.
2 To enhance the colour in the shadow, 4 Using the electric eraser, add highlights
add a layer of red then another layer of black. on the large orange.
Strengthen the pressure of the pencil in the 5 On the cut orange pieces, add two
areas of shadow, and weaken as you work layers of blue to show the cold shadow.
in the lighter areas. 6 Carefully and accurately draw details
with the black pencil.
7 Lighten the light flecks on the cut oranges
with an ordinary eraser and use the electric
eraser to show the bright white spots.
Step 4
t
Add sharpened blue 152 on the leaves.

Notice in the original photo how some leaves
have colder shades, while others are warmer.
Where you see warm shades on the leaves –
or rather yellow ones – use light pressure of
the pencil, and where the shades are colder
and bluer, use an average pressure. You are
working in blue at the moment, because
you want to make green.

Coloured pencil
Demonstration continued
t
Step 6
1 Begin to work on the detail using a sharpened black pencil.
Work slowly, using light pressure then strengthen the pressure
t
Step 5 as you work in the shadows. Occasionally add blue and yellow
1 Smoothly stroke yellow 108 on top of the blue leaves. on the leaves where you see cold and warm shadows.
Where the leaves are warmer, increase the pressure on the 2 Use an ordinary eraser if you need to lighten an area.
pencil, and where the leaves are cooler, relax the pressure. Where you want to show light or glare use the electric eraser.
2 The original photo shows that the leaves in some places 3 At the end of this step, I added one layer in the shadow
show a light orange colour. Take the red pencil and apply of the large orange, because it didn’t seem large enough.
light pressure to these places.
Step 7
t
1 To make the flowers a little brighter, apply a sharpened blue

152 with smooth strokes on the entire surface of the flowers.
Use very light pressure, which can be strengthened in the
shadow. Try not to go too far with the blue. Keep your pencil
sharpened, as the flowers are quite small and a sharp pencil
will be easier to use.
2 Use very light pressure of a sharp red 117 pencil in the
shadows on the flowers to make a purple hue. Cover the
pistils and stamens with red to make a slightly orange tint.
Step 8
t
Add yellow with light pressure on the pistils, stamens

and places where the flowers have a warm tint. Then add
details using the black pencil. Apply smooth strokes and
light pressure in the shadows; lighten the pressure even
further as you work closer to the light.

Coloured pencil
t
Step 9
1 Now it’s time to work on the vignette effect and the
table. Apply four vertical layers of red using light pressure
on the top and one layer on the bottom of the picture.
2 Apply three layers of yellow using smooth strokes with
medium pressure on the top and one layer with light
pressure of the pencil on the bottom.
3 To finish this step, apply three layers of blue with
light pressure on the top and bottom.
Step 10
t
1 Apply two vertical layers with a black pencil on the bottom and
on the top of the paper. Again use light pressure and work slowly
to keep the strokes neat. Add the final layer in blue pencil on the
top and bottom with medium pressure to give the background
a cool shade so it won’t merge with the oranges.
2 To finish the background and
achieve a vignette effect, begin
to apply layers with a sharpened
black pencil. Increase the pressure
of the pencil at the edges of the
paper, and release the pressure
in the middle.
Step 11
t
1 Finally, draw the wooden table

and the shadow from the flower
and oranges. Begin by using the
black pencil to draw the stripes
that separate the boards on the
table. Then, with the black
pencil, add layers using light
pressure where you want to place
the shadow. In darker places,
strengthen the pressure of the
pencil then lighten the pressure
as you work closer to the light.
2 Add the shadow exactly as
you see on the photo.
3 Apply the wooden texture
with a black pencil, using mostly
vertical bars. In some places add
blue, red and yellow pencils to
give the table depth.
4 Finally, add vertical lines here
and there using the eraser to
give the wooden table realism.
Ekaterina
Putyatina
Ekaterina is an artist
who lives in Ukraine.
She has a background
in graphics and design. t
Oranges, Faber-Castell Polychromos coloured pencils on Strathmore Bristol paper, 814⁄ x9in. (21x23cm)

LP06 58-61 Campbell_Layout 1 06/04/2018 16:19 Page 58
Watercolour
Inspired by nature
Part 2 This month, Michelle Campbell covers the colours and
materials she uses for painting animals, birds and the natural world
LEARNING OBJECTIVES
n How to mix secondary and
tertiary colours from the
primaries
T o begin to work with colours,
it’s helpful to understand how
they work. Sir Isaac Newton
demonstrated that light is the source
of colour when he held a glass prism
established the colours as red, orange,
yellow, green, blue, indigo and violet.
Colour can come to us in three ways:
Direct colour comes from an
incandescent source. It generates and
n Beginner’s guide to watercolour up to a beam of sunlight, where it emits light, such as the sun or a torch.
materials produced rainbow hues. He also Transmitted colour is light that passes
through a translucent material, which
absorbs certain wavelengths, but
allows others to pass through.
Reflected colour is light that falls
on an opaque object and is partially
reflected back. The reflective
properties of the surface of this object
determine which wavelengths are
absorbed and which are reflected;
this determines the colour that the
object appears.
The colour wheel

You probably remember using the
colour wheel in your school days.
It is a circle with different coloured
sectors, and includes 12 colours,
starting with the three main primary
colours – blue, red and yellow – with
corresponding secondary colours of
green, orange and violet or purple.
The tertiary colours are green-yellow,
yellow-orange, orange-red, red-violet,
violet-blue and blue-green.
Primary colours – red, blue and yellow
– are used to mix and produce other
colours. They are the only colours,
other than white, which cannot be
mixed from other colours.
Complementary colours (or secondary
colours) – green, orange and violet –
are pairs of colours that contrast with
each other more than any other
colour. They can be obtained by
mixing two primary colours.
Tertiary colours – green-yellow,
yellow-orange, orange-red, red-violet,
violet-blue and blue-green – are the
resulting colour formed when an
equal amount of a primary and a
secondary colour are mixed.
Materials
I would suggest using the best quality
you can find, pay that little bit extra
and you will find the product will or
should last a lifetime. Here’s a list of
the basic materials you will need to
get started:
Paper
You can buy individual sheets of
paper or pads. For beginners, pads are
the most cost-efficient solution. Paper
also comes in different weights (90lb,

Watercolour
t
February’s Song, watercolour on 300lb Saunders Waterford, 1912⁄ x1912⁄ in. (50x50cm). To paint this I used a wet-on-dry method, with a layering
technique, a graded wash and dry-brush technique. I also used an ink pen, which gives a hand-drawn feel to the painting.
140lb and 300lb) and different brighter so they will also be easier Student quality watercolour will give
textures (Rough, Cold-press and to lift off. Cold-press paper is beginners a taste of what it’s like to
Hot-press). somewhere in between Rough work with watercolour.
l 90lb paper is thin and suited for and Hot-press. If you’re not sure if you want to
studies and training; it will need to work with pans or tubes, consider
be stretched. Paint buying a beginner’s set of each and
l 140lb is medium thickness and Watercolour paint comes in two seeing which one you like best. Every
the most commonly used; it will forms: pan or tube. Pans are like artist has his or her own preference
also need to be stretched. hard cakes of paint that need to be on pans or tubes, so it really comes
l 300lb is more like cardboard and moistened with water to be used and down to your own experience with
doesn’t require stretching, but is more they are very convenient for each. The paints are available in
expensive and will take longer to dry. travelling. Tubes are already moist sets, or you can purchase them
The surface or grain of your paper and they have a pasty consistency; individually.
will have direct consequences on you can take as much or as little
your results. Rough watercolour paint as you need on your palette. Brushes
paper will add texture to your Watercolour is available in two Watercolour brushes come in
washes, because the paint will settle types: Artists’ and Student quality. different shapes and sizes as well as
in the little wells of the paper and Student quality watercolour is more natural or synthetic hair, sable being
Hot-press paper, with its slick surface, affordable, however, it contains less the most expensive. If you are a
t
tends to make colours appear pigment than the Artists’ quality. beginner, I suggest using a small

Watercolour
Round brush (Nos. 4, 5 or 6), an today, it’s a bit of a mess, but that painting.
angled flat and a big flat (2in.) for works for me. I have worked from For these exercises you will need:
washes. the same palette for years. If I need a palette, watercolour tubes, paper
to mix my colours, I use an old plate (you can use scrap paper or
Palette or a plastic tub. photocopy paper), a work surface,
They come in many different sizes water and a No. 4 brush.
and shapes; an old plate makes a Colour-mixing exercises
great palette. My preference is an This exercise will guide you through
old fold-out palette. It’s had a hard the process so that you
time over the years but it’s still going can mix watercolours with confidence. Michelle Campbell
strong. I also use plastic tubs. I rinse Mixing colours is an easy process, it Michelle is an artist and illustrator.
out a hummus tub and recycle it, if may seem pretty basic, but learning Visit www.michellecampbellart.com
I want to make one colour. how to mix watercolour is a crucial to see more of her work.
I have painted my palette as it is part of improving your watercolour
EXERCISE 1
Understand the primaries
1 Using your primary colour tubes –
t
red, blue and yellow – squirt a small
dot of pigment onto your paper from
each tube and add them close to
each other.
2 Dip your brush in water and dab it
into the yellow pigment, bringing the
pigment out onto the paper.
3 Rinse your brush in the water and
repeat with the red pigment, mixing
the yellow and the red together, until
you will see an orange tone.
4 Rinse your brush in water so there
is no pigment left on your brush, and
repeat with the blue, lifting some of
the blue pigment on your brush and
then add yellow, so this will give
you a green tone.
The final step, repeat as above but

t
with the blue pigment and add a dab of

red and this will give you a violet tone.
Can you see the colours flow? Have
you learnt that the three primary
colours make the three secondary
colours? It’s quite easy, isn’t it? Practise
this exercise frequently and you will
soon be a watercolourist!
Do you feel more confident now

that you can mix the tertiary colours
together to make other colours?
I suggest you practise these exercises
when you have the time. Try them
again but mix your colours on a
palette this time; be adventurous
and draw shapes with your brush.
Next month, I will be showing
you some of the techniques I use.
Until next time, enjoy mixing
your colours. LP

EXERCISE 2
How to mix tertiary colours
Now that you have learnt how to mix your secondary
colours with your primary, I would like to show you
how to mix tertiary colours. Don’t forget to rinse your
brush in water between each watercolour mix you do
so it doesn’t upset the other pigments.
First, squirt a small dot of paint from each tube, begin with any colour
t
you want. I started with yellow, orange, red, violet, green and blue.
Dip your brush into water and dab it into your yellow pigment, Next, dab your brush in the orange and add yellow and
t t
add a little green and this becomes green-yellow. this becomes yellow-orange.
The same again with the orange, add a bit of red to make Then take the red and add violet.
t t
orange-red.
Do the same with violet, add blue to make violet-blue. Last, but not least, dip your green into your blue and this
t t
becomes blue-green.

LP06 62-64 Birch_Layout 1 06/04/2018 16:28 Page 62
t
Photograph of the sea of Galilee, showing bright sunlit water. See opposite for my painting of the scene.
Painting the sea

Part 2 How to use a multitude of watercolour techniques
to paint the sea in all its moods, by Linda Birch
further away and tonal contrasts are less terms, the light will hit one side of the
LEARNING OBJECTIVES sharp; this applies to land, sea and sky. wave and cast shadow on the other, as
n How to paint aerial perspective The contrast between light and dark is it would with a mountain. The sky is
and add contrast to your work reduced in the distance when the sea’s reflected on the surface of the water like
colour becomes paler and greyer, and a mirror (apart from any foam crests).
n How to paint realistic effects by becomes clearer and sharper in the When working in watercolour from light
using masking fluid, the scraping- foreground. There is one exception to dark, paint the lightest part of the sea
out technique and gouache when what seems a hard dark horizon everywhere first then add the wave
is seen while bad weather is imminent. shadows and any other colours on top
As well as tonal recession, the sea often of the wash. In the painting, Waves
T he beauty and terrifying power

of the sea has always been an
inspiration for painters, writers,
musicians and poets. Its movement and
restlessness is seen as an analogy for our
shows stripes of different colours, due
to tidal, wind and light conditions. In
addition, as a result of linear perspective,
the pattern of waves appears flatter
towards the distance.
Breaking on the Shore (right) I left the
paper empty where I needed to include
foam. You can use a little white gouache
if necessary, but try not to destroy the
transparency, which is watercolour’s
own lives; we talk of turbulence and calm Spend time watching the sea, its waves chief quality.
about ourselves in the same terms we and colours, and the effects of light upon
use for the sea’s own activity. the water – there is no substitute for Breakers
In this second article I want to look at looking. As the sea approaches the shore it is
ways of painting the sea in watercolour, being pushed by the tide and the wind.
in particular, aerial recession, painting Light and shadow As it reaches the shallows, the water has
the sea in relation to land, reflections As always, in any medium you use, the nowhere else to go except up, creating
and the effects of light on water. effect of light and shadow is paramount. a breaker. Imagine a breaker as a carpet
If you can imagine every wave as a liquid unrolling, casting a shadow under itself.
Aerial recession mountain, this will help to understand the As the wave rises, it curls and the water
Colour becomes lighter in tone when effect of light upon the sea. In simple breaks down into air-filled foam and lacy

t
Sea of Galilee, watercolour on Rough watercolour paper, 712⁄ x1012⁄ in. (19x26.5cm). I used a mix of techniques to paint this. I scraped out light
in the distance, used masking fluid on the foreground waves, and added a little white gouache on the water’s edge.
patterns, which then spread out in attached. It is used with a brush, pen nib Scraping out
tongues all over the edge of the water. or piece of stick to mask out areas to be After the painting was dry, the distant
This activity is ceaseless. Spend time left light in a painting. When the painting water was scraped out in straight lines
watching it whenever you can, in order is finished the latex is rubbed off leaving by dragging the point of a craft knife
to understand what happens. This will white spaces. across the paper. Scraping out was used
help you paint successfully. Masking fluid was used for the light extensively in the past, particularly by
On the painting of the shoreline, Waves on the waves in the front of the painting. 19th century watercolourists. Using a
Breaking on the Shore I first painted the When dry I rubbed off the fluid and sharp craft knife, the paper can be
sky, a thin wash of gamboge followed by painted around the empty white shapes scraped to create broken white spaces,
a mix of cobalt and a little raw umber, to modify them. which look like sunlit water ripples. Take
and used the same colouring to paint the
light on the sea, leaving gaps for the
foam crests and breakers. Starting at the
horizon I laid in darker undulating stripes
of cobalt with a little raw umber, which
became darker and more wavelike as
they neared the shore. When dry, I added
the beach, a mix of gamboge and raw
umber with touches of cobalt.
Sunlight on water
Sometimes the light on water is so
intense it sparkles, particularly when
looking into the sun (known as contre-
jour). In the painting, Sea of Galilee
(above) I used a variety of techniques to
create this effect: some masking fluid,
scraping with a sharp knife and a little
white gouache.
Masking fluid is liquid latex, sold in
bottles, sometimes with applicators
Waves Breaking on a Shore, watercolour on

t
Rough watercolour paper, 712⁄ x11in. (19x28cm).

This shows aerial recession, when colours
appear lighter and greyer in the distance.
Gaps were left for the foam on the sea.

t
Teesside Sunset, watercolour on Hot-pressed watercolour paper, 912⁄ x1312⁄ in. (24x34cm). A mix of orange and rose created the sky and its
reflection on the water below. A little gouache was added for the parachute.
care, however, as once this is done no Sunset over Teesside

more paint can be added, as the paper’s Reflections on the seashore, particularly
surface is broken and any paint will leak at sunset, are, I think, some of the
into it creating a mess. loveliest subject matter to paint. The calm
shallow water and damp sand in Teesside
Gouache Sunset (above) reflect colours from the
Gouache is an opaque form of sky. Using Hot-pressed (HP) watercolour
watercolour and, when used sparingly, paper, I painted the sky with its rose-
adds lost light areas to a watercolour. coloured sunset, which I took down to
Historically, gouache was used more in the horizon using washes of orange and
Europe than Britain, which developed a rose, blended into cobalt in the upper
more transparent form of water colouring. sky. I then turned the painting upside
I added gouache for the wave ripples down and repeated the sky again in
on the shoreline after Sea of Galilee exactly the same way.
had dried. When dry, the distant shore was added
using French ultramarine with burnt
Reflections umber. The foreground sand was orange
In the painting of a Venetian waterbus with a little burnt umber and French
stop (left) I was interested in the way ultramarine. I also used cool grey-
the lagoon surged and lapped around coloured pencil to enhance the shadowed
the shelter and, in particular, the posts distant shore. The parasurfer was then
standing in the water. The effect was added and a little white gouache was
to create a pattern of swirls and ripples, laid on the shute, which was then
which caught the light. As with the glazed with rose and orange.
shoreline painting, I painted the sky and Next month I will conclude this short
most of the water, except the very light series by looking at oil techniques for
area behind the posts, using three pale painting seascapes. LP
washes of yellow ochre, rose and
cobalt, allowing each to dry.
When dry I added the buildings using Linda Birch
t
Waterbus Stop, Venice, watercolour the same three colours, but stronger
Linda is running her annual summer
on Rough watercolour paper, 10x7in. and in different quantities, and also
(25.5x18cm). Three glazed washes were placed burnt umber. I then added the shadowed school at Hamsterley from 2 to 6 July. Find
over the sky and water, and a pattern of ripples, which were a dark blue-black out more about Linda and her work by
darker ripples laid over the water when dry. using cobalt and burnt umber. visiting www.theartistlindabirch.co.uk

The online home of
and magazines
£ 2 o n all
Save featured
of the and enjoy
g
books K P&P usin 8
U 1
FREE code JUNE
promo Closing date: RRP
RRP
ly 201
8 £12.99
25th J
u £12.99 £10.99
£10.99
RRP RRP RRP

£12.99 £12.99 £8.99
£10.99 £10.99 £6.99
RRP RRP RRP

RRP
£9.99 £12.99 £12.99
£12.99 £7.99
£10.99 £10.99 £10.99
Available from
www.painters-online.co.uk/store/
category,specialoffers_107.htm
Offers available to UK READERS ONLY
closing date 25th July 2018
LP_FullPage_June18.indd 1 26/03/2018 10:02:45
LP06 66-67 McNaughton_Layout 1 06/04/2018 16:38 Page 66
Watercolour
Ready for spring

Paint white flowers on white paper with a loose
wet-in-wet background, by Rachel McNaughton
LEARNING OBJECTIVES
n
n
How to paint white on white
Practise the dry-on-wet and
wet-in-wet techniques
H ere’s a fast and easy way to
paint lively flowers. First of all,
don’t fasten your paper down.
You need to be able to move it around
to help the colours run in the
background. It would be better to work
on a good watercolour paper of 140lb
weight. A lighter paper is not going to
give you the right results. Bockingford
NOT paper is a good choice. LP
Demonstration
Narcissus
You will need

n Surface
l Bockingford 140lb NOT
watercolour paper, 131⁄2x10in.
(34.5x25.5cm)
n Watercolours
l Cadmium yellow pale (or aureolin)
l Cadmium red
l Ultramarine
l Light red
l Any of the following: Payne’s grey,
indigo, quinacridone gold
Step 1
t
1 First, draw two or three narcissus heads

facing in slightly different directions. Let
the heads overlap a little and notice how
the petals fit roughly into a circle so
remember that perspective makes circles
into ellipses. So, any flowers not facing
directly forwards will be elliptical and not
a perfect circle. There isn’t much need to
draw leaves or stems; in fact, it is better
if you don’t. Having drawn lines to
paint to makes you tighten up.
2 Start with two washes: cadmium yellow
pale with a little cadmium red; and
cadmium red alone in a thicker mixture.
3 Don’t wet the paper. Use the orange-
yellow and paint the insides of the
flower trumpets. Don’t use a lot of paint
or overfill the brush. If there is too much
liquid on the paper the next stage will
not work. Almost immediately drop in
the thicker mix of cadmium red around
the frilly edges. Allow it to run into the
Step 2
t
yellow.
Wet the top centre of the
4 Now mix a liquid blue-toned wash of
trumpets with lines of water
ultramarine and light red. Use this to
radiating from the middle. Drop
paint a few shadows on the petals. Allow
cadmium red into the lines and
the yellow trumpets to run in if they
let it run down the wet lines.
want to. Try to do this quickly so that a
bit of running happens. Leave to dry.

LP06 66-67 McNaughton_Layout 1 06/04/2018 16:38 Page 67
Step 3
t
1 Now mix strong dark greens and blues (two 3 Sometimes just use water,
or three different mixtures) using combinations sometimes puddle the paint
of Payne’s grey or indigo with quinacridone gold then tip the paper to encourage
or another suitable yellow. Also mix a thin yellow it to drip down. Add more paint
(cadmium yellow pale or aureolin). or water into the puddle if it
2 On dry paper begin to paint near the top needs it. Cauliflowers are almost
flower. Use paint in lots of varied colours from the inevitable but in this painting
selection you have mixed. Keep the brushstrokes they are allowed.
more or less vertical. 4 The left-hand side of the
background should be lighter.
Let the background run over
the flowers if it wants to. Having
a tissue handy means you can
carefully dab off unwanted
runs into flowers.
t
Step 4
1 Fill your brush with plenty of dark colour
and tap the brush sharply on the fingers of
your other hand to splatter paint into the wet
background. Blot any splatter that lands on
the flowers with a tissue immediately.
2 Add darks to the top inside of the trumpets
to create a hollow effect using cadmium red
and cadmium yellow pale. Avoid painting
the stamens.
Step 5
t
1 With strong dark greens and broad

brushstrokes paint leaves and stems, working
over the background. It can be good to do this
while some of the background is still wet. The
leaves need to be lost-and-found, and having
wet areas means that they can get lost in the
damp parts.
2 Finally, add one or two cast shadows from
petals and trumpets with ultramarine and light
red. Putting in shadows from the trumpets
really gives a three-dimensional quality.
Rachel McNaughton
Find out about Rachel, her work and
classes at www.artbyrachel.co.uk t
The finished painting Narcissus, watercolour, 1312⁄ x10in. (34.5x25.5cm)
LP
UK ART SHOPS Support your specialist art retailer by purchasing
your materials from the shops listed here
NORTH
NORTHYORKSHIRE
FIFE YORKSHIRE
Tel: 0238 0339444
LINCOLNSHIRE Jackson's Art Supplies
SUFFOLK NORTH YORKSHIRE
SURREY
The Art Shop Opening times: Monday to Arch 66, Station Approach,
The
J&
Art Shop
G Innes Ltd
W F Gadsby
Saturday 9.30am - 5.30pm The Art Trading Company Pullingers
The Art Shop Skipton
2 Newmarket Street, Skipton, London SW6 3UH
2 Newmarket Street, Skipton, 347 High
Email: Street, Lincoln,
perrysart@btinternet.com 36a Earsham Street,Bungay N35 1AQ 109 West Street, Farnham,
107 North
South Yorks BD23
Street, 2JB
St Andrews,
Lincolnshire LN5 7DQ Tel: 020 7384 3055
Online & instore
Surrey GU9 7HH
North Yorks BD23 2JB 01986 897939
Tel:
FifeTel: 01756
KY16
01756 9QW 70177
70177 High-quality
Tel: 01522 art
527materials
487 at competitive www.theartradingcompany.co.uk 2201252
Tel: Newmarket
715390 Street, Skipton,
www.theartshop.co.uk Opening times: Monday to
Tel:www.theartshop.co.uk
01334 472174 www.gadsbys.co.uk
prices and a personal friendly service. Stocking: Golden, Lascaux, Unison, www.pullingers.com
North Yorkshire BD23 2JB
Stockist of: Derwent,
Stockist of: Derwent, Pebeo,
Pebeo,Loxley
Loxley Stockist of: Winsor & Newton, Thursday 9amSmith,
Sennelier, Daniel - 6pm,
Pro Friday,
Arte, Da Vinci, Stockist of: Canson, Caran D Ache, Cretacolor
Opening times: Monday to Winsor & Newton, Daler-Rowney, Tel: 01756 701177
Reeves, Unison, Daler-Rowney,
Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc Pip Seymour,
9am Canson, Derwent, Roberson,
- 5.30pm, Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Saturday
Sennelier,9am - 5.15pm
Winsor
Winsor &&Newton,
Newton,Conte
Conte Derwent, Montana Gold spray paints, Opening Golden,
Faber-Castell, times: Royal
Monday
Talens,to Friday
Schmincke
Saunders Waterford, Hahnemuhle, Westgate Gallery Saturday 9am - 5pm Sennelier, Winsor & Newton,
9am - 5.30pm, SaturdayFabriano
9am - 5pm.
Saunders
Sunday Waterford,
12.30
Fabriano, Art
Fabriano, ArtMaster
Master
Hahnemuhle,
- 4.30pm Golden,
much
Sennelier,
more.
83 Westgate,
Unison and
Grantham NG31 6LE
NORTH YORKSHIRE
www.jacksonsart.com www.theartshopskipton.co.uk
www.jg-innes.co.uk
Tel 01476 578800 The Art Shop
Stockists of: essential high-quality LINCOLNSHIRE
Stockists of: Pebeo, Derwent, Sennelier,
SURREY
Stockist of: Winsor & Newton,
Daler-Rowney, Hahnemühle, Staedtler,
Stocking: Royal Talens, Da Vinci, Schmincke 2 Newmarket Street, Skipton,
painting and drawing materials from WUnison,
F Gadsby
Winsor & Newton, Daler-Rowney,
HERTFORDSHIRE
North Yorks BD23 2JB
Pullingers Loxley,
347 HighArtmaster, Reeves, Hahnemühle,
Street, Lincoln,
Parker, Waterman, books, magazines,
109 West Street, Farnham,
WEST YORKSHIRE brands including
Tel: 01756 70177 Sennelier,
www.theartshop.co.uk Lincolnshire
AMT Products, LN5and
7DQmany more.
cards, games and a gallery, TheVan
Art Shop Winsor & Newton, Golden,
Surrey GU9 7HH Art Go - Ilkley Stockist of: Derwent, Pebeo, Loxley Tel: 01522 527 487
Upstairs @ J & 715390
Tel: 01252 G Innes Ltd Old Holland
Reeves, and
Unison, more.
Daler-Rowney, www.gadsbys.co.uk
Hawksworth
Studios, Street, Ilkley, Road,
www.pullingers.com
The 1 Stevenage
Sennelier, Winsor & Newton, Conte
Artist's
Stockist Palette
of: Winsor & Newton,
West Yorkshire LS29 9DU
Stockist of: Canson, Caran D Ache, Cretacolor Knebworth, Hertfordshire Saunders Waterford, Hahnemuhle,
Daler Rowney, Caran
1 Millgate, D’Ache
Thirsk YO7 etc1AA
Tel & Fax: +44(0)1943 432016
GLOUCESTERSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, SG3 6AN Fabriano, Art Master
NOTTINGHAMSHIRE Tel: 01845 Gallery
574457
www.theartshops.co.uk Westgate
Faber-Castell, Golden, Royal Talens, Schmincke Winsor & Newton, Daler Rowney, Pro Arte,
Tel: 01438 814946 Opening
Sennelier, Winsor & Newton, Fabriano Canson, Liquitex, Derwent, Unison, Caran 83 Westgate,times: Monday
Grantham NG31 6LEto
Cotswold Art Supplies Opening times: shop Tuesday to
D’Ache, Loxley, Sennelier Mapac SURREY
Local Art Shop Saturday
Tel 9am - 5pm
01476 578800
LINCOLNSHIRE
Church Street, Stow on the Wold, Friday 9am - 5.30pm, Pullingers
4 Main Road, Gedling,
Stocking:
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke
Gloucestershire
W F GadsbyGL54 1BB SUFFOLK
Saturday 9am - 2.30pm 109 West Street, Farnham,
Nottingham NG4 3HP
Daler-Rowney, Loxley, Sennelier,
WEST YORKSHIRE
Tel:347
01451 830522 (closed Sunday & Monday) Surrey GU9 7HH Clairefontaine and many more. Craft
High Street, Lincoln, The Art Trading Company
Opening times:
Lincolnshire Monday
LN5 7DQ to Phone lines open Monday to
Tel: 0115 715390
Tel: 01252 9401721 The Art model
materials, Shopkits
- Ilkley
and bespoke framing
36a Earsham Street,Bungay N35 1AQ www.pullingers.com
Tel: 01522 527 487- 5.15pm Friday Opening times: Hawksworth Street, Ilkley,
service. Professional artist and tutor-owner
Saturday 9.15am 01986 9am
897939 - 5.30pm, Stockist of: Canson, Caran D Ache, Cretacolor
www.gadsbys.co.uk www.theartradingcompany.co.uk Tuesday toDaFriday 10am - 5.30pm,
West Yorkshire LS29 9DU
www.cotswoldartsupplies.com Saturday 9am - 2.30pm or visit Clairfontaine, Vinci, Daler-Rowney, Derwent, happy to offer expert advice.
Stockist of: Winsor & Newton, Stocking: Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
online shop Faber-Castell,12.30pm
Saturday Golden, Royal Talens, Schmincke
- 5pm www.theartshops.co.uk
Stockists
Daler of: Winsor
Rowney, & Newton,
Caran D’Ache etc Sennelier, Daniel Smith, Pro Arte, Da Vinci, Sennelier, Winsor & Newton, Fabriano
Daler-Rowney, Pro Arte, Unison pastels, www.artvango.co.uk
Pip Seymour, Canson, Derwent, Roberson, www.localartshop.co.uk The&Art
Winsor Newton,Shop
Daler Rowney, Pro Arte,
Westgate Gallery Stockists of: Golden Acrylics, Roberson, Stockists of: Royal & Langnickel,
Canson, Liquitex, Derwent, Unison, Caran
230 High Street, Northallerton,
Sennelier, Conté, Paperblanks, Reeves.
83 Westgate, Grantham NG31 6LE
Picture framing on site. NORTH YORKSHIRE
Sennelier, Talens, pigments and binders,
LINCOLNSHIRE
Sennelier, Pebeo, Loxley, Golden,
D’Ache, Loxley, Sennelier Mapac
North Yorkshire DL7 8LU
Tel 01476 578800 W F Gadsby
The Art
Stocking: Royal Talens, Da Vinci, Schmincke Jacquard dyesShop
and paints, Khadi, House of Crafts, Cretacolor, Jakar, SUFFOLK
Tel: 01609 761775
347 High Street, Lincoln, Opening times: Monday to
Pegasus Art Shop Pink Pig, Seawhite,
2 Newmarket fabrics
Street, and
Skipton, Daler-Rowney,
Lincolnshire LN5Caran
7DQd’Ache. The Art Trading Company
WEST YORKSHIRE
Griffin Mill, London Road, Stroud,
Northoff
canvas Yorks
the BD23
Tel: 01756 70177
roll. 2JB Tel: 01522 527 487
Saturday 9.30am - 5pm
36a Earsham Street,Bungay N35 1AQ
www.theartshops.co.uk
The Art Shop
Gloucestershire GL5- 2AZ
Ilkley www.gadsbys.co.uk 01986 897939
www.theartshop.co.uk Patchings
Stockist of: WinsorArt Centre
& Newton, Stockists of: Winsor & Newton,
www.theartradingcompany.co.uk
Tel:Hawksworth
01453 886560 Street, Ilkley, Stockist of: Derwent, Pebeo, Loxley Reeves,
LANCASHIRE Daler Rowney,
Oxton Road,Caran D’Ache etc
Calverton, Stocking: Golden,Loxley,
Daler-Rowney, Lascaux,
PipUnison,
Seymour,
West Yorkshire Unison, Daler-Rowney, Sennelier, Winsor
Opening times: LS29 9DU to
Monday Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Tel & Fax: +44(0)1943 432016 & Newton, Conte Saunders Waterford, Nottingham NG14 6NU Pan Pastel, Unison, Pro Arte, Roberson,
Artmaster,
Pip Seymour, Canson, Derwent,
Saturday 9am - 5pm
www.theartshops.co.uk Hahnemuhle, Fabriano, Art Master
Ken Bromley Art Supplies
Westgate Gallery Hahnemühle, Pebeo.
Tel: 0115 965 3479
www.pegasusart.co.uk
Winsor & Newton, Daler Rowney, Pro Arte,
Canson, Liquitex, Derwent, Unison,
Stockists of: Williamsburg, Rembrandt, Caran Unit 13 Lodge Bank Estate,
SURREY
83 Westgate, Grantham NG31 6LE
Opening times: every day
Tel 01476 578800 NORTH YORKSHIRE
D’Ache, Loxley, Sennelier Mapac Crown Lane, Horwich, Stocking: Royal Talens, Da Vinci, Schmincke The Art Shop
9.30am - 5.30pm
Old Holland, Pip Seymour, Cobra, Pullingers
Bolton BL6 5HY
www.patchingsartcentre.co.uk
WALES
2 Newmarket Street, Skipton,
SUFFOLK
Winsor & Newton, Daler-Rowney,
Derwent, Daniel Smith, Schmincke,
Tel: 01204 690114
Surrey GU9 7HH WEST YORKSHIRE
Stockists of: Winsor & Newton,
Emrys Art Supplies Ltd
Tel: 01756 70177
The Art Trading Company Opening
Tel: 01252 times:
715390 Monday to Friday The Art Shop - Ilkley www.theartshop.co.uk
Da Vinci, Pro Arte, Arches, Canson, Daler-Rowney, Derwent, Caran d’Ache, 22 Market Street, Haverfordwest,
36a Earsham Street,Bungay N35 1AQ www.pullingers.com
9am - 5pm Stockist of: Derwent, Pebeo, Loxley Reeves,
Saunders Waterford watercolour paper, Hawksworth Street, Ilkley, Pembrokeshire, Wales SA61 1NH
01986 897939 Stockist of: Canson, Caran D Ache, Cretacolor Unison, Liquitex, Old Holland, Pro Arte, Unison, Daler-Rowney, Sennelier, Winsor
www.artsupplies.co.uk West Yorkshire LS29 9DU
Hahnemühle, Fabriano, Somerset.
www.theartradingcompany.co.uk Clairfontaine, Da Vinci, Daler-Rowney, Derwent, &Tel: 01437
Newton, 779646
Conte Saunders Waterford,
Stockists of: Winsor Leonard Brushes,
Tel & Fax: Sennelier,
+44(0)1943 432016Canson,
Stocking: Golden, Lascaux, Unison, Faber-Castell, Golden,&Royal
Newton,
Talens, Schmincke
www.theartshops.co.uk Opening times:
Hahnemuhle, Tuesday
Fabriano, to
Art Master
Sennelier, Winsor & Newton,
Smith,Fabriano St Cuthberts Mill, Artmaster, Pebeo.
Jackson's Art Supplies
Sennelier, Daniel Smith, Pro Arte, Da Vinci, Daler-Rowney, Daniel Liquitex,
Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9am - 5pm
Pip Seymour, Canson, Derwent, Roberson,
Unit J, The Aquarius Centre Bob Ross, Derwent, Caran d’Ache,
LINCOLNSHIRE
Canson, Liquitex, Derwent, Unison, Caran
D’Ache, Loxley, Sennelier Mapac
SURREY
www.emrysart.co.uk
Edison Close, Waterwells Business Pro Arte, Loxley, Bockingford, Arches, Pullingers
NORTH YORKSHIRE
Park, Gloucester GL2 2FN
W F Gadsby
Saunders Waterford and accessories. SUFFOLK Stockists of: Winsor & Newton, plus many
more
109 including
West Street, Daler-Rowney,
Farnham, Sennelier,
The Art Shop
Tel: 0145 222 6378
347 High Street, Lincoln, SUFFOLK
The Art Trading
Surrey
Unison,GU9Pro7HH
Arte, Derwent.
Lincolnshire LN5 7DQ Tel: 01252 715390
2 Newmarket Street, Skipton,
Opening times: The Art Trading Company
LONDON Company
North Yorks BD23 2JB Tel: 01522 527 487 www.pullingers.com
Monday to Friday
Tel: 01756 70177 9am - 5pm www.gadsbys.co.uk 36a Earsham Street,Bungay N35 1AQ Stockist of: Canson, Caran D Ache, Cretacolor
www.theartshop.co.uk
www.jacksonsart.com
Stockist of: Derwent, Pebeo, Loxley
Stockist of: Winsor & Newton,
Jackson's ArtD’Ache
Daler Rowney, Caran Supplies
etc
55
01986Earsham
897939 Street, Bungay
www.theartradingcompany.co.uk
Suffolk NR35 1AF
WEST YORKSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Faber-Castell, Golden, Royal Talens, Schmincke
Jackson’s warehouse holds painting, Stocking: Golden, Lascaux, Unison,
Reeves, Unison, Daler-Rowney,
drawing, printmaking
1 Farleigh Place,
Westgate Gallery Tel: 01986
Sennelier, 897939
Daniel Smith, Pro Arte, Da Vinci, The Art
Sennelier, WinsorShop
& Newton, Fabriano
Sennelier, Winsor & and sculpture
Newton, Conte London N16 7SX Hawksworth Street, Ilkley,
Saunders
materials fromWaterford,
Golden,Hahnemuhle,
Sennelier, 83 Westgate, Grantham NG31 6LE
Tel:
Tel020 7254 0077
Pip Seymour,
Opening Canson,
times: Derwent, to
Monday Roberson,
LINCOLNSHIRE
WTo discuss a listing
Fabriano, Art Master 01476 578800 West Yorkshire LS29 9DU
Schmincke, Winsor & Newton etc. Saturday 10am - 5pm
F 01943
Gadsby
Opening
Stocking: times: Monday
Royal Talens, to Friday
Da Vinci, Schmincke
NORTH YORKSHIRE
(closed Sunday and Bank Holidays)
Tel: 432016
SURREY 9am - 5.30pm, Saturday 10am - 6pm
The Art Shop in ourLN5
347 High Street,
Opening UK 7DQArt Shops
Lincoln,
times: Monday to
WEST YORKSHIRE www.TheArtTradingCompany.co.uk Lincolnshire
HAMPSHIRE
Pullingers
www.jacksonsart.com
The Art
Stockists Shop -drawing
of: painting, Ilkley
and
2 Newmarket
Stockists Street,
of: Old Skipton,
Holland,
Michael
Saturday 9am
Tel: 01522 527 487
directory contact
www.theartshops.co.uk
www.gadsbys.co.uk
- 5.30pm
Harding, Sennelier,
70177 Golden, Lascaux, Stockist of:of:Winsor && Newton,
Perrys Art Suppliers Ltd Tel: 01756
Anna-Marie
Rowney, Caran D’Acheon
Surrey GU9 7HH printmaking
Hawksworth materials
Street, from
Ilkley, Stockists Winsor Newton, Daler-Rowney,
Tel: 01252 715390 West Yorkshire LS29 9DU www.theartshop.co.uk Daler etc
109 East Street, Southampton Daler-Rowney, Winsor & Newton, Daniel Smith, Rohrer & Klingner, Winsor Loxley, Pip Seymour, Pan Pastel, Unison,
www.pullingers.com Tel & Fax: +44(0)1943 432016 Stockist of: Derwent, Pebeo, Loxley
SO14 3HD
Stockist of: Canson, Caran D Ache, Cretacolor Old
www.theartshops.co.uk Harding etc.
Holland and Michael & Newton,
Reeves, Liquitex
Unison, and many more.
Daler-Rowney, 01778
Westgate
Pro Arte, Artmaster, 392048
Gallery Hahnemühle, Pebeo.
C W S

6
artbox.indd 68 10/04/2018 15:13:05
CARRYING ART … DAMAGE-FREE
ArtCase safely transports oils, impasto, pastels, decoupage and
other forms of art, whether the surface is wet or dry. Adapts to
take artwork up to A2 or A3 in size.
Write or see the CarriArt website for details and latest offers.
www.carriart.co.uk sales@carriart.co.uk 3 Hill View, Dorton,
Aylesbury, Buckinghamshire, HP18 9NJ
WATERCOLOUR SET
The new QoR mini watercolour set holds 12 half pans in a strong
pocket-sized metal tin. These easy to wet pans offer exceptionally
vibrant and intense colour in a convenient travel set. RRP £79.95
www.globalartsupplies.co.uk
Tel: 01980 625625
Art products to help you develop your skills
JAKAR WOODEN SKETCH BOX INKTENSE PAINT PAN TRAVEL SET

Solid beechwood sketch box with integrated walnut palette, two Combining the boldness and innovation of the popular Inktense
adjustable dividers, brass fittings, carry handle, individually boxed. collection with versatility and portability, Derwent’s Inktense Paint
Dimensions 38 x 27 x 7cm. Made in Italy. RRP £49.99. Pan Travel Set is a must have for artists on the go or in the studio!
Additional information and stockists For more information and stockists visit www.DerwentArt.com,
please tel: 020 8381 7000 email: derwent.pencils@acco.com
Email: info@jakar.co.uk Tel: 01900 609585 RRP £22.99
artbox.indd 69 10/04/2018 15:31:21

LP Marketplace
Holidays & Courses
To advertise your holiday, course or business call Anna-Marie

now on 01778 392048 Algarve • Morocco
Sicily • Devon
Scotland
Holidays & Courses
LEARN AT HOME. Watercolour
and drawing. Beginners/advanced
correspondence courses. Easy, relaxed,
thorough. Details: Jenny Trotman NDD.
Tel: 01305 264568
www.catswhiskersart.co.uk
The Old House Studio

In the Peak District National Park, Derbyshire
Holidays & Courses Workshops - Summer 2018

LEARN AT HOME. Watercolour Carol Hill - Landscape in Watercolour
7 day PAINTING
and drawing.COURSES IN NORFOLK
Beginners/advanced Tony Hogan - Pastel Landscapes & Seascapes
painting AND CORFU. 1-7
correspondence day andEasy,
courses. weekly art
relaxed, Joe Francis Dowden - Watercolour
ndscapes, courses painting
thorough. Details:flJenny
owersTrotman
and gardens,
NDD. Paul Talbot-Greaves - Watercolour, Working with Layers
d wash with landscapes,
Tel: watercolour or line and
01305 264568 * Experienced Artists who are experts in their field.
lso Brusho wash with Jan Blanch in Norfolk also
www.catswhiskersart.co.uk * Workshops aimed to provide an enjoyable and interactive experience.
mmodation. Brusho classes. Very good accommodation. * Small classes maximum 10 students.
THE SKY’S
rfu. Painting holidays in Corfu. * 2 course lunch * B&B accommodation available.
7702 069300 Tel: 01493 393639 or 07702 069300 For information on all workshops available please visit the website.
@gmail.com Email: janblanchartist@gmail.com Telephone: 01457 857527 Email: info@pennine-art.uk
Email: info@watermill.net
Call Bill or Lois: 0039 327 379 9178
THE LIMIT
www.janblanch.co.uk www.pennine-art.uk
WHEN IT COMES TO ADVERTISING EXCITING NEW 2018 BROCHURE NOW AVAILABLE!

ay of the month
“Your First & Best Choice for a Painting Holiday”
WITH LEISURE PAINTER LAST YEAR’S PRICES HELD
For brochure and other information contact John or Christine on
01202 393234 info@artholidaysindorset.co.uk
‘N CANVAS HOLIDAYS Call Anna Marie to discover the
www.artholidaysindorset.co.uk
Somerset, Exmoor National Park,opportunities
North Devon
North Cornwall, Lake District, Wye Valley,
Coast,to you.
available
Provence,
T: 01778 392048 Art Holidays in Dorset
France & The Western Algarve, Portugal
E: annamarieb@ DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
warnersgroup.co.uk SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
• Prices from £155 SNEAK PREVIEW OF SOME OF THE DOZENS OF
David Bellamy, Grahame Booth, Jem Bowden, Roger Dellar, • 500 m from the sea COURSES IN 2018
5-8 May Explore Painting in the Style of Picasso and
Joe Francis Dowden, Jeremy Ford, SorayaArt Materials • Free transport
French, Steve Hall, • Highly professional tutors 19-22 Jun
Braque partly studio based
Creature Creations -Fantasy Watercolour
Barry Herniman, John Hoar, Richard Holland, Anne Kerr, • Friendly house-party atmosphere
• Delicious food and wine 23-26 Jun Sketching Buildings in Pen and Wash
studio based
Arnold Lowrey, Kevin Scully, Keiko Tanabe, AndySidewinder Studio

PLU
01243 552186
• All accommodation en-suite
10-13 Jul
14-17 Jul
Coast and Countryside in Water Based Media
Rocks, Waves, Sea and Sky - Acrylics
Walker, Paul Weaver, David Webb & more Orgonline S • No single supplement 18-23 Jul Final Frontiers of Outer Space - Fantasy
Shop
a alw niser
www.sidewinderstudio.co.uk
• Stunning locations - easy walking
Watercolour
24-27 Jul Come Roaming with Your Sketchbook
studio based
a s • All abilities and non-painting 31 Jul-3 Aug Experimental Drawing & Painting - water based
loca ys SUPPLIES
CHINESE BRUSH PAINTING on partners welcome
3-8 Sep
media some studio sessions
Immerse Yourself in Fantasy studio based
wit tion • Well equipped studio 17-20 Sep Rocks, Waves, Sea and Sky - Acrylics
We have an extensive h
• Small numbers to ensure 25-28 Sep Immerse Yourself in Monet’s Waterlily Ponds
groof high quality,
range and Irises - Acrylics mostly studio based
up supplies,
authentic Chinese Brush Painting
individual attention
30 Sep-3 Oct Watercolours - Beginnings and Beyond
studio based
beautiful accessories and specialist books. 4-7 Oct Sketching Buildings with Pen and Wash
Picture by David Webb
SUPER P
studio based
ovely ainting oliday • Overdventure EU
19-22 Oct Painting Animals in Watercolour studio based
DOUBL AVE
300 titles in stock 27-30 Oct Flowers and Seedheads in Watercolour and
 All Destinations researched thoroughly • Starterby Alpha beforehand S
Additional Media
DEAL
packs for beginners
ews demonstratesinAt theAlpha
port we
at Mèze,
use only proven tutors from around the world
£169
WINTER WARMERS
nce on one of her Paint ‘N Canvas holidays Two full days’ tuition in our cosy studio from 10am to 5pm,
 Art Materials included on selected holidays light lunch and delicious dinner plus bed and breakfast all
 All Abilitiesis passionate

& Non Painters Welcome
Framing for only £155 Why not pamper yourself and add Friday and/
or Sunday night dinner, bed and breakfast at the special
liday organiser, Linda Matthews painters’ rate of £55 per night? Most people do!
 Studio
air, and&inLocation
fact was based
the courses in all media
16 & 17 Mar Bold and Beautiful Drawing
ing from life, en plein
 All
he first four-day plein airrooms
painting en-suite
Ashcraft Framing
festival&– some Ground Floor rooms Artists Frames
31 Oct & 1 Nov Paint and Print Your Own Christmas Card
3 & 4 Nov Build Your Drawing Skill - Try Blind
Contour Drawing!
Broads – in 2014. HerCombined
schedule isSketching
a busy one,& Walking Holidays
- Save money on framing 10 & 11 Nov Mixed Media Medley - Painting, Collage
and Printmaking
ging from weekly morning classes to week-long - Complete or self-assembly 17 & 18 Nov Working on a Coloured Surface with
01934 733877
both in this country and abroad. What they
on is her dedication to getting out there and
- Plain wood or painted
- Inlay frame specialist
8 & 9 Dec
Watercolour Pencils and Pastels
Animal Portraits in Pastel
- Large, standard and bespoke sizes Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
of what is around you. “Wherever you look Boscombe Manor, Nr Bournemouth BH5 1HR
ng to paint,” she says. “You can never be bored Exclusive - St Ives/Nicholson style
a sketchbook.” frames available on-line
70
e is warm and encouraging, making her JUNE
holidays
2018
Call 01427 787318 or visit
e for beginners who need a bit of courage to www.ashcraftframing.co.uk/store
utside the comfort of a studio. On offer this year
ekly classeslpheld on a Thursday
CLA june_NEW.indd 70 morning at her 05/04/2018 12:39:27
June 18 Holiday of the Month_Layout 1 04/04/2018 14:45 Page 3
Holidays & Courses
Art
rt
r breaks
bre
re
r aks
ks
k in Exmoor
Ex
E moor PAINT WITH FREEDOM
www.shorlandoldfarm.co.uk
ww
www
ww.
w.shorlandoldfa
fa
f rm.co.uk
Holiday of the month at La Liberté
with
Linda H. Matthews
f l locat
Beautiful
Beautifu
fu a ion
location
at Painting Holidays at
ffood
Good fo od CASA BEZZIA Linda’s home in France
Professional Individual
& Group Tuition
Friendly at
aatmosphere
mosphere Small Groups
Courses fofforr all abilities Private groups welcome
also Norfolk & Sicily
r ners welcome
Non-painting part
partners
rt
Ready-made groups also welcome
Call Sandy or Mark 01598 763505 linda@broadskiesgallery.co.uk

Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa paintncanvasholidays.co.uk
www.learntopaintinfrance.co.uk
With Mike Hall Des RCA.
Join popular ar�st
and experienced
C
asa Bezzia is a lovingly converted house in northern Italy, tutor Mike for
just 50km from Parma, from where owner Sylvia Bell runs a long weekend
Easy to follow guidance in a friendly or a week’s all
relaxed group with your experienced
her painting holidays. The house is situated in the lower
professional Apennines in the small medieval fortress town of Bardi, which inclusive pain�ng
dominates the Ceno valley. There are four tastefully decorated holiday in France.
rooms, each with its own artist-theme – Dufy, Degas, Klimt and Small pain�ng groups in Limousin.
O’Keeffe – as well as two bathrooms, a dining room, kitchen,
All levels welcome.
small garden and recently renovated stable studio, which is well
equipped, spacious and bright. See the website for details
With a background in the hospitality industry, keen amateur or call Mike on
painter, Sylvia goes the extra mile to give her guests a memorable 01256 850167 or 07774 616361
Italian experience, with meals served in the dining room or bscshep@aol.com
garden from local recipes and seasonal produce all locally
sourced. The tutors include Francis Jordan, Jessica Watson-Thorp, Art Shops
Karen Pearson, Norinka Ford and Seana Mercedes Mallen. Sylvia
Watershed
has chosen them with care, not just for their teaching ability, but
also for the fact that all of them are approachable, friendly and
Studio encouraging. Courses to look out for in 2018 include Jessica
Watson Thorpe’s Journey into Colour in June (places still available
Celebrating our 17th year if you’re quick), using watercolour, acrylics and collage. Norinka Pegasus Art Shop
Ford will run basic watercolour courses in June and July aimed at Shop Online for Fine Art Materials
• Proven reputation for quality courses
Workshops & Masterclasses
• Warm welcome & home-cooked food unlocking creativity within the beautiful Italian countryside. Non- www.pegasusart.co.uk
• Rural studio in its own grounds painting partners are very welcome on all courses, with plenty to info@pegasusart.co.uk
• Excellent local accommodation do in the area. Later in the year, in August and September, Seana 01453 886560
• High profile, popular tutors Mercedes Mallen will be Capturing a Sense of Place in Watercolour,
Tim Fisher, Trevor Osborne, sketching and painting the inspiring villages, landscapes and
Stephie Butler, Fraser Scarfe,
markets around Bardi. Full details are available on the website.
Sylvia Paul and many more
01255 820466
Email: allison@watershedstudio.co.uk For more information email Sylvia Bell at sylviabell@msn.com
www.watershedstudio.co.uk or visit the website at www.casabezzia.com
St Clere’s Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX
lp CLA june_NEW.indd 71 05/04/2018 12:39:40

Holidays & Courses ART MATERIALS

Richard


Holland


Landscape


 
Artist


 


Professional artist available for workshops &


demonstrations throughout the East Midlands,


further afield by arrangement.


Weekly
oil and watercolour classes in the


Mansfield, Selston and Matlock areas.



Two-day oil workshop on 10th & 11th May 2018


at Alison 
House Hotel, Cromford, Derbyshire


and Caudwell Mill, Rowsley, Derbyshire at


the end of Aug 2018.


Two-day oil workshops in Apr and Sept at



Old House Studio, Glossop Derbyshire.


Also several one day oil workshops at


the Venue, Ashbourne, and watercolour


workshops at Tansley near Matlock.



Contact me on: 01629 583359


or e-mail me at:


ricardo2244@yahoo.co.uk,


or visit:

 Framing
art holidays in cornwall www.richardhollandlandscapeartist.co.uk







AshcraftArtists
FramingFrames

- Save money on framing
- Complete or self-assembly
- Plain wood or painted
PAINT SOSPEL IN THE SOUTH OF FRANCE - Inlay frame specialist
Relaxed, informal painting holidays in the - Large, standard and bespoke sizes
South of France. Provence Alpes Cote d’Azure. Exclusive - St Ives/Nicholson style
www.paintsospel.com frames available on-line
All abilities ‘a great deal more than just a painting holiday...’
Email:paintsospel@gmail.com
Spacious light studio Call 01427 787318 or visit
Web June LP_Layout 1 28/03/2018 14:20 Page 1 Telephone: +44 (0) 7961393364
One, three and six day courses throughout the year Contact: Valerie Walsh www.ashcraftframing.co.uk/store
Small groups with plenty of individual tuition
Visit Britain 4 star accommodation
For location work we use the coast,
Tel 01579 383491 Visit www.painters-online.co.uk/Marketplace
moors and the Tamar Valley
www.callingtonartschool.com for further details of goods and services
1-8_Callington.indd 1
PAINTERSONLINE & 29/8/12 10:24:34
ExaClair Competition
PaintersOnline, Leisure Painter and The Artist have teamed up with
ExaClair, the UK supplier of Clairefontaine, to offer ten lucky entrants
the chance to win a set of three Fine Art Pads from its Paint’ON Multi-
ENTER NOW
Technique collection – an A3 in white, an A4 in the new grey, and a handy A5 To win one of ten sets of three
size in natural tan - worth £26(rrp) per set. Fine Art Pads from the
Clairefontaine Paint’ON
The Paint’ON Multi-Technique
range of thick and luxurious
Multi-Technique collection
250gsm paper is suitable for please visit
acrylic painting, gouache, ink,
dry or oil pastels, collages and
dry techniques. The paper the online home of
will even stand up to using Leisure Painter and The Artist
watercolour on pen and ink magazines, and click on the links
drawings. The eye-catching to competitions. Closing date for
grey pads are new this year. entries is July 20, 2018. Winners
Their fine, rough grain enables
will be selected at random
artists to give interesting depth
and character to shading and
from all online entries.
highlighting. The Paint’ON When completing your details please make sure
range allows established or you opt in to receive our great regular email
newsletters so that we can keep you up to date
budding artists to delve into a wide range of media with what’s new at Painters-Online, including
without needing a different pad for every type. the latest features, images in the galleries, new
For more information visit www.clairefontaine.com competitions and other great offers.
lp CLA june_NEW.indd 72 05/04/2018 15:01:23

LP June Digital sub.qxp_Layout 1 28/03/2018 13:18 Page 2
TRY A NEW
READING EXPERIENCE
THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE
NEW! Portraits
in miniature
Easy-to-read
format for JUNE 2018 £4.40
your device BEGINNERS’

WATERCOLOUR How to paint
from photographs
l Digitally enhanced PAINT BOATS AND

HARBOURS IN OILS
pages for reading NEW SERIES!
on your smart- Paint weather
effects in acrylics
phone or tablet SPRING FLOWERS

IN WATERCOLOUR
l Instant access to STEP BY STEP

still life using
coloured pencils
your magazine
l All issues stored
FIRST STEPS SCRATCHBOARD !
with water- step by step

mixable oils for beginners
in one place TRY THIS!

Watercolour
HOW TO PAINT
the texture of
l Easy access
on canvas metal and wood

to paid-for past
and present issues
l View at any time,
anywhere
l Single copies
and subscriptions
available from
only £2.99
NOW AVAILABLE AT
www.pocketmags.com/leisurepainter
LP June 2018 Art clubs p74-76_News 1st 04/04/2018 12:27 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON
CLUB EXHIBITIONS AND ACTIVITIES
Roberta Hanlon Lily in a Vase, acrylic, 13x9in.

t
(33x23cm) from the Armagh Art Club
Geoff Shillito
t
Aisha, oil on linen, Highlights

24 ⁄4x203⁄4in. (63x53cm)
3
Bath Society of Artists
on show at the Bath
Society of Artists’ The annual Bath Society of Artists’ open
open exhibition at exhibition, which is open to non-members,
the Victoria Art attracts up to 1000 entries each year and has
Gallery, Bath
built up a reputation for showing the very
best of the region’s artistic talent. The
exhibition of selected work can be seen at
Liz Magee the Victoria Art Gallery in Bath until 12 May.
t
Hanging Day at
The Gallery Upstairs, For more information visit www.victoriagal.org.uk
acrylic on canvas, Bournemouth Bay Art Group
14x18in. (35.5x46cm) The Bournemouth Bay Art Group is
from the Poole & East
Dorset Art Society participating in Dorset Arts Week, from 26
exhibition at The May to 9 June, at the Moordown Community
Gallery Upstairs, Centre, 21 Corporation Avenue, Moordown,
Dorset
Bournemouth BH9 1TW. Open weekdays

News Margot Cornish’s iPad picture of snowdrops
t
from the January challenge
Armagh Art Club
Armagh Art Club was founded in the flowers through the seasons using the
cathedral city in 1962, since when its book as a springboard for their own
fortunes have ebbed and flowed for 56 ideas. Each month members share
years, with some founder members still with each other their thoughts,
producing beautiful work. There are inspirations, progress and techniques
three exhibitions each year: two short in the safety of a private facebook
ones in Armagh Tourist Centre in spring group. Member, Cherry Ferris says,
and autumn, and one main one in the “It’s as if we were all sitting in the
County Museum from mid June, which Oopsy Daisy same room sharing a cup of tea, slice
runs for 10 weeks. In 2017, the group A group of local amateur artists in East of cake and catching up on art gossip.
decided it needed to reinvent itself by Devon, the majority of them from the We post our pictures and comment on
moving premises, acquiring new Newton Poppleford Art Society, have others. Members are learning from
equipment and encouraging new come together to form the Oopsy Daisy each other and trying ideas out in
members. It applied for a grant from the watercolour work group in order to different media – one lady is even
Borough Council, which was approved, challenge themselves to produce better attempting digital flower paintings.
and culminated in an eight-week long work. It started with Ann Blockley’s Our hope is that, by the end of the
exhibition in the Armagh Tourist Centre book, Flower Painting Through the year, we can hold a Walk of the
in March and April. The club struggled Seasons, (published by Harper Collins in Seasons exhibition for our local art
to find premises to suit all its needs, but 2004), which inspired them to paint club.” We’ll keep you posted.
has finally settled in the Braeburn Room
at the Dean Swift Building in Armagh t Cherry Ferris’s watercolour and mixed-media painting of the January challenge
Business Park – a modern and warm
building with excellent light, ample
storage for new easels, smart bathrooms
and kitchen as well as easy parking.
A publicity campaign encouraged new
members, who have regenerated the
club, and inspirational tutors lead
workshops on the third Saturday each
month. There is also a monthly club day
where members work on their own
projects, using club resources and peer
mentoring. Each May the group goes
away for a long weekend, this year to
Cushendun on the County Antrim coast,
to paint, relax and have fun. For details
write to the club at Armagh Business Park, 50
Hamiltonsbawn Road, Armagh BT60 1DL.
Tanya Knipe The Frozen Tree, oil on canvas,

t
6x4in. (15x10cm) from the Armagh Art Club
from 10am until 5pm; Saturdays, from Poole & East Dorset Art Society The Pantiles, Tunbridge Wells, Kent, from
10am until 4pm; closed on Sundays. Members of the Poole & East Dorset Art 2 to 17 June. For more information visit
Cononley Art Group Society (PEDAS) will celebrate the life and www.rtwas.org
Annual exhibition at the Cononley Village landscape of Upton Country Park in Uckfield Art Group
Institute, Main Street, near Skipton BD20 Modernism Meets Upton Country Park, at The group’s summer exhibition will take
8NU, from 26 to 28 May, 10am to 4pm The Gallery Upstairs, Upton Country place on Saturday 2 June at the Luxford
daily. The exhibition will include Park, Poole BH17 7BJ, as part of Dorset Centre, Library Way, Uckfield TN22 1AR,
paintings and cards, a children’s corner, Art Weeks, from 25 May to 11 June. The from 10am until 4pm. In addition to
daily demonstrations and refreshments. gallery is open daily, from 10am to 5pm. paintings, there will also be cards and
North Lincs Art Society Visit www.pedas.org.uk other work for sale, and a children’s
Annual exhibition of paintings, prints, Royal Tunbridge Wells activity table. Refreshments available.
greetings cards and hand-painted Art Society Woking Society of Arts
ceramics at Grimsby Minster, St. James’ The Royal Tunbridge Wells Art Society’s The Woking Society of Arts will be
Square, Grimsby DN31 1EP, from 2 to 14 summer exhibition has a twist to it this holding an outdoor exhibition of
June. Open daily, excluding Sundays, year, as all entries must have a affordable artwork in Mercia Walk,
from 10am, until 4pm; closing at 2pm on connection to the town or its immediate Woking Town Centre, on Saturdays
final day. Visit www.nlasart.co.uk environs. The exhibition takes place at 61 9 and 16 June.
t

Demonstrations CLUB EXHIBITIONS

Bedford Art Society n Clapham Art Group
Two demonstrations for your diary from Annual exhibition at the village hall,
the Bedford Art Society this month – the Clapham, North Yorkshire LA2 8DZ, from
first, on Friday 4 May, by watercolour 26 May to 3 June, 11am to 6pm daily.
artist, Ali Yanye, who will demonstrate his n East Sussex Arts Club
techniques for painting people; and the Members’ exhibition at Stade Hall, The
second, on Friday 1 June, by established Stade, Hastings TN34 3FJ from May 26 to 30,
local artist, Roy Holding. Roy will 11am to 5pm. Enquiries to 01424 855275.
demonstrate how he paints landscapes n Etwall Art Group
with buildings in pastel and mixed Annual exhibition at Frank Wickham Hall,
media. Both demonstrations are 7.15 for Portland Street, Etwall, Derby DE65 6JE on
19 and 20 May, 10am to 5.30pm daily.
a 7.30pm start at Putnoe Heights Church,
Bedford MK41 8EB. Entry is free for n Horsham Painting Group
members, £5 for visitors. Contact Jean
t
Steve Reardon Teardrops, acrylic on canvas One-day exhibition and sale at the Quaker
Paterson on 01234 307210 or visit
board, 161⁄2x121⁄2in. (42x32cm) on show as part of Meeting House, Horsham RH12 1SL on
the Torfaen Art Factory’s exhibition at Clarence Saturday 26 May, 10am to 4pm. Visit
www.bedsartsociety.co.uk for information. Hall in Crickhowell in May www.horshampaintinggroup.co.uk
Brighouse Art Circle n Kirby Bellars Group of Artists
Moira Spencer will lead a watercolour Tewkesbury Art Society 37th annual exhibition at Kirby Bellars
workshop and demonstration for the Artist, Richard Crabtree, will give a Village Hall, LE14 2EA and also in St Peter’s
Brighouse Art Circle at 7.30pm on 10 May demonstration to the Tewkesbury Art Church from 5 to 7 May, 10am to 5pm daily.
at Waring Green Community Centre, Society on painting landscape and Visit www.kbga.org.uk
Brighouse. For more information visit townscape in watercolour, on Tuesday 15 n Letchworth Art Society
www.brighouseartcircle@yahoo.co.uk May, 10.30am to 1pm, at the Methodist Spring exhibition at the Community
Church Hall, By the Cross, Barton Street, Museum Gallery, The Arcade, Letchworth
Halifax Art Society Tewkesbury, Gloucestershire. Open to all; from 20 to 28 April, 10am to 4.45pm daily.
Lynda Thomas will give a short talk, £5 for non-members. For more information n Little Gaddesden Art Club
followed by a workshop, Looking at John visit www.t-a-s.info Summer exhibition at the village hall,
Piper, for the Halifax Art Society at All Church Road, Little Gaddesden HP4 1NX,
Torfaen Art Factory
Saints Parish Hall, Godfrey Road, Skircoat from 2 to 4 June, 10.30am to 6pm; 11am to
Some years ago, a group of enthusiastic
Green, Halifax from 10.30am to 1pm on 6pm on the Monday.
and local artists and photographers got
18 May. For more information visit n St Mary’s Bay Art Group
together to form the Torfaen Art Factory.
www.halifaxartsociety.com Exhibition at St. Nicholas Church, New
The group continues to grow and
Romney, Kent from 4 to 9 June, 10am to
Sidmouth Society of Artists develop, tackling media, such as 4pm daily.
Susan Gray will be demonstrating how to watercolour, acrylics and pastel,
n Thursday Morning Art Group
paint Dartmoor landscapes using acrylic photography and digital manipulation.
Exhibition at the Centre on Jackson Avenue,
paints for the Sidmouth Society of Artists, Members will be exhibiting their work as Culcheth, Warrington WA3 4DZ on 6 May, 2
on 24 May, 7 to 9pm. Demonstrations part of the Open Studios Art Trail in to 4pm and 7 May, 10am to 4pm.
take place at Kennaway House, Coburg Crickhowell over the spring bank holiday n York Art Society
Road, Sidmouth, Devon. For more weekend, 26 to 28 May, at the Clarence Exhibition at York Medical Society Rooms,
information email Terence Cook at Hall in Crickhowell. For more information go 23 Stonegate, York YO1 8AW from 25 to 28
Terence.crook@btinternet.com to torfaen-art.blogspot.co.uk May. Enquiries to 07899 818842.
News
Tadworth Art Group
Tadworth Art Group’s annual summer exhibition will take place at the Peter Aubertin
Hall, Elmore Road, Chipstead, Surrey CR5 3SG on 12 and 13 May. The group of 35 local
artists has been hard at work producing a new and exciting range of over 250 original
paintings in all media, ranging from traditional landscapes, seascapes and still lifes to
more modern works, animals and portraits. Mixed-media painter, Deborah Kreczmer,
whose work is featured here (left), will be one of the members exhibiting. She writes:
“There is a process I follow when planning a painting, which includes sketches and
other source material, such as photographs. A composition for a simple still life could
be pondered over for hours. Equally, my love of colour plays an important role and is
essential for the mood I want to create, but there is a fine line between planning and
being free with my work, which is where mixed media comes into play, allowing for
those happy unexpected surprises.” Deborah will be participating in the Surrey Artist
Open Studios in June (see page 7), as well as at the Tadworth Art Group’s summer
exhibition. For more information about the group visit www.tadworthartgroup.org.uk
Deborah Kreczmer Sea Spray, mixed media, 15x15in. (38x38cm)
t

Art Club of the Yearv3_News 1st 04/04/2018 09:51 Page 6
& artist
in association with Patchings Art Centre and Jackson’s Art Supplies
Art Club of the Year 2018

A ll UK art clubs are invited to submit a total of five two-
dimensional works that you feel represent your club along
with a written profile, including details about your club’s
history, members and activities. We will select our top ten clubs to
exhibit their five entries at the Pavilion gallery at Patchings Art Centre,
THE JUDGES
Hazel Soan, artist and tutor
Liz Wood, artist, tutor and
Nottinghamshire from 13 October to 11 November. An overall club co-owner of Patchings Art Centre
winner and two runners up will be selected by the judges, and visitors Sally Bulgin, editor The Artist
will be asked to vote for their favourite club for the People’s Choice Ingrid Lyon, editor Leisure Painter
Award. All work entered will be featured on our website at
www.painters-online.co.uk. Entry deadline: 8 September.
Cardigan Art Society: Winner of Art Club of the Year 2017

THE PRIZES
FIRST PRIZE
£500 worth of Jackson’s art
materials vouchers, £100 towards
the cost of a workshop or Jan Brown Cilgerran Oaks,
t
and wash, 17x21in. (43x53cm)

demonstration to club members,
and a profile about the club
published in our magazines, on David Clinch
t
PaintersOnline and through The Artist at the Folie Bar,

oil, 32x42in. (81x106cm)
our social media channels
TWO RUNNERS UP
materials vouchers for each club
PEOPLE’S CHOICE AWARD

materials vouchers for the club
John Edwards Helen Rowlands
t t
Clare Howell Sybil Kahlo,
t
with the most public votes Nag Nag Nag, Murmuration, lino print,
mixed-media collage,
391⁄2x391⁄2in. (100x100cm) oil, 20x25in. (51x63cm) 13x15in. (33x38cm)
HOW TO ENTER
The competition is open to art clubs across the registering. Then upload your digital entries via responsibility can be accepted for loss or damage
UK. Only online entries can be accepted. Only the link on the Competitions page. Payment will in transit, incoming or outgoing, whilst on the
original work will be considered and paintings be added automatically to your basket; please competition premises or during the exhibition.
based on reference photographs must have been remember to pay before you leave the website. Originals selected and submitted for final
taken by the artist or used with the permission of 4 Upload your entries with the non-refundable exhibition must be fully insured by the artists.
the photographer. Photography, except where entry fee of £20 by the closing date of 8 8 Original works must be left with the organisers
incorporated into collage, is not acceptable. September, 2018. throughout the exhibition.
1 The non-refundable entry fee of £20 covers the 5 Entries will be judged after 9 September when 9 All entries must be original. Submission of entry
FIVE entries per art club of two-dimensional work selected work will be called for exhibition. All in this competition automatically constitutes
in any media. work must be framed (canvases excepted) ready acceptance of all the competition rules and
2 No entry should be larger than 120x150cm WHEN for exhibition from 13 October to 11 November at agreement to allow The Artist and/or Leisure
FRAMED (canvases do not need to be framed). Patchings Art Centre, Nottinghamshire. Painter to publish, republish and repurpose
3 To enter, first register your club at www.painters- 6 Successful art clubs will be notified during the entries in print and digital formats, including but
online.co.uk via ‘login/register’ and add your club week of 16 September about delivering their work not limited to magazines, promotion materials,
profile to the biography area of the club account. between 1 and 8 October to Patchings Art Centre. websites, databases and as part of downloadable
Please include a name of your main contact when 7 All care will be taken with entries but no digital products.

Online Gallery v. 2_News 1st 04/04/2018 12:29 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
J ohn Inkson has a spontaneous approach to painting, letting the scene speak to
him and reacting to the situation as it develops. His painting equipment is less
haphazard, however, as much of it is bespoke and all carefully designed to suit his
G raphic design, ceramics, silkscreen
printing, ceramic modelling, digital
painting and crafts have all been part of
needs so that he is free to work in any situation. Here John explains how he captured John’s all-round approach to making art.
this sunny scene at Freshwater Bay, working out on location with his converted He completed a foundation course in art,
pochade box and homemade pastels. If you would like to see more of John’s work, before moving on to Cardiff University to
post a comment or upload your own images to our free online gallery, study graphic design. John describes his
visit www.painters-online.co.uk approach to art as: “letting the art show
me the way. That way you will discover
how to set about your work and avoid
artists’ block.” John is dedicated to his
painting, describing his home as being
covered from floor to ceiling with his
own and other artists’ paintings.
“Freshwater Bay IOW was painted out on
location along with several other pieces
that day. I arrived with a small backpack,
which turns into a seat, and a pochade
box converted from a small, but stout
Victorian watercolour box. A piece of
plywood, measuring 11x9in. (80x23cm),
serves as a drawing board, which I rest
on the open lid of the box to form a little
easel on my knees. Sheets of cartridge
paper, primed with thin acrylic colour
mixed with pumice powder, are held on
the board with two large elastic bands.
My pastels are homemade too, held in
place in their compartments with small
pieces of rubber carpet underlay to stop
them moving in transit.
When I begin a painting, I look first for
the whole composition then block in the
main areas of colour. Next, I refine the
shapes and colours, only working on the
smaller details towards the finish of the
painting. What I am really after is trying
to capture the light and mood of the
scene. I can add bits of detail back at the
studio if needed. This painting took no
more than 20 minutes to complete.
Pastels are wonderful to work with
outdoors – so simple and direct. There’s
no mediums to worry about or mixing to
do. Just you, the pastels, and the paper.
What magic!”
John Inkson Freshwater Bay IOW,

t
pastel, 10x8in. (25.5x20cm)

p79_LPJun18_Layout 1 06/04/2018 08:39 Page 79
PAINTERSONLINE
The online home of Leisure Painter
Develop your
Here are links to some of the
best practical art videos online,
painting
with
skills
artist
recommended by our website
editor, Dawn Farley
Visit http://painte.rs/2FPwHxY
This month: Demonstrations by tutors SPECIAL

Paint a rural
5 ISSUES FOR £5*
M
landscape Since 1931 The Artist has been created by artists,

with birds in for artists. Published every four weeks. Each issue
M
watercolour is packed with new ideas, expert advice and insight

with Jem into the work of professional artists, covering all
Bowden subject matter and media, to inspire, inform and
guide your technical and creative development
80 PAGES OF INSPIRATION TO HELP YOU CREATE YOUR BEST ARTWORK
artist
www.painters-online.co.uk JUNE 2018 £4.40
Check out
M
this time-lapse THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931
painting of three Get to grips with

penguins by FREE
M
WATERCOLOUR gouache
Liz Chaderton
In the first of two
article
gouache as he demon s, Barry Herniman urges you
TUTORIAL VIDEO strates the versati
lity
to consider
on demand for every reader step-by-step paintin of this medium with two
gs
WORTH
G
ouache is similar
to watercolour
and has the same middle ground
binding among media.
£4.99 agent, gum arabic,

means that both
re-wet once dry,
painting grounds
but it
which
media can be
variety of absorbent can be used on a
and non-absorbent
(paper, board,
canvas
Schmincke gouach
Ever since my supplier
introduced me
watercolours I have
e
Francis Iles*
to Schmincke Artist
used them almost
covering power,
straight from the

water.
the pigments can
create crisp colour
gouache. The paints
blends like no
can be used
tube or thinned
other
with
etc). It is also similar exclusively. So I hope I have given
to acrylic and oil it was only a matter you an insight into
paint in that it time before they of this exciting and
can be used in brought Schmincke versatile medium
opaque painting an Horadam gouache
style; because to my attention. how it works on and
versatility gouache of this I different supports.
really occupies just had to try it month I will be Next
the – what a revelation doing a rather more
Because nothing ! complex gouache
is added to boost demonstration
its all these technique using
TECHNIQUES FOR s and more.
Compare the difference

YOU TO TRY
PAINT A The paint is Schmincke in the results between two surfaces.

Horadam gouache
madder red dark
Lifting out
STRIKING
Again the support
on the left-hand
is gessoed board; side
on the right it is
watercolour paper.
After the washes
had dried I took
a stiff bristled brush,
GOUACHE dipped it in water
and stroked it across
the wash. Notice
how I was able
Vase of Flowers
back almost to to lift
SELF-PORTRAIT
the white on the
DEMONSTRATION
gesso
but find that Ibut
canthe paper still retained a residue
r paper the wash colour of
gouache on watercolou try it?
not
I have often painted when painting onto board. Why
results
get some lovely
STAGE ONE
main
I lightly drew the
MATERIALS Laying lemon yellow, Spatter into
Horadam gouache:a wash
flowers
outlines of the
Schmincke The support oncarmine, madder damp wash a
and vase with a
2B
Follow Jason Sacran’s approach step-by-step burnt sienna, the left-handwhite

Indian yellow,gessoed titanium side is
Paint
turquoise, violet,
board; on the right it is I then
pencil.This squeezed
shows
red dark, heliowatercolou a really unique
M
a few coats of gesso blobofofgouache:

property
withr paper. I diluted the paint out a good
Mountboard coated
watercolour consistency 4, and to a the painted in a while
brushes: 8,and, with a fully colour
andpaint area is still damp,
loaded round
Da Vinci Cosmotop brush, laid the wash take
‘undercoat‘ of
some fairly thick
on the simple paint
rigger supports, adding 2B pencil onto
flower using
a brush
bottle,
Notice tear-offmore
palette,
pigment as I went. each and flick it
Spray diffuser how the paint pooled it and madder
intoyellow,
at the bottom Indian watch what
WATERCOLOUR ACRYLICS GOUACHE PLUS and that the gesso

dark and Ifviolet
in
poppies in a
marks are very red happens. you time it
prominent. The right strengths. I
you’ll get what
watercolou varying
the wash in a traditional r paper holds a looks
the paint towhere
like snowflakes
manner, going mixed the thicker paint
from light to dark
Practise a 10-minute tonal in a smooth transition wash
light is too
cream consistency
wet the outcome
very
has diffused with
is not so dramatic, the damp paint.
If the initial
sodepict flowed
that itthat might not be a but depending
watercolour to develop your skills much like watercolou
r bad thing on what you want
to
Create a landscape using just
cornfield in 6 colours www.painters-online

* Frances Iles Artworks,
Rochester, Kent ME1
SPECIAL
.co.uk 1JT, telephone 01634
843881.
Transform a dull photo into an artist June 2018
interesting painting 43
watercolour
Discover new pen & ink and
M
watercolour techniques
5 ISSUES
AND MUCH MORE!
with Rachel Loosen up and
get creative with
How to paint & use
reflections for
Try different
techniques with this
STAGE TWO
With the helio turquoise
painted the stalks
very dilute blue
my brush and clean
!
mixed with Indian
within the vase
into the reflections
yellow I
and dropped some
in the glass. Using
water I lifted out
some highlights
Gouache is water-
in
McNaughton
individual blooms.
the stems and the and easy to do,
Ann Blockley compositional impact versatile medium DEMONSTRATI
soluble so this is
always an option PRA CTICAL
especially on the
slick surface of ON Along the
the gesso

This demonstration
is done on
Path
different the choice watercolour paper
of support is so you can see
more akin to
watercolour especialwhen using gouache. This how
dilute down to ly approac
an almost transpar as Schmincke Horadam gouacheh is
ent quality colours
FOR MATERIALS
Schmincke Horadam
lemon yellow,
orange, burnt
gouache:
Indian yellow,
sienna,
blue, helio turquois cobalt
STAGE ONE
Having drawn
with a 2B pencil
yellow, Indian
the basic outlines
I mixed washes
yellow and cobalt
of the subject
of lemon
* *
e, violet, palette and then blue on the
titanium white flicked the paint
canopy of the into the
Hahnemühle
Aquarell 200lb
trees, letting
D PAINTIN
the colours G .
intoFINISHE
the paper. Moving mix on 9⫻8in (23⫻20cm)
£5
watercolour paper the banksSchmincke Horadam gouache, slightly
THREE same colours Vase of Flowers, I used the colours within the blooms using
STAGE
Da Vinci Cosmotopand I painted
madder red dark turquoise and
in the with the
ed all the
addition of helio touch of madder
sienna round Lastly I strengthen turquoise and a
Using burnt
brushes: 8, 4 and flowers and then, using a diluted mix burnt sienna. Youin each case. With the helio a stiff brush I
centres of therigger
the paint thicker paint can see that in the flower stems and with
was still quite
the yellow
dark
Spray diffuser the form of the darks
bottle,I established the red wet, painted
dark Iwhich allowed glass vase
of the same colours, tear-off turn, colours to merge together highlights in the
palette, 2B pencilaround each bloom in lifted out some
rather nicely
flower. I worked mix
form with a stronger
strengthening the
.co.uk
www.painters-online
artist June 2018

44
Bring your
M
buildings to
M
STAGE TWO
life with
I flicked burnt
sienna and violet
* Direct Debit only the path and

trunks and using
I painted the
into the canopy.
let it dry. Moving
my blues, brown
basic shapes,
I didn’t
in the texture
up into the tree
and orange
taking the colours
getting the transition worry too much about
of
up
Colin Steed
from trunk to
right as I would canopy just
be able to overpain
stage with opaque t at a later
paint. I also took
these colours some of
down into the
SUBSCRIBE TODAY
bank
Barry Hernim FINISHED PAINT

tutors painting
an
organises and ING
holidays at home Along the Path,
and Schmincke Horadam
abroad. He is All areas were gouache, 11⫻10in
also available strengthened.
workshops and for area immedia With my No. (28⫻25cm).
demonstrations tely above the 4 brush I
societies. His to path. Then I started painted the tree
Cloverleaf paintbox art darks in the banks
with a series to establish some
available online is contrast. Lastly of spatter and
at: cloverleafpaintbo using my rigger brushstrokes,
com. Copies of x. and brown, I and a strong to add
Barry added the branches dark mix of my
Travelling Sketchbo Herniman's texture to the and twigs within blues
ok are available banks. the canopy and
his website, price from I added some
£25 inc p&p. more darks to
www.barryherni mixed with the the canopy and
man.com white added with some yellow
banks and also a few highlight
a few small stones s to the canopy,
Watch Barry Hernima in the path the
n paint a watercolo
with a special introductory offer of your first

ur coastal scene
Go to PaintersO in which he achieves
nline:http://painte. the effect of crashing
rs/2FPvozc waves.
www.painters-o
nline.co.uk
issues for £5. Your subscription will continue at only

artist June 2018
45
Find our friendly community of artists on £9.99 by quarterly Direct Debit, making a regular 30%
PaintersOnline for more videos, a free gallery, saving. There is no minimum subscription period.
forums, blogs, hints & tips and much more! Go to www.painters-online.co.uk/store
and enter code LPTA0618 or telephone 01580 763315
www.painters-online.co.uk and quote code LPTA0618
www.painters-online.co.uk JUNe 2018 79

Free
Charmed lives
in Greece
Ghika, Craxton,
Leigh Fermor
Art, literature and
friendships in Greece
Until 15 July
««««
‘irresistibly
compelling’
The Telegraph
««««
‘charming’
The Times
Supported by
Organised with
In collaboration with
the Benaki Museum and
the Craxton Estate
Nikos Hadjikyriakos-Ghika (1906–1994), Study for a poster. Tempera on cardboard, 1948.

Benaki Museum – Ghika Gallery, Athens. © Benaki Museum 2018.
8551 Ghika The Leisure

p80_lpjune18.indd 1 Painter Ad A4 full Page Proof1.indd 1 27/03/2018
05/04/2018 11:02
12:02:14

Lei Spain 0318

Transféré par

Informations du document

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Lei Spain 0318

Transféré par

Droits d'auteur :

Formats disponibles

LP June cover £4.

40 V5_News 1st 28/03/2018 13:16 Page 6

THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE

JUNE 2018 £4.40

PAINT BOATS AND

FIRST STEPS SCRATCHBOARD

TRY THIS! HOW TO PAINT

Incorporating Leisure Painter

Leisure Painter is published every

Printed by Warners Midlands plc,

www.painters-online.co.uk JUNE 2018 3

Contents JUNE 2018

25 Watercolour basics and beyond

12 Water and oil 40 Boats and harbours

18 Painting project 45 Welcome to the dark side

4 JUNE 2018 www.painters-online.co.uk

8 12 PLUS... to Verrucola, Italy, pastel and

54 Orange blossom time

62 Painting the sea

66 Ready for spring

www.painters-online.co.uk JUNE 2018 5

GREAT DISCOUNTS UNBEATABLE SERVICE

 tel: 01204 690 114  email: sales@artsupplies.co.uk

leisure-painter-advert-0518.indd 1 27/03/2018 13:49:23

Just want to paint?

• Private, luxurious suites

Sandra Kelly Williams +353 86 045 5888

6 JUNE 2018 www.painters-online.co.uk

p06_lpjune18.indd 6 05/04/2018 12:00:32

17 June. A new event for this year, board, 113⁄4x8in. (30x20cm)

www.painters-online.co.uk JUNE 2018 7

ExhibitionsJANE STROUD RECOMMENDS

8 JUNE 2018 www.painters-online.co.uk

‘Aftermath: Art in the Wake of World War

www.painters-online.co.uk JUNE 2018 9

‘A progressive, informative art course for beginner

Available to order from: RRP

Cow Parsley & Lavender by Ann Blockley

Workshops Demonstrations Exhibitions

Celebrity Talks Competitions Theatre Music

NEW FOR 2018

Book tickets and plan your visit at:

IN INSPIRATIONAL ITALY 2018

Painters of all abili�es and non-pain�ng

An opportunity for all

www.painters-online.co.uk JUNE 2018 11

p11_lpjune18.indd 11 05/04/2018 11:24:05

Water and oil

which is the application of thinned, oily

I n 1998 Winsor & Newton launched a

12 JUNE 2018 www.painters-online.co.uk

grained, and Rough, which lends itself to

www.painters-online.co.uk JUNE 2018 13

Demonstration Bluebells at Alltshellach

Using thinned raw umber acrylic, block in

My method of painting is to work in layers,

14 JUNE 2018 www.painters-online.co.uk

For this stage I used an

www.painters-online.co.uk JUNE 2018 15

16 JUNE 2018 www.painters-online.co.uk

www.painters-online.co.uk JUNE 2018 17

I n last month’s issue I looked

18 JUNE 2018 www.painters-online.co.uk

Demonstration Swallows Rest