Académique Documents
Professionnel Documents
Culture Documents
UK’s
No.1
CHRISTMAS
DECEMBER 2016 £4.20
CARD ideas
BE INSPIRED BY
AUTUMN COLOURS
Develop your
skills with
watercolour
HOW DO I...
Use the warm
earth tones?
Top tips and
techniques for
a pastel sunset
EXPLORE curved
perspective
OILS MADE EASY
Try a step-by-step
horse portrait
exercises to fire
your creativity
LP12 Subs quarter_Harrison Ad 19/10/2016 15:34 Page 1
A subscription to
makes a
great gift
Only £2.92 an issue and
enjoy FREE home delivery!
w skill you th I
Use W DO
p HO
eas
D id ASelo
Dev
CARRISTM
CH
S
UR
OLO
N C D BY
TH TUM IRE
See
1 AU INSP
ON No.K’s BE
M U 0
£4.2
IS 2016
TH BER
Pages 56
EM
DEC
E
SU
IS
& 57
GE
PA -
76
L
IA
EC
SP
Visit www.painters-online.co.uk/store
enter code LP1612
or telephone 01580 763673
Unique
acrylics
from the
Netherlands
www.royaltalens.com
Editor
Ingrid Lyon
W ith winter – and Christmas – fast
approaching, we have an end-of-
year issue packed with inspiration and
Contributing Editor
Jane Stroud
practical advice, whether you’re working in the warmth of your
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS home or outside, enjoying the stunning autumn colours. For those
David Bellamy
Tony Paul STP who prefer comfort while painting, there’s a variety of subjects and
Advertising Sales studies that will keep you motivated throughout the month. If
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) you’re ready for a seasonal challenge, you won’t do better than
Advertising Copy
Sue Woodgates (Tel: 01778 392062) practise the techniques found in Jem Bowden’s demonstration
(suewoodgates@warnersgroup.co.uk)
(pages 16 to 19), until you feel confident to tackle your own autumn
Accounts
creditcontrol@warnersgroup.co.uk landscape in your favourite medium.
Events Manager
Caroline Griffiths
Above all, loosen up and have fun while you paint – your
Subscriptions & Marketing Manager enthusiasm and pleasure will always show in your finished work.
Wendy Gregory
Look out for two new in-depth series beginning next month.
Subscriptions
Nicci Salmon & Liza Kitney Tim Fisher’s watercolour series was inspired by a reader’s request for
(Tel: 01580 763315/763673)
Online Editor
help in handling specialist brushes and colour mixing for landscape
Dawn Farley and, in particular, foliage painting. If you also need help, don’t
Designers
Alison Renno hesitate to contact me. There is a wealth of knowledge and expertise
Sarah Poole
within our team of experienced tutors, and we’re here to help you
Leisure Painter is published
every four weeks by:
in as straightfoward a way as possible.
The Artists’ Publishing Company
Limited (TAPC), Caxton House,
Our second series looks at a subject that’s close to many of our
63-65 High Street, Tenterden, painting practices: how to work successfully from photographs.
Kent TN30 6BD
(Tel: 01580 763315) Elena Parashko discusses everything from copyright issues and
Publisher
Dr Sally Bulgin, Hon VPRBSA
artistic licence to composition, colour and tone, changing elements,
such as shadows and light, and how to achieve that all-important
Publication of an article or inclusion of
an advertisement does not necessarily depth in our paintings. She’ll offer a mix of advice, practical
imply that TAPC is in agreement with
the views expressed, or represents exercises and demonstrations to help you understand the theory
endorsement of products, materials
or techniques. TAPC does not accept then put it all into practice.
responsibility for errors, omissions
or images received in good faith
Finally, Leisure Painter celebrates its 50th anniversary in 2017,
Annual subscription rates: while our website, PaintersOnline, enters its tenth year. Look out
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member for painting competitions, special offers and Leisure Painter/
countries €67; all other countries
(sterling rate) £50
PaintersOnline collaborations throughout 2017. Here’s to the next
Foreign currency prices include 50 years of inspiration!
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
42
12
20 Evergreen
IN EVERY ISSUE Produce your own Christmas cards
by drawing and painting holly this year,
7 Diary 63 Books with Judith Milne
News and things to do Some of the best practical
this month art books are reviewed
24 Understanding colour
64 Art clubs Part 13 How to use the yellow earths
8 Exhibitions
News, profiles, exhibition listings in your palette, by Tony Paul
Some of the best shows
around the country and ‘best in show’ gallery
27 Herculean Prince
Elena Parashko demonstrates the
11 Letters 74 Online gallery
painting of a racehorse using oils
Your tips, suggestions, Jane Stroud chooses a painting
ideas and questions from PaintersOnline
32 Curved perspective
Tim Fisher discusses circles, ellipses,
spheres and curvilinear perspective
54
Coming
next month
Continue your passion for painting in 2017
with Leisure Painter. Here are some of the
highlights to be found in the January issue
ON SALE 2 DECEMBER
n NEW SERIES How to
paint successfully
from photographs
n NEW SERIES We
answer a reader’s
question on painting
watercolour foliage
n Easy ideas for using
mixed media
n Try working with a
limited palette
n How to tackle the
complexity of a
coastal scene
20
n Quick and lively
figure sketching
t
Becky Samuelson Gull, soft
pastel, 514⁄ x7in. (13x18cm). Becky
NEWS, HOLIDAYS & SPECIAL OFFERS n Step-by-step winter tests Rembrandt Artists’ soft pastels
wonderland scenes next month
41 Join Pamela Kay painting in the Low Countries
n How to use and mix
52 Choose from special Christmas gift packs when you LEISURE PAINTER
subscribe to Leisure Painter this month
warm red earth
colours ON-SALE DATES
62 Take advantage of special offers on practical art books Issue On sale
n Look out for the entry February 30 December
when you buy from our bookshop at PaintersOnline
details for LP’s Open March 27 January
73 Win a Rembrandt Artists’ pastel set from Royal Talens competition and the April 24 February
worth £375 and paper from Exaclair worth £25 Art Club of the Year May 24 March
competition 2017 June 21 April
75 Join Peter Brown painting in Vietnam July 19 May
n and lots more....
48 Welcome visitor
Try this step-by-step watercolour portrait of a long
tailed tit, by Paul Hopkinson
54 Confident clouds
Develop your watercolour skills and experiment
with colour as you paint wet-on-dry clouds, with
Becky Samuelson
56 White on white
Explore tonal nuances in your paintings as you
set up and paint a still life, with Paul Alcock
in partnership with
Patchings Art Centre
CALL FOR
ENTRIES We are looking for the best work from amateurs in
the Leisure Painter category and from experienced and
professional artists in The Artist category. Selected works
from each category will be exhibited at Patchings Art Centre C all for our
in two separate galleries, opening on the first day of the
2017 Patchings Festival of Art, Craft & Photography
latest catalogue!
on July 13 until August 20, 2017
artsupplies.co.uk
@KenBromleyArt facebook.com⁄KenBromleyArt
Tel: 01204 690 114 Email: sales@artsupplies.co.uk
New
t
Image courtesy of 2016 prizewinner Regina Pac
Diary
THINGS TO DO THIS MONTH
Prize winners
Sunday Times
London-based artist, Kathryn Maple, has been awarded the first prize of
£10,000 at this year’s Sunday Times Watercolour Competition for her
work Sandy Shoes – an exuberant painting of the shapes and colours of
the Vypin Islands in Southwest India. An exhibition of winning works can
be seen at the Guildford House Gallery, 155 High Street, Guildford from
10 December until 28 January 2017. For details of all the prize winners
go to www.sundaytimeswatercolour.org
In the frame
Leisure Painter
People’s choice
Julie Maguire has been awarded the Leisure Painter People’s Choice
Award at this year’s Leisure Painter Open Competition for her work,
Mick Manning Lurcher Pup, stencil print,
t
Master of Disguise (above). Largely self-taught, Julie’s favourite medium
121⁄2x21in. (32x53cm)
is coloured pencils, which she says “are easy to work with, create no
mess and are quick to put away – three important points for a full-time St Jude’s in the City
housewife and hardworking mum with three children and a husband.” Explore the craft of printmaking with
Julie explained how she took photographs of the greyling in the limited-edition prints, collages, wooden
butterfly forest at Twycross Zoo. “I was keen to use black Stonehenge as cut-outs and box constructions at the
the support, but maintain the Derwent Inktense coloured pencils in Bankside Gallery, London from 23
their dry form.” Julie has won several awards and has exhibited at November until 4 December. The
venues in Birmingham, London, Frodsham, Nottingham and Somerset. exhibition brings together work by a
To see more of Julie’s work go to www.suburbanartjam.com variety of distinguished printmakers,
Julie wins a selection of Search Press books to the value of £150. Visit including Angie Lewis and Peter Green.
www.searchpress.com Visit www.stjudesprints.co.uk
A painter’s travels t
Peter Brown Over Pulteney Bridge, The Day Grayson Perry Came to Town, oil, 12x16in. (30.5x40.5cm)
Over 100 new oil paintings and
drawings by popular artist, Peter – Pete the Street. “The thread in all my positively glisten with life.
Brown, will go on show at the painting,” he says, “is an interest in Peter Brown: A Bath Painter’s Travels
Victoria Art Gallery in Bath this light. I relish the variety of our British at the Victoria Art Gallery, Bridge
winter. The exhibition will feature climate and dramatic changes in the Street, Bath from 3 December to 19
works from Peter’s travels to Arles, weather. When it rains the whole February 2017. Peter will give a talk
Dublin, Granada, London and composition’s transformed and when and book signing at the gallery on
Seville, but will concentrate mainly you get a really good heavy rain I have Saturday 3 December between
on views from his home town of very limited time to actually get the 11.30am and 12.30pm. Entry is free
Bath. Peter paints en plein air – in paint on. I stop when I’m absolutely with an exhibition ticket. For more
all seasons and in all weathers – a soaked through.” It’s this commitment information telephone 01225 477233
practice that has led to his nickname to his art that makes his paintings or visit www.victoriagal.org.uk
n The John Russell Gallery n The Michaelhouse Centre n Royal West of England Academy
4-6 Wherry Lane, Ipswich, Suffolk. Trinity Street, Cambridge. 01223 309167. Queens Road, Bristol. 0117 973 5129.
01473 212051. Recent acrylic paintings by ‘Cambridge Envisaged’: works by local ‘164th Annual Open Exhibition’, including
Sarah Cannell, until 19 November. artists, Peter Corr, Paul Janssens and selected work by local, national and
n Lincoln Joyce Fine Art Caroline Forward, that feature aspects of international artists, until 27 November.
40 Church Road, Great Bookham, Surrey. Cambridge, 7 to 19 November.
n The Wilson
01372 458481. Paintings by Alistair Butt and n Middlesbrough Institute of
Chris Forsey, until 19 November. Clarence Street, Cheltenham. 01242 237431.
Modern Art ‘The Last Word in Art’: works by key 20th
n Mariana-Art Gallery Centre Square, Middlesbrough. 01642 century and contemporary artists, such as
East Street, St. Briavels, Gloucestershire. 931232. ‘Liberation of Colour’: paintings Tracey Emin and David Hockney, exploring
01594 530484. ‘Art-Art’: animal paintings by by Winifred Nicholson, 22 October to the relationship between images, words
Mariana Robinson, Mark Jenkins and Alison 12 February 2017. and ideas, until 8 January 2017.
Lingley, 27 November to 12 December.
n The Mercer Gallery
Swan Road, Harrogate, North Yorkshire. All information given here is correct at the time of going to press, but you are
01423 556188. ‘Eileen Cooper RA: Hide and advised to check details and opening times with the galleries prior to your visit
Seek’, featuring drawings by Eileen Cooper, in case of unavoidable alterations to their exhibition schedules
until 15 January 2017.
in association with
Patchings Art Centre &
Jackson’s Art Supplies Pro Arte's
all round
Stocked by
of the Year
C
M
all good
art shops!
Y
CM Everywhere
COMPETITION 2017 MY
CY
CALL FOR
CMY
ENTRIES
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 of your club’s
history, members and activities. We will select ten clubs to
exhibit their five entries at the Patchings Art, Craft & Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN
Photography Festival (July 13 to 16, 2017) and throughout Tel 01756 792929 • Fax 01756 790909
the rest of July at Patchings Art Centre. admin@proarte.co.uk • www.proarte.co.uk
An overall winner and two runners up will be selected by
well-known artist and tutor, Hazel Soan, and visitors will be
asked to vote for their favourite club for the People’s
Choice Award. All work entered will also be featured on
our website at www.painters-online.co.uk
PRIZES
We are delighted to announce exclusive sponsorship
by Jackson’s Art Supplies
l FIRST PRIZE £500 worth l TWO RUNNERS UP
of Jackson’s art materials £250 worth of Jackson’s
vouchers, a sponsored art materials vouchers
demonstration at the for each club
selected club venue by
a professional art tutor l PEOPLE’S CHOICE
and a profile about the AWARD £100 worth
club published in our of Jackson’s art
magazines, online at materials vouchers
PaintersOnline and for the club with the
through our social media most public votes
PETER BROWN
A Bath Painter’s Travels
JUDGES 3 December 2016 – 19 February 2017
Hazel Soan, artist and tutor Sally Bulgin, editor VICTORIA ART GALLERY
Liz Wood, artist, tutor and The Artist By Pulteney Bridge Bath BA2 4AT
co-owner of Patchings 01225 477233 • www.victoriagal.org.uk • Daily 10.30-5.00
Ingrid Lyon, editor
128-page catalogue £15 + £3 p&p • All works for sale
Art Centre Leisure Painter
See next month’s issue for Peter Brown Viridian parasol ice cream
seller Milsom Street 2016 (detail)
full details and how to enter
Watercolour
Side view
t
Viewed from
the side, you
can see that
the petals
are more
elongated at
the top and
bottom
than in the
middle.
t
Front view From almost
face-on, the flower head presents
a flattened dome with a small
sphere of tight petals in the centre
following the line of the stem
Watercolour
Watercolour
Lemon yellow Permanent rose Lemon yellow Indian yellow Raw sienna
Bright red Alizarin crimson French ultramarine Burnt sienna Burnt umber Dioxazine violet
t
1 Paint a faint
lemon yellow tinge
on the upturned
petals. Add a mix of
permanent rose and
bright red as the first
wash. Allow the
paint to pool on
the lower edges.
2 Add a mixture
of alizarin
crimson and
bright red to the
deeper petals. Tip
the paper to allow
the paint to settle
around the spiky
edges of t 1 Wash a mix of lemon
the light petals. yellow and Indian yellow into
each petal. Add water to push
the paint to the edges.
2 Mask out the highlights on
the flower centre. Use Indian
yellow and raw sienna to
darken parts of the petals.
t
3 Continue
adding darker
paint to areas away
from the light, tipping
the paper to form
crinkly edges. The
deepest colours are
an alizarin crimson
and bright red
mix, and alizarin
t
Watercolour
t
1 Begin by masking the
stamens with masking fluid.
Paint a delicate wash of cobalt
Cadmium yellow Dioxazine violet Sap green
blue mixed with permanent
rose onto the petals. Drop in
water to push the paint to the
petal edges.
t
t
brush and a fairly dry 2 Add a darker wash of the
permanent mauve and same colours to the deeper-
cobalt violet mix to toned areas and shadows. Dot
paint a network of fine a pinker mix into the central
lines radiating out from dome and surround
the floret centres. this with cobalt green.
t
Watercolour
Painting project
Part 2 Follow Jem Bowden as he paints an autumnal scene comprising water,
trees and a swan from a photograph to create a fresh, loose watercolour
Demonstration
The Pond in Autumn
n Brushes
l Large wash
brush – squirrel t
Your reference material: the cropped photograph that introduced last month’s project
hair mop or
equivalent
l Medium synthetic
Round brush
with a good
point Nos. 12 to 14
n Miscellaneous
l Palette with large
mixing areas
l Scrap paper
for testing
l Soft pencil (8B)
l Soft putty rubber
Step 1 t Step 2
t
1 Having first drawn out the composition from the small sketch, 1 When the first wash is completely dry, add a second one to
begin by laying down a pale, watery wash for the sky of Winsor the background. To keep the watercolour transparent, aim not
blue, mixed with a little light red in places. Use a large wash to reapply colour to this area, except on the main trees. This
brush so you can cover the area quickly. means you need to judge the right tones and colours first time.
2 Continue the wash down over the background land with a little Mix up a few different washes before you start, including blue
raw umber and a slightly greener mix of raw umber and Winsor for the distant hill and grey browns. Autumn can contain pink
blue for the foreground grass. Be careful to preserve the whites colours, too, for which I added Indian red. Work from left to
of the cloud and swan. right, changing through the colours as you go and allowing
3 Before the sky is dry, add a few brushstrokes for tree foliage. them to blend together. Try not to fuss them too much.
Use a fairly dry mix so the marks are soft edged, but don’t 2 Finally, add the far bank of reeds, using a mix of Winsor blue
disperse completely as you would with a wetter mix. I think and burnt umber; apply quite strong in places. Again, if you make
of this as dry into wet. this dark enough first time, you won’t need to paint over it.
Watercolour
Demonstration continued
t Step 3
1 Now define the trees, using a mix of surface. Try this
browns; some parts have more pink, technique on scrap
some maroon. The shaded woodland and paper first, with
tree trunks are purple blue. These colours some marks wetter
are all mixed from differing amounts of and some using
French ultramarine, Indian red and burnt dry brush. This
umber. simplifies the
This detail shows the quick sideways ‘dragged’ brushmarks
t
2 The light is coming from the right so painting of foliage
use the cooler colour particularly on the so you’re not I used for the tree foliage. Branches were painted with the
shaded left-hand side. Note from the attempting to pointed tip of the brush.
photo and sketch that some of our darkest paint every leaf
tones are here so your mix needs to be individually (see
quite thick. detail photograph, above right). background grasses between the trees;
3 To suggest the sparse autumnal leaves 4 Use negative painting in the ground their top edges are described by painting
drag the side of the synthetic brush foliage. This is where you paint a darker tone the darker trees above them, while the
quickly over the paper, just catching the around a shape to define it. Look at the underlying wash provides the colour.
Step 4
t
1 Reflections in water often take on the
colour of the water itself to some extent,
and I’ve enhanced this by choosing quite
a strong brown of burnt umber, with
ultramarine and raw umber to vary it.
Starting at the top, work downwards using
horizontal marks to suggest ripples on the
surface as well as the reflected shapes of
the trees. The less is more rule is evident
here and don’t worry too much about
achieving a mirror image; water does
the strangest things.
2 For the nearer reeds and their reflections
try using vertical swipes of the brush,
wiggling a few just a little in the water.
Let’s say the water here is a bit stiller.
Aim to preserve some white paper where
the reeds are catching the light.
3 The swan is also painted at this stage, and
the strong dark shadow on the grass to the
left of it. Use ultramarine for the swan itself,
quite strong to give a good sense of the shade
and light, adding burnt umber for the darkest
accents around its belly, neck and head. 3 Leave the painting for a while. On
returning with fresh eyes you’ll be able Jem Bowden
to see where it needs final attention. Jem is an award-winning watercolour
t Step 5 At this stage I added the reeds poking artist and tutor. He provides demonstrations
1 Mix a large blue wash using ultramarine up in the foreground and more detail and workshops for art groups, gives one-to-
with a little light red. on the grasses left of them. I also tidied one tuition, runs weekly classes and tutors
2 Once the reflections are completely dry, up the shapes of the trees, and added on painting holidays. His next painting
quickly paint over the entire area the distant birds, which are really just holiday is in the Wye Valley in watercolour, 9
of water with this wash, using your large tiny marks. to 14 July 2017 with Alpha Painting Holidays
wash brush. Start with a pale mix at the 4 You may find that your painting at (www.alphapaintingholidays.co.uk). Email
top of the water and add more colour this stage will need something a bit jembowdenwatercolour@gmail.com or visit
towards the bottom. Stroke the brush over different, or it may not need anything. www.jembowdenwatercolour.co.uk and
the area gently and once only so the paint Always resist the temptation to fiddle www.facebook.com/jembowdenwatercolour
underneath isn’t raised from the paper. if the job is done!
t
The finished painting The Pond in Autumn, watercolour on Bockingford 200lb NOT watercolour paper, 1212⁄ x2012⁄ in. (32x52cm)
Botanical
Evergreen
Produce your own Christmas cards this year by working with
Judith Milne and these studies of a popular seasonal theme, holly
B D
t
Holly Studies, pencil on smooth cartridge paper, 6x814⁄ in. (15x21cm)
Your subject
Holly (ilex) is universally symbolic of
nearer ground level, produced
to protect the tree from animals.
Green and shiny surfaces are always
a challenge to produce so why not
follow my tutorial and work up your
pagan people at this time of year, as Christmas with its characteristic dark, own Christmas card, giving a lovely
their continuing greenness was a sign shiny, spikey leaves. The flowers are surprise to friends and family.
of life in the winter, when other plants insignificant, but the bright red berries
were dead. Holly, ivy and mistletoe of winter create contrast against the Drawing your subject
also bore fruit at this time. Evergreens rich green foliage. It is at this time Let’s begin by looking at the leaves
were used as Christianity developed that we need to capture them in paint, and their habits. Holly Studies (above)
and people looked for Christian especially before the birds eat them. were worked on smooth cartridge
meanings in these plants. It is thought The leaves are noted for their dark paper, using an F pencil, which gave
that the English word holly derived green, glossy, oval shape and sharp a fine line. Working from the central
from the word holy. needle-like protuberances, with vein in each case, I drew the twisted
As painters we often look towards undulating surfaces, thick and leathery shapes, showing the surface
designing our own greetings cards for with a slightly pitted surface. There are undulations and needle-like points.
family and special friends, especially many varieties of holly, some of which A The shading was gradually built up
at this season when they are welcomed are variegated with different colour and following the contours. The leathery,
with delight as a personal greeting. pattern combinations. shiny surface is slightly dimpled so
For this article, therefore, I have chosen Some species have smooth edges and highlights were strongly contrasted
holly as my subject, and will show you can be found at the top of the tree, and showed the pitted pattern.
different methods of working, which I whereas more spikey ones are found B Here is a foreshortened view,
Botanical
Judith Milne
To find out more about Judith’s work,
please visit www.miart.org.uk or
email judith.milne1971@gmail.com
t
Botanical
Green
gold
+ =
Sap
green
Green
gold +
sap green
+ =
Warm
sepia
Perylene
green
Holly, Silver Queen shows a much lighter edging on Saunders Waterford NOT paper,
to the variegated type. To achieve the right hue 4x4in. (10x10cm)
I mixed lemon yellow and Naples yellow and laid
a wash around the leaf edges. As with all holly
leaves, they are thick and leathery so you will
see the thickness which shows where shadows
fall. The shiny surface catches the light so there
is strong contrast between light and shade with
the convoluted surface.
Some areas showed white so I dropped clear
water on these places, before feeding in dilute
perylene green then adding more pigment until
I achieved the depth of tone I required. I allowed
my brushstrokes to follow the contours to
emphasise shape and form.
For the hollows and shadow areas on the
yellow edging, I added Davy’s grey to the yellow
mix. The lateral veins were hardly visible, but
I suggested them by negative painting in the
final layer of paint. This leaf was worked on
Saunders Waterford NOT paper. The paper is
very responsive to wet in wet, but obviously in
a controlled manner, as the painting is small.
Lemon
yellow
+ =
Naples
yellow Sap green Perylene Green Davy’s grey
Botanical
Olive Indian
green yellow
+ = + =
French Indigo
ultramarine
The painting for this Christmas card measured 912⁄ x7in. (24x18cm).
t
t
Reference photograph of a further variety of holly.
Notice the different markings.
Back to basics
Understanding colour
Part 13 How to use the yellow earths in your palette, by Tony Paul
t
Seashore, Winter: a Ghost Haunted, oil on canvas, 8x10in. (20x25.5cm). Yellow ochre was used, darkened slightly with burnt umber for
the beach and, lightened for the walls of the buildings on the right. The promenade was scrubbed in thinly then the sky colour scumbled
over the top to create a translucent effect.
Daler-Rowney Artists’
watercolour yellow
ochre PY42
Atelier Interactive
acrylic yellow ochre
PY42
Back to basics
NAPLES YELLOW
(Originally PY41)
A densely opaque and heavy Tony Paul
colour, Naples yellow was originally Tony is the author
used in oil painting. It was fast of four popular
drying and low in oil absorption. practical art books,
Nowadays it is made as a hue still available on
colour, although rarely indicated as Amazon. Find out
such; it is often made from titanium more about Tony
white, yellow and earth red. Being and his work at
a useful colour, the hue version www.courtenaysfine
is available in all media. It is not art.com
possible to give the properties
of the hue versions, because the
component colours will vary from
manufacturer to manufacturer. LP
t
Naples yellow is a blend of cadmium
red, cadmium yellow and titanium white
to give a pale and warm soft yellow,
which is fairly opaque.
t
Atelier t
Winsor & Newton t
Winsor & Newton
Interactive Acrylic Artisan Water Artists’ oil Naples
Naples yellow is Mixable oil Naples yellow is a deeper
made from yellow is paler and toned and slightly
titanium white with slightly more pink, brownish colour,
a little Mars yellow made by combining made from lithopone
t
Lesley, oil on board, 10x8in. (25.5x20cm). The lights on the and arylamide titanium white, white, an earth brown
face were painted with Naples yellow lightened with titanium yellow. This is quite Mars yellow and and Mars yellow. This
white. The yellow was also used in mixes with reds – cadmium a delicate colour, an earth red. Again, is a solid and heavy
light and permanent alizarin crimson. These are particularly which is ideal as this pale, clean colour, which mimics
visible at her throat and on her cheek. The three paintings a base colour for colour is just right the genuine colour’s
illustrated this month were all painted from life. flesh tones. as a base for flesh. character well.
+ = + =
+ = + =
+ = + =
Oils
Herculean prince
Elena Parashko demonstrates colour mixing and techniques
used to paint a strong and dramatic portrait of a racehorse
T he following demonstration
painting was created with the
intention of entering it into an
equine art competition with the theme
‘at the track’. To gather inspiration
and reference material for my
painting, I visited the stables of highly
successful Australian racehorse trainer,
Gai Waterhouse. I spent a wonderful
afternoon photographing her horses
training on the track and exercising
in the equine pool.
I did not have a preconceived idea
of the composition so took hundreds
of photos of many horses in a variety
of positions and the racetrack setting
adjacent to the stables. It wasn’t until
I returned home and carefully sorted
through the images that I came up
with an idea for the composition
of this painting. It was easy to delete
most of the photos, as often the horses
were captured in awkward poses,
shadows were so strong that details
of their anatomy were not clearly
visible, or the horses were moving
so fast that they were not completely
captured in the frame. I did not take
one perfect photo from which to work
so I selected two photos as the basis t
Reference Photo 1 The subject of this painting: the thoroughbred gelding, Herculean Prince
for my painting.
Reference Photo 2 (below) is a view portrait almost life sized, and gives it a
Your reference material of Randwick Racetrack from near the stables big, bold appeal. Work on whatever sized
Reference Photo 1 (above right) is and equine training pool. I liked the curve canvas feels most comfortable for you.
of the beautiful thoroughbred gelding, of the rails from this angle and the Sydney As always, it’s important that you enjoy
Herculean Prince, as he was just skyline in the distance. It gives a nice sense the painting. I also chose oils for this
about to swim in the equine pool. of context and depth to the painting. painting, but you can easily transfer the
I selected this photo as his head was The original large canvas size makes this techniques to acrylics. LP
in a graceful pose and I loved how
he looked straight into the camera
and made eye contact with me.
I thought this would give a personal
feel to the painting.
However, two problems in this
photograph detracted from the beauty
of this horse: the overly complicated
training bridle and the unappealing
background. I therefore decided to
superimpose Herculean Prince onto
a racetrack, wearing a simple racing
bridle. To make this adjustment
I needed more reference photographs.
I was fortunate to have taken photos
of the surrounding areas of the
racetrack and equine pool, but
I didn’t have a photo of a racing
bridle so I made an internet search of
recent local horse races and found a
newspaper photo of Herculean Prince
racing in the bridle favoured by his
trainer. I used this as a guide in
Reference Photo 2 Randwick Racetrack in Sydney, Australia
t
Oils
t
To ensure accuracy
You will need in drawing and to help
n Surface n Brushes
superimpose the horse
l Canvas panel l Flats Nos. 8, 4 & 2
in a pleasing position
onto the racetrack,
29x36in. l Filbert No. 2
first draw the whole
(73x91cm) l Liner No. 1
composition with
n Artists’ oils n Miscellaneous graphite pencil onto
l Titanium white l Light red oxide paper the actual size
l Ultramarine blue acrylic painting of the canvas.
l Cobalt blue l Paper 29x36in. I replaced the large
l Burnt sienna (73x91cm) training bridle you
l Burnt umber l Graphite pencil see in the photograph
l Cadmium yellow l Eraser with a smaller racing
medium l Ruler bridle and used my
l Lemon yellow l White transfer paper imagination to fill in
l Yellow ochre or l Masking tape the missing pieces of
yellow oxide l Ballpoint pen anatomy underneath.
l Cadmium red l Gloss varnish
1 Cover the canvas with light red oxide 4 Use a small flat brush to block in the
acrylic paint to give a lovely warm glow to buildings with a variety of dark browns made
the painting. Once dry, place white transfer from burnt umber, burnt sienna, ultramarine
paper face down over the canvas, position blue and titanium white. Then block in the
the drawing on top of the transfer paper tall buildings of the skyline in the far distance
and secure it in place with masking tape. with grey made from ultramarine blue, burnt
Using a ballpoint pen, trace the horse, umber and titanium white.
background trees and buildings. I did not
trace the fences on the track at this stage,
as they would be added later. TIP I used acrylic paint to colour
2 Remove the drawing and transfer paper, the canvas, as it has a very quick
and paint the sky with a mixture of cobalt drying time so I was able to start the
blue, ultramarine blue and titanium white. painting process in about 15 minutes.
Lighten the sky towards the horizon with Allow specks of the red canvas colour
more titanium white. to show through in places throughout
3 Using a small filbert brush, block in the the painting process to create
background trees with dark green made a unified warm glow.
from ultramarine blue and cadmium yellow
t Step 3
t
underpainting colour: a cool lime green on the top and right side of the trees in
1 To complete the trees, make three different by adding lemon yellow, a warm olive the main, allowing the shadows on the
mid tone greens from the same dark green green by adding cadmium yellow medium, left and underside to remain visible. Tree
and a reddish green by trunks were painted with burnt umber.
adding burnt sienna. 3 Mix mid tones and highlights for the
Use a filbert brush to buildings by adding titanium white to
shape horizontal arcs all the brown and grey shadow colours.
in some of the trees; Remembering that the light is coming
for other trees use from the right, the faces of the buildings
the side of a small in sunlight are lighter than the faces
flat brush to imply in shadow.
vertical foliage. 4 Add final details with a small liner brush.
2 Add highlights When dry, place the transfer paper and
by lightening these drawing back on top of the canvas and trace
mid tones with the perimeter fence over the background
titanium white. As the then paint it with a grey building colour.
light source is coming While I had the drawing on the canvas,
from the right, the I also traced the curves of the grass on the
highlights should be track in preparation for the next step.
Oils
t
Step 4 t
Step 5
1 For the turf on the racetrack, make 3 Paint the turf with short vertical Once the turf is dry, place the transfer
light shades of green using cadmium brushstrokes. Notice how much of paper and drawing on top of the painting
yellow medium, ultramarine blue, yellow the red canvas colour is still showing once again and trace the fences on the
oxide and titanium white. Mix slightly through between the grass blades racetrack. Paint these with the same
darker shades of green by adding burnt in the foreground. greys used for the background buildings.
sienna and more ultramarine blue.
2 Add a dark cast shadow for the
still-to-be painted inside rail with burnt TIP According to the rules of perspective, brushstrokes for the grass in the distance
umber softened with some of the green should be small and close together while brushstrokes for the grass in the foreground
grass colour. should be larger, thicker and spaced further apart.
Step 6
t
Oils
Demonstration continued
Step 7 t
Painting the muzzle is a process of refining the shape of all its interesting
contours with medium then light shades of grey. Some smooth blending
allows the merging of the grey muzzle with the brown coat so there is
a seamless transition between these areas. Add details of whiskers
and bumps last.
Step 8
t
Step 9
t
The ears contain quite a dense pattern of hairs. Add yellow oxide to the
dark brown coat colour to paint the hairs in sunlight. No hair detail is
visible in the shadow areas. The most important part of painting the
ears is ensuring the direction of the hair growth is correct.
Step 10
t
Oils
Step 11
t
t
Underpaint the leather of the bridle with
the dark brown coat colour and the metal
of the bit and buckles with the dark grey
of the muzzle. Make the mid tones and
highlights by adding titanium white
to these underpainting colours. Add
details with a fine liner brush.
t Step 12
1 Paint the fringe on top of the
completed coat and bridle with a small
liner brush using the same mid-tone
grey and light grey as in
the mane. Begin your
brushstrokes at the base Elena Parashko
of the hair and flick Elena is an award-winning artist, teacher and writer from
down towards a fine Sydney, Australia. She leads plein-air painting holidays
tapered point. in Tuscany, Italy (14 to 21 October 2017) and Fiji Islands
2 When the painting is (10 to 17 June 2017). She is the author of Survival Guide
totally dry, apply two for Artists: How to Thrive in the Creative Arts available
coats of gloss varnish to via her website and Amazon. Visit www.elenaparashko.com
bring out the colours or email info@elenaparashko.com
and unify the finish.
t
The finished painting Herculean Prince, oil on canvas panel, 29x36in. (73x91cm)
Drawing
Curved perspective
Follow Tim Fisher as he discusses circles, ellipses, spheres and
curvilinear perspective to help you draw and paint more accurately
t
Figure 2a
VP1
t
Figure 2b Figure 3b
t
Drawing
is also true for the ellipse. So when subject, it is useful to imagine where
Drawing
t
Figure 6
CURVILINEAR PERSPECTIVE
This way of working uses curved
perspective lines instead of straight
ones back to a vanishing point.
The method approximates the image
which appears on the retina of the
eye, which is spherical. It uses VP (South)
four, five or more vanishing points.
Working this way offers a much wider
field of vision and in my view is more
t
t
Figure 9 The Circus, Bath. This curved structure is one of the many fine architectural examples to be found in this city. The drawing
is done on Bristol vellum board in 0.3 black fibre-tipped drawing pen over an initial rough layout in 3B pencil.
t Figure 10 Line Styles I have devised several underlying line styles that I try to adhere to when working, usually starting with a very
loose pencil drawing that emulates the underlying pattern. As long as most of the lines in the image echo the underlying structure,
some cohesion can be achieved.
t
Circular motion t
Waves t
Fish eye or bull’s eye
t
Rapidly converging or expanding lines
t
Winding river or road t
Vase or grasses
Drawing
t
Figure 11 A ‘helicopter view’ of Melton market. This time
I have used the fish eye as an underlying shape.
straight-line perspective systems. five vanishing points. I have built up box. The systems can become even
Setting up a surface for multiple a series of curved construction lines to more complicated when working with
vanishing points is quite time- act as a guide. All the lines going from more vanishing points.
consuming. The finished work can north to south and east to west are I prefer to use a more intuitive
look tight and it is sometimes difficult curved. Lines converging on the CVP method which moves outside the
to fit the composition within the (central vanishing point) are straight. constraints of fixed vanishing points.
construction lines. Setting up a background of guidelines This opens up the scene and provides
The drawing (Figure 8, page 34) for the drawing is quite involved but flexibility and ways of viewing the
is a scene along the canal in Venice. once this is complete, it can be used for world that straight-line perspective
Within this circular composition are several drawings with the aid of a light does not offer. LP
index 2016
Pull out and keep reference guide to the features
and information within this year’s issues
Pitamic, Maja & Laidlaw, Jill, Modern courses see holidays and courses F
Art Adventures Jan 57 Cox, Graham Jun 31–3 Fennell, Alison Summ 38–9; Sep 48–9
Scott, Marylin, The Acrylic Artist’s Bible creativity tips Feb 11–13 figure drawing/painting Jan 36–9;
Jun 65 Curtis, David Mar 52–3 Feb 19; Mar 25–6, 47–9, 52–3;
Jun 16–19; Summ 52–3; Sep 44–7
Scouller, Glen, Colour and Line in D Fisher, Tim Sep 22–4; Dec 32–6
Watercolour Summ 57 Darlow, Les Jan 27–9
Scully, Pete, Creative Sketching diary Jan 7; Feb 7; Mar 7; Apr 7; May 7; Fitzpatrick, Emma Aug 56–7
Workshop Jan 57 Jun 7; Jul 7; Summ 7; Aug 7; Sep 7; flower painting
Seidl, Diana, Drawing and Painting on Oct 7; Nov 7; Dec 7 acrylics Feb 39; Sep 22–4; Oct 35
the iPad Jan 57 disability Feb 10 alliums Summ 13
Shadbolt, Daniel, Painting and drawing and sketching Feb 11–13, apple blossom Apr 18–21
Drawing the Head Nov 65 22–4; Apr 11–14, 35–7 bluebells Jun 43–5
Soan, Hazel, Learn Oils Quickly animals Apr 54–5; Jul 50–3 botanical illustration Jun 27–9;
May 57 buildings Mar 18–20; Apr 22–3 Sep 50–3
Southan, Mandy, Beginner’s Guide to charcoal Mar 40–1 camellias Feb 32; Summ 44–7
Silk Painting Oct 55 fashion illustration Jul 54–5 coloured pencils Aug 16–19
Strother, Jane, The Coloured Pencil felt-tip pens Dec 60–1 daffodils Feb 32; May 32–3
Artist’s Drawing Bible Dec 63 Fibralo brush pens Jan 34–5 daisies Sep 22
Thomas, David, Drawing & Painting figures Jan 36–9; Feb 19; Mar 25–6, geraniums Feb 39
Portraits in Watercolour Apr 61 47–9, 52–3; Jun 16–19; Summ 52–3; gouache Summ 26–8; Sep 50–3
Vize, Sue, Botanical Drawing using Sep 44–7 hellebores Mar 50
Graphite and Coloured Pencils graphite drawing Jul 28, 66; Aug 46–9 Hydrangea Jun 27–9
Nov 65 liquid pencil Oct 49–51 irises Feb 44–5
Williams, Simon, Botanical Painting pastels Jul 30–1, 50–3; Sep 16–17, 37 Japanese ink painting Summ 44–7
with Gouache May 57 pen and wash Mar 18–21; Apr 22–3; oils Feb 32–3; Mar 50; May 32–3;
Williamson, Steve, The Bridges of Dee Jun 16–19; Aug 33–5, 54–5; Summ 12–15
Summ 57 Nov 18–21; Dec 20–3 orchids Sep 50–3
botanical illustration Jun 27–9; perspective Dec 32–6 pansies Summ 16–17; Aug 16–19
Sep 50–3 portraits Oct 60–1 poppies Jul 22; Sep 24
see also flower painting readers’ tips Oct 10 roses Jan 30–1
Bowden, Jem Aug 20–1; Sep 19–21; sketchbooks Apr 12–14 rudbeckia Sep 28–33
Nov 16–17; Dec 17–19 techniques Mar 25–7; May 50; sunflowers Oct 35
Bramble, Paul Mar 52–3 Jun 54–5; Sep 58 sweet pea Jan 32–3
Brett, Amanda Jan 36–9 trees Jan 35, 43–5; Apr 42–4; May 50; techniques Jul 20–3
Brown, Claire Waite Jun 65; Dec 12–15, Aug 46–9 trompe l’oeil effect Summ 16–17;
63 and watercolours Jan 36–9; Aug 16–19
brushes Jan 34–5; Feb 19; Jun 40–1; May 12–15; Summ 34–7; Aug 20–1; tulips Feb 52; Jul 40–3
Summ 23–4; Aug 11; Sep 41 Sep 44–7; Oct 16–17; Nov 16–17 watercolours Jan 22–3, 30–3;
Feb 20–1, 44–5, 52; Apr 18–21;
C Winsor & Newton BrushMarkers
Jul 54–5 Jun 43–5; Jul 20–3, 40–3;
cadmium pigments Jan 12
see also pencils and crayons Sep 28–33; Dec 12–15
cameras Feb 10; Mar 6; May 10; Jun 10
DVDs Ford, Jeremy Feb 28–31
Campbell, Helen Jan 30–3; Apr 18–21
Lowrey, Arnold, Flowers in Watercolour Friend, Trudy Jan 43–5; Oct 49–51
cards Aug 10–11; Dec 20–3
Chapman, Lynne Sep 44–7 Apr 61 G
charcoal Mar 40–1; Oct 60–1 Sluga, Charles, Mixing It Up in Gasperi, Lorna Feb 32–3; Summ 26–8
Chinese brush painting Dec 60–1 Watercolour Feb 57 gouache Feb 51; Apr 55; Jun 66;
Coates, Stephen Jul 36–8 Summers, Haidee-Jo, Vibrant Oils Summ 9, 26–8; Aug 55; Sep 50–3
Colbert, Emma Jul 33–5; Sep 16–17; Aug 61 H
Oct 19–21 E Hampson, Linda Summ 16–17;
collage Jan 51, 52; Feb 13, 42; Oct 53 egg tempera Apr 27; Nov 34–5 Aug 16–19
colour mixing Jan 19–21; Feb 20–1; Elcock, Bob Jun 20–1; Jul 50–3 Harman, Heather Gail Mar 22–4;
Mar 32–5; Apr 24–7; May 16–18; equipment Sep 37–40
Jul 36–8, 44–6; Summ 30–3; easels Summ 22, 24 Harrison, Terry Jan 46–8; Feb 34–6;
Aug 25–7; Sep 10, 34–6; mobile studios Apr 11 Oct 22–6
Oct 12–15; Nov 34–7; Dec 24–6 palettes Jun 10; Nov 10 Heywood, Denise Oct 43–5
competitions sketching kits Nov 11 Hogan, Tony Jun 51–3
LP/Patchings 2016 Sep 59–63 Evans, Charles Jul 47–9 holidays and courses
self-portrait competition winners exhibiting your work May 10 2016 guide Feb [supp. 2–23]
May 55 exhibitions Jan 8–9; Feb 8–9; Mar 8–9; Adrienne Parker Apr 48; Sep 54
composition Jan 27–9, 54; Feb 32–3; Apr 8–9; May 8–9; Jun 8–9; Jul 8–9; Christopher Corr May 37
Mar 10–13; Summ 36; Sep 42; Summ 8–9; Aug 8–9; Sep 8–9; Fiona Peart Jan 49
Nov 17, 26 Oct 8–9; Nov 8–9; Dec 8–9 Glyn Macey Jul 67
photographs, painting from Jan 22–3; Turner, J.M.W. May 13; Sep 41, 56–8 river scenes Apr 66; Jul 47–9;
Feb 18–19, 34–6; Mar 11–13, 15–17, Summ 20; Nov 16–17; Dec 17–19
27; Apr 16–17, 30–1, 34–7, 45–7;
U snow scenes Jan 51–3; Apr 52–3
Underhill, Tony May 22–3; Jun 16–19;
May 22–3; Jun 27–9; Jul 40–3; Oct 16–17; Nov 18–21 Wales Jul 15, 18–19; Aug 20–1;
Summ 16–17, 34–7; Aug 20–1; Sep 19–21; Oct 9
Oct 16–17, 37–42; Nov 16–21, W woodlands Mar 44; Apr 44;
Wain, Linda Nov 53–5
26–8 May 44–5; Jun 43–5
water-mixable oils Summ 40–2;
portraits leaves Mar 33; Apr 42
Sep 25–7
acrylics Summ 8 light depiction May 43–5; Nov 39–41
watercolours Jan 30–9, 43–8, 54–5;
animals Mar 22–4; Jun 20–1; Jul 33–5; masking fluid/tape Mar 6; May 48–50
Feb 34–5, 51; Mar 10–13, 29–31,
Dec 27–31 and oils Feb 40–1
52–3; Apr 32, 66; May 12–15, 23,
backgrounds Sep 37–9 pen and wash Mar 18–21; Apr 22–3;
34; Jul 66; Summ 22–4;
children Oct 40–2 Jun 16–19; Aug 33–5, 54–5;
Aug 22–4, 54; Sep 41–3; Oct 14,
coloured pencils Oct 40–2 Sep 56, 58; Nov 18–21; Dec 20–3
15, 43–5; Nov 30–3, 52
graphite pencil Jul 66 perspective Feb 14–17; Mar 42–4;
with acrylics Summ 48–50
oils Jun 39; Jul 44; Sep 74; Nov 7 May 12–15
animals Feb 11, 53; Apr 55; Jul 46;
pastels Sep 37–40 photographs, painting from Feb 34–6;
Summ 66; Sep 48–9
quick sketches Oct 60–1 Mar 11–13; Apr 30–1; May 22–3;
Aquafine mini travel set May 52–3
readers’ questions Sep 40 Jul 40–3; Summ 34–7
birds May 42; Jul 27; Summ 38–9;
self-portraits May 55; Sep 8 portraits Jul 25
Aug 42–5; Dec 48–51
watercolours Jul 25 purple mixes Aug 25–7; Sep 34–6
blue mixes Jul 44–6; Summ 30–3;
posters Jan 54–5 red mixes May 16–18; Jun 36–9
Sep 10
printmaking Oct 52–3 reflections Jun 34–5; Jul 30–1
boats Jan 48; Feb 14; Jul 47–9;
Pybus, Christine Jun 12–15; Aug 12–15; seascapes Mar 43; May 36
Oct 16–17; Nov 18–21
Nov 12–15 skies May 12–15; Jul 56; Oct 22–6
bridges Summ 23; Aug 26–7
S brushes Jun 40–1; Summ 23–4;
still life Jan 54; Jul 20, 22; Oct 43–5
Samuelson, Becky Feb 25–7; Jun 40–1; street scenes Apr 30–1; Jun 37
Aug 11; Sep 41
Oct 29–31; Dec 54–5 sunrise/sunset Mar 29–31; May 13;
buildings Feb 15–17; May 22–3;
Scott, Gwen Mar 29–31; Jul 40–3 Oct 26
Sep 41–3
Scott, Marylin Aug 36–41 supports Apr 55; May 10, 39–42;
clouds Mar 51; May 15; Dec 54–5
seascapes Jan 25, 41; Feb 22, 24, 42; Jun 23–6; Jul 15–19, 25–8;
colour mixing Jan 19–21; Feb 20–1;
Mar 43; May 36; Jun 51–3; Oct 29, Summ 22–3
Mar 29, 32–5; Apr 24–7;
34, 46, 48 techniques Jan 12, 30–3, 43–5;
May 16–18; Jun 36–9; Jul 36–8,
selling your artwork May 10; Aug 11; Mar 29–31, 52–3; Apr 51–3;
44–6; Summ 30–3; Aug 25–7;
Sep 10 May 12–15; Jun 43–7; Jul 31;
Sep 10, 34–6; Oct 12–15;
Shaw, Barbara May 46–7 Summ 38–9; Aug 22–4, 42–5;
Nov 34–7; Dec 24–6
Soan, Hazel May 32–3 Sep 48–9, 56–8; Nov 23–5,
colour palette Feb 48–9; Jun 46–7;
Steed, Colin Feb 18–19; Mar 15–17; 30–3, 39–41; Dec 54–5
Jul 36–8
May 52–3; Summ 48–50 texture Jul 15–19; Nov 23–5
composition Mar 10–13; Summ 36;
still life tonal value Apr 43–4, 51–3; May 12
Sep 42; Nov 17
acrylics Aug 36–41 trees Jan 43–5; Feb 66; Mar 11, 12–13;
drawings Jan 36–9, 55; Summ 34–7;
oils Jan 14–17; Mar 66; Dec 56–9 Apr 42–4; Sep 19–21
Aug 20–1; Sep 44–7; Oct 16–17;
water-mixable oils Sep 25–7 Venice Jun 41; Sep 41
Nov 16–17
watercolours Jan 54; Jul 20, 22; washes Aug 22–4; Sep 48–9; Oct 32–3
flowers Jan 30–3; Feb 20–1, 44–5, 52;
Oct 43–5 water depiction May 34–6; Jun 34–5;
Apr 18–21; Jul 20–3, 40–3;
Strode, Steve Summ 40–2; Sep 25–7; Sep 48–9
Sep 28–33; Dec 12–15
Oct 34–6; Nov 47–9 wet-in-dry Mar 29–31; Summ 38–9;
fruit Apr 27; Oct 43–5
supports Nov 23–5, 30–3; Dec 54–5
garden scenes Jan 22–3; Feb 20–1;
pastels Nov 27 wet-in-wet Mar 29–31; May 42;
Jul 40–3; Aug 22–3, 33–5;
watercolours Apr 55; May 10, 39–42; Summ 38–9; Oct 26; Nov 30–3,
Sep 28–33
Jun 23–6; Jul 15–19, 25–8; 39–41
glazing Nov 39–41
Summ 22–3 yellow mixes Mar 32–5; Apr 24–7;
granulating colour Jul 36–8
Dec 24–6
T green mixes Feb 21; Oct 12–15;
Webb, David Feb 14–17; Mar 42–4;
textiles May 46–7 Nov 34–7
texture Feb 46–7; Jul 15–19; Nov 23–5, Summ 22–4; Aug 22–4
harbour scenes Feb 25, 34–5; Mar 27;
53–5 White, Dave Mar 37–9; Apr 28–9;
Apr 32; Jul 37, 45
townscapes Apr 39–41; Summ 42 May 25–8
Jackson’s Artist Watercolour Feb 25–7
trees Jan 35, 43–5; Feb 18–19, 66; Williams, Hayden Jul 54–5
landscapes Jan 12; Mar 11, 12–13,
Mar 11, 12–13; Apr 42–4; May 50; Williams, Simon Sep 50–3
42–4; Apr 44; May 43–5;
Jun 31–3; Aug 46–9; Sep 12–13, Jul 15–19, 37, 56; Summ 34–7; Y
15, 19–21; Nov 50–1 Nov 39–41 Yaura, Yukki Summ 44–7
Reader holiday
June
11 to 24,
2017
B
elgium’s Open Garden’s scheme is similar
to our own except that the collection of
private gardens is only open to
members. We have joined the scheme, making
this trip possible and very special. Being able to
paint in these rarely seen and personal
gardens is an exceptional opportunity and many
will be open exclusively for us, enabling you to
paint without any distractions.
We have handpicked a selection of the most
aesthetic and colourful gardens with the help of
the Secrétaire Générale of Jardins Ouverts de
Belgique. They will include chateau, cottage,
potager, rose, romantic, architectural and polder
gardens. These gardens open for a few days in Spring Flowers in the Studio,
t
century Chateau Hex will be most impressive as
June when they are at their best and the roses will the stunning gardens at De Heerenhof in oil by Pamela Kay
are in full bloom. The wonderful gardens of 18th Holland. You’ll also visit Rubens’ house and
garden in Antwerp and the cathedral where four
P
amela Kay NEAC, RBA, RWS
of his canvases can be seen. is an accomplished and
This is a unique painting tour of the best-kept versatile artist. She is an
secret places in the Low Countries. There’ll be a extremely conscientious teacher
tremendous amount of variety to paint and the and will help you get started and
programme will be carefully paced so your understand how to work with the
painting time is not rushed. In addition to subject matter. There will be
fabulous gardens, there’ll be picturesque tutorial sessions, talks and
villages, canals, old windmills, polder demonstrations back at the hotels,
landscapes and seascapes to paint. which will help you develop your
Travel is by luxury coach throughout (from London style and complete some of your
Gatwick) enabling you to take as much painting paintings. Pamela will be working
equipment as you like. Special and unusual hotels in watercolour and gouache.
will enhance the holiday. You’ll stay four nights in
old almshouses, six nights in a hotel built around
an historical windmill and three nights on a l Number of students 8 to 12
traditional polders farm. Breakfast and dinners l Price £3,995 per person
are included. All the arrangements are taken care l Single supplement £550
of for you by an accompanying travel escort.
Soft pastel
Soft sunset
Part 2 Learn when to blend and when to keep the texture
as you follow Anne Kerr’s step-by-step sunset in soft pastel
t
Your reference material: the photographs
t
Soft pastel
Demonstration
Soft Sunset
Step 1
t
Step 2
t
Beginning at the top of the paper, lay
down dark 14, followed by grey 7, red
16, orange 07, yellow 15, additional 10
and grey 28. Make sure the colours all
overlap each other in a fairly random
way. Although I wanted the sky area
to begin dark at the top and gradually
become lighter, I did not want hard
divisional lines between the colours.
I did not want to lay down too much
colour at this stage and ensured that
about one third of the paper was
still showing.
Step 3
t
Soft pastel
Demonstration
continued
Step 4
t
Step 5
t
1 Now that you have completed the
background, it is important to keep
in mind the tonal content of the
painting. To ensure the trees form
a strong frame and the foreground
is less intense, add the dark tones of
the trees using dark 05, brown earth
24 and a little brown earth 9.
2 On the edges of the trunks add the
oranges and yellows used in the sky.
I wanted the trees to catch the light
from the sun. I intended to brighten
these areas again later.
3 Blend all the colours very roughly
to give the trees a rugged look.
Step 6
t
Soft pastel
Step 7
t
t Step 8
1 Look back at your reference sketch to
help you work out the rough grass and
bushes to use for the foreground. I used the
pencils to indicate just a few sticks and I think I have achieved the drama of
twigs, as I didn’t want to create a barrier the sunset within the quiet and calm
across the front of the painting. I sloped surroundings of the New Zealand coastline.
Anne Kerr
the edges of the land inwards to lead the How did you get on with the project? Anne teaches on painting holidays in
viewer’s eye into the picture. You may also Don’t forget to email your finished painting the UK, Italy and Spain. She also runs
have noticed that I made the left-hand tree to dawn@tapc.co.uk who will place it in watercolour, pastel and picture-framing
slope slightly inwards so that it did the the project area of Leisure Painter’s website classes at her home studio in Spain.
same thing. at www.painters-online.co.uk. I hope Visit www.annekerrartstudio.com
2 This was an exciting picture to paint and you had fun with the project.
t
The finished painting Soft Sunset, Unison pastels on Clairefontaine Pastelmat paper, 1312⁄ x1934⁄ in. (35x50cm)
Oils
What is a solvent?
Oils are not soluble in water and
therefore to dilute them you have to
use a solvent. Solvents vary in strength,
and oil painters call that the solvent’s
‘volatility’. The most volatile solvent is
turpentine; the least volatile is OMS
or odour-free mineral spirit.
OK so far? So now you have to choose
the best solvent for the job. Traditionally
solvents had a dual role in oil painting.
Primarily they were dilutants or thinners,
used to make oils more fluid. Their
second role was as a base ingredient for
many traditional oil mediums, which are
commonly based on mixtures of resin
t
Solvents are not dilutants nor binders t
All oil colours dry with a variable and turpentine, in effect, a varnish.
and will only weaken oil films and create a sheen. Titanium white is ‘fat’ and dries
matte finish. If you must use them, choose with a gloss; raw umber is ‘lean’ and Solvents and mediums
an OMS such as Gamsol or Sansodor, as will dry matte. Because traditional solvents are volatile
they are less aggressive than turpentine. (strong), they are just the thing for
dissolving natural resins such as copal
or dammar, and it is in this role that you
normally see turpentine on the must-
have list in traditional painting manuals.
A dab here or a touch there is essential
for thinning out sticky resinous
mediums.
Modern solvents, such as OMS, on
the other hand, are simply not strong
enough to use with traditional mediums,
but have been developed to work with
modern resins such as alkyd, most
commonly sold in the UK as Galkyd
(Gamblin) or Liquin (Winsor & Newton).
If you pour OMS onto a traditional resin,
it will simply cloud it, rather than make
a varnish. Pour turpentine into alkyd and
you’ll compromise the medium. So a
Solvents as thinners
Thinning oils with solvents sounds like
a great idea, but is it? Oil paint is made
of two things: coloured dust (pigment)
and an oil (such as linseed), which acts
as an emulsifier, binds it and makes
it appear glossy when dry. This is the
reason that a common pigment, such
as PB29 (ultramarine blue), can appear
matte in watercolour, gouache or acrylic,
yet glossy if used as an oil.
The ratio of pigment to oil in any given
tube colour is primarily determined by
the specific pigment used; slow-drying
colours, such as titanium white, are
relatively oil rich and will dry both
slowly and with a fair gloss. Conversely,
pigments that require or will absorb
less oil, such as raw umber, tend to dry
both rapidly and be a little duller when
they do.
The variety in surface sheen between
oil-rich (‘fat’) and oil-poor (‘lean’)
colours creates a variance between
relatively glossy and relatively dull
patches on a dry oil painting. All of this
means that even if the artist had used
no solvent, the painting would still dry
with glossier and duller patches.
However, whacking solvent into oils
simply weakens the carefully controlled
ratio of binder to pigment present in
the tube. While this isn’t a huge problem
if done in moderation, it can cause the
paints to be underbound or ‘chalk’ if
used to excess.
On the positive side, it is the oil in oil
paints that retards drying time so a bit
of solvent will generally make oils dry
more quickly at the expense of making
them dry with a reduced gloss.
So how do oil painters traditionally
manage this balancing act between
gloss, matte and drying rate?
Watercolour
Welcome visitor
Follow Paul Hopkinson step by step as he paints this iconic
and welcome visitor to our gardens, the long tailed tit
n Miscellaneous
l Paper towel
l Two water pots
l Ceramic mixing palette
l Masking tape
l Masking fluid
l Mechanical pencil
l Putty rubber
t Colours
t
This lovely photograph of a long tailed tit was taken by photographer, Roger Wasley
(www.flickr.com/photos/rogerwasley)
t Step 1
Lamp Burnt Using your preferred drawing method, copy the pencil marks showing when the painting is
black umber long tailed tit drawing onto your watercolour completed. The drawing shown here has been
paper. Keep the lines very light to avoid the darkened solely for teaching purposes.
French Yellow
ultramarine ochre
Winsor Burnt
orange sienna
Opera Sap
rose green
Scarlet Gouache
lake white
Gamboge Vandyke
(hue) brown
Watercolour
t
Step 2
Give your masking fluid a swirl before you start to ensure it
is mixed well. Masking fluid will ruin a good brush so dig out
t
Step 3
an old brush, perhaps a No. 4, and apply the masking fluid. 1 Make four separate weak washes in your palette:
Do this about an inch inside the drawing. A cocktail stick is gamboge (hue), burnt umber, sap green and Vandyke
a good way to pull out those little details whilst the masking brown. Always make more than you think you will need.
fluid is still wet, but be quick as it will be dry before you 2 Begin with a large wash brush to wet the background;
know it. Allow to dry completely; the fluid will be tacky to do this two or three times to ensure the paper is wet,
touch, but not wet. but not running like a waterfall.
3 Drop in the lightest colour first,
gamboge (hue), and move this around
the background, leaving gaps; a shaky
hand helps. Do the same with the other
colours in the order of sap green, burnt
umber then Vandyke brown. Remember
to avoid covering the entire background
with the same colour.
4 Allow this to dry for a few hours
before removing the masking fluid.
Step 4
t
Step 5
t
1 As usual I begin with the eye to bring the bird to life. Make
three separate washes of lamp black, French ultramarine, and
a mix of Winsor orange with a touch of scarlet lake.
2 Using a No. 1 detail brush, wet the eye. Drop French ultramarine
into the top half of the eye, avoiding the highlight area. Whilst
wet, add lamp black to the lower half and let it dry.
3 When dry, reinforce the black of the eye and the blue tint then
carefully paint the eye outline using a weaker wash of lamp black.
4 Let it dry then wet the small orange area to the top of the eye
and drop in orange; this may need a second layer once dry.
5 If you cover up the highlight accidentally, add a touch of
white gouache then carefully blend the left-hand edge out
with a damp, clean brush.
t
Watercolour
Demonstration continued
Step 6
t
Step 7
t
1 The next step is to paint the lighter details using a No. 1 brush.
With a thicker mix of the pink and a touch of burnt umber, paint
the back feathers, keeping an eye on the length and shape as you
go. Work on one feather at a time, leaving the white areas clear.
2 Use a mix of lamp black and scarlet lake to paint the wings and
tail feathers carefully. Barely touching the painting, lightly blend
the wings with a clean damp brush to soften the feathers a little.
3 Paint the tail feathers using the same black and scarlet colour.
4 Lift out small highlights within each tail feather using a clean,
damp No. 1 brush by working over the same single line a few
times, keeping it wet. Whilst still wet, dab the area with a piece
of kitchen roll to pull off the paint.
5 Wet the belly area and add a stronger wash of the pink and
brown colour for the background, lightening as you reach
the top of the chest.
t
Step 9
1 The next stage brings a feeling of 3 Then add the fine white feathers
realism to the chest area. Use white underneath the body and between
gouache of a creamy consistency and the legs with the white gouache.
t
Step 8 a No. 1 brush to add the fine white 4 To begin the legs, mix a thin wash
1 Strengthen the pink and brown mix of opera rose, lines from below the beak and down of scarlet lake and burnt umber, wet
scarlet red and burnt umber and using the No. 1 brush the chest to the underside of the bird. the legs with clean water and drop
add the details for the chest. Remember to make these Be careful not to cover all the darks in this colour. Leave to dry.
areas darker towards the left-hand side and the lower underneath and use less gouache the 5 Strengthen the mix, add a touch
area of the belly. Don’t be too precise with the direction; lower down the bird you go. This will of lamp black and carefully paint
your lines need to overlap and criss-cross a little. ensure the dark areas show through. the fine details for the legs and feet.
2 Add a little lamp black to the same mix to paint the 2 Whilst you have the white gouache 6 Once you have done this, areas
darker areas on the belly; make this darker on the at hand, add wing highlights to the can be highlighted using the lift-out
lower areas. This will give the area more form and back feathers and underneath technique, or you can add a little
create a base for the detail. the tail. white gouache for the light marks.
Step 10
t
t
The finished painting The Long Tailed Tit, watercolour, 812⁄ x1112⁄ in. (21.5x29cm)
UK’s
No.1
CHRISTMAS
CARD ideas
BE INSPIRED BY
AUTUMN COLOURS
Develop your
skills with
watercolour
PLEASE
Top tips and
techniques for
a pastel sunset
EXPLORE curved
perspective
OILS MADE EASY
Try a step-by-step
shop price
horse portrait
n £49.99 Watercolour gift pack n £49.99 Acrylic gift pack Top tips and
techniques for
a pastel sunset
n £49.99 Water-mixable oils gift pack n £49.99 Pastels gift pack EXPLORE curved
Please tick required colour set for Pastels gift pack perspective
Postcode
the safeguards assured by the Direct Debit Guarantee. I understand that this Instruction may remain with The Artists’
Publishing Company Limited and if so, details will be passed electronically to my Bank/Building Society.
equipment at exceptionally low prices. Run by artists
Return this savings voucher to The Artists’ Publishing Co Ltd, Signature(s) for artists, we are passionate about what we sell and
FREEPOST SEA11807, Tenterden, TN30 6BR (no stamp
required)
Date
OFFER CODE LP1612 our consistently high customer service. With over
36,000 fine art supply products, visual artists around
Gift subscriptions will commence with February 2017 issue which is out on 3rd January.
or photocopy
If you would like to start with a different issue, state which issue here ...........................................
the world see Jackson's as their favourite art supplies
Offer close date is 2nd December 2016. Products for the gift packs will be despatched to the payer one-stop shop.
direct from Jackson’s. Please allow up to 15 days for delivery. If an item becomes out of stock
we reserve the right to send a replacement item.
www.jacksonsart.com
$
The Artists’ Publishing Company Ltd (TAPC) will hold your details to fulfil your subscription order. We will past your information onto Jackson’s who will
send you the products for the gift pack. Occasionally we may have an offer or news that we would like to share with you. If you would like to receive
this information, tick the boxes for your preferred methods of contact: by email n by post n by SMS n please add your mobile telephone number
here____________
LP Dec sub offer_Layout 1 24/10/2016 09:06 Page 2
SUBSCRIPTION OFFERS
Give the gift worth over £50 that lasts all year round
for just £39.99, or purchase a subscription gift pack
worth over £85 for only £49.99
UK’s UK’s
l £10 Gift Voucher to spend at Jackson’s No.1
l Jackson’s Procryl professional brushes, No.1
Round No.2, No.4, No.6 and Rigger No.4 BE INSPIRED BY Develop your l Jackson’s Artist Acrylics 21ml in BE INSPIRED BY Develop your
AUTUMN COLOURS AUTUMN COLOURS
l Jackson’s Artist 21ml Watercolours in skills with titanium white, alizarin crimson, skills with
watercolour watercolour
French ultramarine, raw sienna and French ultramarine and lemon yellow
neutral tint
HOW DO I... HOW DO I...
Use the warm Use the warm
earth tones? earth tones?
Top tips and Top tips and
techniques for techniques for
a pastel sunset a pastel sunset
EXPLORE curved EXPLORE curved
perspective perspective
OILS MADE EASY OILS MADE EASY
Try a step-by-step Try a step-by-step
horse portrait horse portrait
l Jackson’s Black Hog bristle brushes, 14 colours for light flesh tones
No. 4 Round and Bright DECEMBER 2016 £4.20
CHRISTMAS
CARD ideas OR 14 colours for landscape greens DECEMBER 2016 £4.20
CHRISTMAS
CARD ideas
T
LP12 44-45 Samuelson_Layout 1 21/10/2016 15:28 Page 54
Watercolour
Confident clouds
How to develop your watercolour skills using the wet-on-dry
technique and experimenting with colour, by Becky Samuelson
Step 2
t
t
The finished sky, watercolour, 6x814⁄ in. (15x21cm)
t
Step 3
1 Now to paint the water, which is also 2 Repeat immediately in the foreground to Becky Samuelson
painted wet on dry. Pre-mix Winsor blue strengthen the paint. Remember always to load Find out more about Becky at
and cobalt blue with a tiny amount of new the brush with enough paint. It’s better to www.beckysamuelsonfinearts.co.uk.
gamboge. I try to keep the yellow separate have some left over on the brush than to run Becky also sells canvas bags
and add it gradually. Charge your brush out. This will ensure a clean wash. for art and craft supplies at
with a good amount of paint and apply 3 I then ran a little paint under the nearby boat www.originalcanvasbucketbags.co.uk
with confident strokes. to darken its base and help it ‘sit’ in the water.
TRY THIS!
Here are two further sky examples for you to try. I was
taught to paint a sky a day. Even if you use a colour theme
that you think you might not like, it will increase your
experience. Practise also with your own colour choices;
sometimes something unexpected will come from this.
Keep your sky examples in a folder to look back on when
you need inspiration.
Oils
White on white
Explore the importance of tonal nuances in your paintings as you
set up and paint a still life, white on white, with Paul Alcock
Any interesting shapes will do, but ideally decided on the most pleasing arrangement. table with a blanket so that I could control
they should have a matte surface. Some In my example I wanted to contrast the the lighting. I then placed the still life inside
objects I painted with matte white paint; shapes of the sphere and the cylindrical box this area and clipped a small spotlight to one
others, such as the boxes, I wrapped in with the cubes. Atmosphere was created of the table legs. I used a light with a L.E.D.
white cartridge paper. by controlling the lighting. Notice how the bulb so that it didn’t become too hot and
Once you’ve created your own collection shapes of the shadows contribute to the create a fire hazard.
of objects, it’s worth spending some time overall composition as well as the objects Once you’ve created your own set up,
experimenting with different arrangements. themselves. it’s time to choose an appropriate shape in
Try recording these with quick thumbnail You can see in my photo (above) how I’ve which to work. I used a viewfinder to help
sketches or use a digital camera until you’ve created a shadow box by covering a picnic me decide on the square format.
Step 2 Drawing t
t
Begin by lightly sketching out where you lined up my thumb and the end of the
think the main shapes will go with a pastel pencil with the width of the bottle. I
pencil. Once you feel that everything is compared the bottle’s width to all the other
roughly in the right place, it’s now time objects in the still life. If you find you have
to define the different shapes with a little too much or too little space, now is the time
more care. to move things around or change their scale.
1 The bottle I began with the bottle, first It’s well worth spending time getting it right
measuring its width by holding out a pencil at this stage, as you won’t be able to rectify
at arm’s length and closing one eye. I then a cramped or awkward looking composition
later on. You can
see in this
illustration how
I’ve used a vertical
centre line and a
series of horizontal
lines and dots to
make sure that
both sides of the
bottle appear
symmetrical.
2 The cubes
Moving on to the
cubes, I again
closed one eye and
this time used my
pencil to help me horizontal centre line on which I marked
to judge the angles the widest and narrowest points of the
of the cube. In this ellipse. When it comes to drawing ellipses,
case all the angles I find I achieve a more accurate shape if
became a tiny bit I begin with the tightest radius in the
steeper the further corners then work out to the bigger arcs.
down they were. 4 The sphere The drawing was completed by
3 The box To draw drawing the sphere. This was simply a case
the ellipse at the of drawing a nice even circle and making
top of the box I sure it was the right size and in the right
used a vertical and position in relation to the other objects.
t Step 3
Once you’ve set out the main shapes, move on to the painting. Using
your largest brush, mix a quantity of dark grey using ultramarine blue
and burnt umber. You can then add this to titanium white to create
the lighter tones. Paint from the background to the foreground,
beginning with the dark then the lighter areas.
Oils
Demonstration continued
t Step 4
With the background in place, move to the mix: one for dark, one for mid tone and one to clean the brushes; just a quick wipe on
objects, which I painted using three No. 8 for white or near white. This meant I could a rag if a particular mix got too light or dark
filberts. Each brush held a different tonal work quickly as I didn’t need to keep stopping before dipping it back in the paint.
1 With each object take note which is the lightest and which is
t
2 The top surface of the round box graduated from light to darker
t
the darkest part. Begin with the boxes, noting which is the lightest across its surface and the very lightest part was its front edge.
side, which the darkest side and which sides are in between
moving on to the next, but sometimes it may be appropriate another. These effects can be suggested by softening some of the
to carry a shadow from one object on to another. edges, which will also help to keep the surfaces varied and the
painting lively.
t
The finished still life White on White, oil on board, 16x16in. (40.5x40.5cm)
t
Step 5 Paul
After you have painted all the other
objects it is now time to paint the Alcock
sphere, which I’ve used to show the Paul is an artist
Highlight and tutor based in
different types of light to look out for
when you’re painting tonal values. Southend-on-Sea, Essex.
1 The highlights The very brightest He will be running
spots or edges where the light is a painting holiday to
shining most directly on the forms. Barcelona for Arte
2 Crescent shadow When the object Crescent shadow Umbria’s Painting
gradually starts to receive less light in Europe next year
it moves from light into shadow. and will also be
3 Cast shadows Here the object blocks running workshops
out the light and casts a shadow across for Watershed Studio,
another surface or object. Old Bank Studios,
4 Reflected light You would expect this Old School Studio,
area to appear darker as it receives less plus art and craft days
direct light but instead it suddenly and demonstrations
starts to get lighter! This is because throughout the
light is reflected back from another Reflected light south east. Visit
surface. Look carefully in all areas for Cast shadow www.paulalcock.co.uk
reflected light as it can create some for more details about
unusual and interesting visual effects. his work.
Inspiration
t
Christmas Eve, oil pastel and ink on card, 912⁄ x1112⁄ in. (24x29cm). The lights from the village pub shine out onto the snow using the
sgraffito technique – black ink and soap was scraped away to reveal an oil pastel ground on white mountcard.
To capture the movement of the horse colours were also worked into the stones
I disconnected a number of the limbs in the foreground. As these pens are
and the hooves. As with all rapid double ended with a point and a wedge
movement, we do not see the whole shape, I made the drawing formal with
of the image and leaving parts empty an emphasis on outlines, which created
increases the feeling of rapid action. a pattern of shapes.
When working with any medium you
New ideas have to respect its integrity and a felt-tip
Bearing in mind that you might receive pen drawing will not look like a
or want to request art materials for watercolour or crayon; it is what it is –
Christmas presents, I wanted to show a refreshing change from the struggles
you a variety of different media to try we all have with our favoured medium.
this month. I have also included an Strangely, I always go back feeling
image worked using Letraset Promarkers, rejuvenated by the experience of trying
which are Artists’ felt-tip pens. These new materials and new techniques.
pens were originally developed for Happy Christmas and a creative New
graphic designers when working on Year to all of you. LP
client visuals and now that computer-
generated artwork has replaced them, Moving Horse, Chinese ink, 1612⁄ x1112⁄ in.
t
they are available on the art materials (42x29cm). Chinese ink was applied with
market. These are not the same materials a Chinese brush on cartridge paper. Note
as children’s felt-tip pens, which may not how simplifying the subject and the use
be colourfast. of brushstrokes help create the effect of
The three camels (left) were worked movement in the drawing.
on heavyweight cartridge paper. I mixed
the colours by overlaying them, for
example the camels were orange with
pale grey laid over the top. I worked the Linda Birch
sky in pale and sky blues with the moon Linda regularly teaches at the Bowes
a mix of skin white and yellow. The Museum, Co. Durham. Email lindajoyce
mountains were added with skin white pitt@aol.com for details of her courses,
and pale and cool greys, overlaid to workshops and other events.
create shadows and vegetation; these
p
s s
s RRP
£14.99
£12.99
RRP
£9.99
£7.99
RRP
£9.99
£7.99
p
Available from
www.painters-online.co.uk/store
and follow the link to books
Closing date 02 December 2016
Bookshop_FullPage_December16.indd 1 17/10/2016 11:06:30
LP December 2016 Books p63_News 1st 20/10/2016 09:55 Page 6
Books
WHAT TO READ THIS MONTH
Abstract Nature by Austrian artist,
Waltraud Nawratil looks at how to
paint the natural world with
acrylics, watercolour and mixed
media. But rather than simply
painting what she sees, Waltraud
shows us how to capture the
emotion you feel when looking at a
Visit www.painters-online.co.uk/store and click particular scene and translate that into paint. Painting techniques
and media are clearly explained before moving on to finding
on the link to books to buy the latest practical inspiration in the natural world throughout the year, and through
art books available from LP’s online bookshop the seasons with flowers and trees. The book includes step-by-step
demonstrations and plenty of practical advice on abstracting the
essence of what you see in the world around you.
Abstract Nature by Waltraud Nawratil. Search Press, (s/b), £12.99.
In Brief
Search Press has published three new editions of popular titles: The Watercolour
Flower Artist’s Bible by Claire Waite Brown, in a new portable size to keep handy
Watercolour secrets in the studio for reference; and The Coloured Pencil Artist’s Drawing Bible by
With a lifetime of painting Jane Strother, giving step-by-step instruction on essential techniques. The third
experience behind him, Terry new edition is The Encyclopedia of Coloured Pencil Techniques by Judy Martin,
Harrison is the perfect teacher which has become an indispensable guide to anyone beginning or developing
for those new to watercolour. In their exploration of coloured pencils.
his new book, Terry Harrison’s The Watercolour Flower Artist’s Bible by Claire Waite Brown. Search Press, (s/b), £12.99.
Watercolour Secrets, he shares The Coloured Pencil Artist’s Drawing Bible by Jane Strother. Search Press, (s/b), £12.99.
all this experience with us, The Encyclopedia of Coloured Pencil Techniques by Judy Martin. Search Press, (s/b), £12.99.
explaining: “My aim in teaching
art has always been to make
painting more accessible by
helping to make the techniques Perspective masterclass
easier.” He certainly does that Tim Fisher needs no introduction to Leisure
here – covering what to buy, Painter readers, being a regular contributor
how to master the main and demonstrator. His new book, Drawing
techniques, how to use Masterclass: Perspective focuses on the
photographs, mix colours, difficult subject of perspective, starting from
achieve special effects and the basics and moving on to complex scenes.
troubleshooting, before moving And it’s not just buildings that are included.
on to looking at particular Tim shows us how to master the perspective
subjects, such as skies, of landscapes, people, animals, boats and
mountains, figures, animals reflections. Taking the subject further, Tim
and boats. In all, Terry includes then shows us how to move beyond
170 tips to make your artistic mathematical accuracy of perspective to have
journey easier and more the confidence to draw freely and
enjoyable. instinctively within this framework. The
Terry Harrison’s Watercolour Secrets presentation is excellent and there are plenty
by Terry Harrison. Search Press, of exercises to work through in your quest to
(s/b), £12.99. achieve accurate drawings.
Drawing Masterclass: Perspective by Tim Fisher. Search Press, (s/b), £12.99.
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Cirencester Art Society
Winter exhibition at The Parish Church,
Cirencester from 30 November to 10
December, 10am to 4pm daily. Visit
www.cirencesterartsociety.com
n Desford and Peckleton Art Club
Annual winter exhibition at Peckleton
EXHIBITIONS AND ACTIVITIES Village Hall, Main Street, Peckleton,
Leicestershire LE9 7RE on Saturday 19 and
Sunday 20 November. Open daily from
10am to 4pm. Enquiries to Jude Markillie
07850 596318 or visit
www.dandpartclub.co.uk
n Guildford Art Society
Autumn exhibition at Guildford House
Gallery, 155 High Street, Guildford GU1 3AJ
from 12 November to 3 December. Open
Monday to Saturday, 10am to 4.45pm. Visit
www.guildfordartsociety.co.uk
Demonstrations
& classes
Bedford Art Society
On Friday 2 December, Rebecca
Merry will give a demonstration
to the Bedford Art Society at
Putnoe Heights Church, Bedford
MK41 8EB. Rebecca is an
English painter and illustrator
living in the Dordogne, France.
She works in watercolour and
egg tempera, and is inspired by
folktales and myths from
around the world. Entry is free
for members; £5 for visitors.
Contact Jean Paterson on 01234
307210 for more details or visit
www.bedsartsociety.co.uk
Halifax Art Society
Artist, Stephen Coates, will give
a demonstration to the Halifax
Art Society on painting skies in
watercolour on Thursday 17
Kathy Grevaux Tulips, water-based inks, 113⁄4x113⁄4in. (30x30cm) on show at the winter exhibition by
t
the Salisbury Group of Artists at Salisbury District Hospital, from 25 November until 6 January. This lively December at the Oddfellows
group of artists meets once a week to paint and draw together, and also participates in more challenging Hall, Unity House, 3 Coleridge
workshops each month. The society was established 40 years ago and continues to flourish. For more Street, Halifax HX1 2JF, 7.30 to
information visit www.salisburygroupofartists.co.uk
9.30pm. Non-members
welcome. For more information
CLUB EXHIBITIONS visit www.halifaxartsociety.com
n The Attic Club n Berkhamsted Art Society Hipperholme and
Original Art Fair at The Queen’s Hall, High Winter exhibition at the Civic Centre, 161- Lightcliffe Art Society
Street, Cuckfield RH17 5EL from Friday 25 163 High Street, Berkhamsted, Jake Attree will demonstrate an
November, 12 noon to 8pm; and Saturday Hertfordshire HP4 3HD from 20 to 26 oil pastel of Haworth to the
and Sunday 26 and 27 November, from November. Open Monday to Saturday,
9am to 5pm; from 2 to 4pm on Sunday.
Hipperholme and Lightcliffe
10am to 5pm.
Art Society on Tuesday 13
n Bathampton Art Group Visit www.berkhamstedartsociety.co.uk
December at the Brighouse Rest
Exhibition at Bathampton Village Hall, n Breaston Art Group
Centre, Park Row, Brighouse, at
Holcombe Lane, Bathampton BA2 6UL on 21st exhibition at the Methodist Church
Saturday 19 November, from 10 am until Hall, Blind Lane, Breaston, Derbyshire 7.30pm. For more information visit
5pm. Demonstrations will take place DE72 3DX on 10 November, 2 to 5pm; 11 www.handlas.co.uk
throughout the day. For more information November, 10am to 5pm and 12
visit www.bathamptonart.co.uk November, 10am to 4pm.
Highlights
Chailey & Newick Painting Group
The annual exhibition by the Chailey & Newick Painting Group will
be on show at Chailey Village Hall, East Sussex (A275) on 19 and 20
November, 10am to 5pm daily. As well as paintings, cards and
refreshments, there will also be demonstrations taking place during
the exhibition. Free admission, easy parking and disabled access. Visit
www.chaileyandnewickpaintinggroup.org.uk
Guildford Art Society
The autumn exhibition by the Guildford Art Society takes place at
Guildford House Gallery, 155 High Street, Guildford GU1 3AJ from
12 November until 3 December. The gallery is open Monday to
Saturday from 10am until 4.345pm. On Friday 25 November to
coincide with the exhibition, artist, Liz Seward, will give a
demonstration on painting a still life in mixed media between 11am
and 1pm at the Brew House. Entry is free, but booking is essential for
the demonstration. To book telephone 01483 444751 or email
heritageservices@guildford.gov.uk For more information about the
Guildford Art Society, visit www.guildfordartsociety.co.uk
Maghull Art Group
The winter exhibition of work by the Maghull Art Group will take
place at Deyes Lane High School, Maghull L31 6DE on 19 and 20
November, 10.30am to 4.30pm daily. The exhibition will also include
a photographic display by the Maghull Photography Club. Free on-site
Ruth Netherton Judy’s Jug, watercolour and ink, 251⁄4x211⁄4in.
t
parking, raffle, jewellery, cards and refreshments will be available. (64x54cm) on show at the Guildford Art Society’s autumn
Visit www.maghullartgroup.webs.com exhibition
n Hagley Art Club Lakeside, Keswick CA12 5DJ from 25 n Society of Fulham Artists and
27th annual exhibition at Hagley November until 20 January. Enquiries to
Community Centre, Worcester Road, Hagley, Potters (SOFAP)
Ted McCardle 01768 744855.
near Stourbridge, West Midlands DY9 0NW Autumn exhibition at Fulham Library, 598
n Kilmood Art Club Fulham Road, London SW6 5NX from 15 to
on Friday 25 November, 7 to 9pm; Saturday
and Sunday 26 and 27 November, 10am to 28th annual exhibition at the Castle Espie 20 November. Open Tuesday to Thursday,
6pm daily. Gallery, Castle Espie Wildfowl & Wetlands 10am to 8pm; Friday and Saturday 10am to
Trust, Ballydrain Road, Comber, Co Down 5pm and Sunday 11am to 3pm. Visit
n Hallam Art Group until 20 November. Visit www.sofap.co.uk
Christmas exhibition at Hallam Community www.kilmoodartclub.org
n Tondu & District Art Society
Hall, Hallam Grange Crescent, Sheffield n Muskham Art Group
S10 4BD on 19 and 20 November, Winter exhibition at the Len Evans Centre,
11am to 5pm daily. Visit Annual exhibition at South Muskham Aberkenfig, Bridgend, South Wales CF32
www.hallamartgroup.wordpress.com Village Hall, Newark NG23 6EE on 5 and 6 9RF from 11 to 14 November, 10am to 6pm
November, 10am to 4pm daily. Enquiries to daily. This year, the competition will be on
n Ham Art Group 01636 605875.5. a Welsh theme. Enquiries to Lorna Chilcott
Autumn exhibition at St. Thomas Aquinas n Nettleham Art Group 01656 863924 or email her at
Church Hall, Ham Street, Ham, Richmond lorna09@talktalk.net
TW10 7HT on 5 and 6 Nobember, 10am to Exhibition at the Old School (near the
church), Nettleham, near Lincoln LN2 2PE n Trysull Art Club
4pm daily. Enquiries to 020 8940 5725.
on Saturday 12 November, from 10am to Biennial exhibition at Trysull Village Hall,
n Harrogate and Nidderdale Art Club 3pm. Enquiries to Ian Straw 01522 753558. School Road, Trysull WV5 7HW on 19 and
80th anniversary autumn exhibition at n Putnoe Art Group 20 November, 10.30am to 4pm daily.
Ripley Town Hall, near Harrogate HG3 3AX Enquiries to Thelma 01902 894879 or visit
on 26 and 27 November, 10am to 5pm One-day exhibition at Sharnbrook Village
Hall, Lodge Road, Sharnbrook, Bedford on www.trysullartclub.weebly.com
daily. Visit www.handnart.co.uk
Saturday 26 November, 10am to 4pm. n Walton Group of Artists
n Highgate Watercolour Group Enquiries to Bob Wardale at Exhibition at Walton Village Hall, School
Annual exhibition at Lauderdale House, bob.wardale@gmail.com Lane, Wetherby, West Yorkshire LS23 7DW
Highgate, London N6 5HG from 8 to 27 n Royal Tunbridge Wells Art Society on 19 and 20 November. Open daily
November. Enquiries to 020 8348 8716. from 10am to 4pm. For more information
Exhibition at 61 The Pantiles, Tunbridge
n Horsham Painting Group Wells, Kent from 12 to 27 November. Open visit www.waltongroupofartists.co.uk or
One-day exhibition at the Quaker Meeting daily, 10am to 5pm; closing at 4pm on final telephone 01937 583399.
House, Horsham, West Sussex RH12 1SL on day. Visit www.rtwas.org n Wareham Art Club
Saturday 19 November, 10am to 4pm. Visit n Salisbury Group of Artists Autumn exhibition and craft sale at
www.horshampaintinggroup.co.uk Wareham Town Hall, East Street, Wareham,
Exhibition at Salisbury District Hospital,
n Keswick Society of Art Odstock Road, Salisbury from 25 November Dorset BH20 4NS on Saturday 12
Exhibition at the Theatre By the Lake, to 6 January 2017. November, 10am to 4.30pm.
t
Sherburn in Elmet Art Club
Brenda Finnigan Onions,
coloured pencil, 12x12in.
(30.5x30.5cm). The Sherburn in
Elmet Art Club was founded in
1975 and now meets on Tuesday
evenings at Church Fenton
Village Hall. New members are
warmly welcome and there is a
special membership rate for
junior members from the age of
eight to 16. For more
information visit
www.sherburnartclub.co.uk
t
Boughton Art Group Patricia Stone Abbey House Gardens, Wiltshire,
pen and ink, 13x16in. (33x40.5cm). The Boughton Art Group meets every
Friday afternoon from 1 to 4pm at Boughton Village Hall. Telephone
Sandra Brown on 01623 870598 or Hilary Riddin on 01623 862643 to find
out more about the club.
NORTH
NORTHYORKSHIRE
GLOUCESTERSHIRE
YORKSHIRE
Opening times: shop Tuesday to
LINCOLNSHIRE NOTTINGHAMSHIRE
SUFFOLK
Artist's Palette
SURREY
Friday 9am – 5.30pm,
The Art Shop 1 Millgate, Thirsk YO7 1AA
The Art Shop
Cotswold ArtStreet,
Supplies W F Gadsby
Saturday 9am – 2.30pm The Art
Local Trading
Art Shop Company Pullingers
Tel: 01845 574457
2 Newmarket Skipton,
2 Newmarket Stow
Church Street, Skipton, 347 High
(closed Street, Lincoln,
Sunday & Monday) 36a Earsham Street,Bungay N35 1AQ 109 West Street, Farnham,
NorthStreet,
Yorks BD23on 2JBthe Wold, Lincolnshire LN5 7DQ
4 Main Road, Gedling, Opening times: Monday to
Surrey GU9 7HH
North Yorks BD23 2JB 01986 897939
Tel: 01756
Gloucestershire 70177
Tel: 01756 70177 GL54 1BB Phone
Tel: 01522 527 487 Monday to
lines open Nottingham NG4 3HP
www.theartradingcompany.co.uk Saturday
Tel: 9am - 5pm
01252 715390
Tel:www.theartshop.co.uk
01451 830522
www.theartshop.co.uk www.gadsbys.co.uk
Friday 9am – 5.30pm, Stocking:
Tel: 0115Golden, Lascaux, Unison,
9401721
www.pullingers.com
Stockists of: Winsor & Newton,
Stockist of: Derwent,
Stockist of: Derwent, Pebeo,
Pebeo,Loxley
Loxley Stockist of: Winsor & Newton, Sennelier, Daniel Smith, Pro Arte, Da Vinci, Stockist of: Canson, Caran D Ache, Cretacolor
Opening times: Monday to Saturday 9am – 2.30pm or visit Opening times: Tuesday Daler-Rowney, Loxley, Sennelier, Derwent,
Reeves, Unison, Daler-Rowney,
Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc Pip Seymour, Canson, Derwent,to Friday
Roberson, Clairfontaine, Da Vinci, Daler-Rowney,
Saturday 9.15am
Sennelier, Winsor - 5.15pm
Winsor&&Newton,
Newton,Conte
Conte online shop Faber-Castell, Golden,
Clairefontaine andRoyal
manyTalens,
more.Schmincke
Craft
10am - 5.30pm,
Saunders Waterford,
Waterford,Hahnemuhle, Westgate Gallery Sennelier, Winsor & Newton, Fabriano
www.cotswoldartsupplies.com
Saunders
Fabriano, Art
Fabriano,
Stockists ArtMaster
Master
of: Winsor
Hahnemuhle,
& Newton,
www.artvango.co.uk
83 Westgate, Grantham NG31 6LE
NORTH YORKSHIRE
Saturday 12.30pm - 5pm materials, model kits and bespoke framing
Stockists of: Golden Acrylics, Roberson,
Daler-Rowney, Pro Arte, Unison pastels,
Tel 01476 578800 The Art Shop
www.localartshop.co.uk
LINCOLNSHIRE
service. Professional artist and tutor owner
SURREY
Sennelier, Conté, Paperblanks, Reeves.
Sennelier,
Stocking: Royal Talens, Da Vinci,binders,
Talens, pigments and Schmincke Stockists of: Royal
2 Newmarket & Langnickel,
Street, Skipton, Whappy to offer expert advice.
F Gadsby
Jacquard dyes and paints, Khadi, North Yorks BD23Loxley,
2JB Golden,
Pullingers Sennelier, Pebeo, 347 High Street, Lincoln,
Picture framing on site.
109 West Street, Farnham,
WEST YORKSHIRE
Pink Pig, Seawhite, fabrics and Tel: 01756 70177
House of Crafts, Cretacolor, Jakar,
www.theartshop.co.uk
The ArtLN5
Lincolnshire Shop7DQ
Surrey GU9 7HH The off
canvas Art
theShop
roll. - Ilkley Stockist of: Derwent,
Daler-Rowney, CaranPebeo, Loxley
d’Ache.
Tel:
230 01522 527
High 487 Northallerton,
Street,
Pegasus Art Shop
Tel: 01252 715390 Reeves, Unison, Daler-Rowney, www.gadsbys.co.uk
Hawksworth Street, Ilkley, Northof:Yorkshire DL7 8LU
www.pullingers.com
Griffin Mill, London Road, Stroud, Stockist Winsor & Newton,
West Yorkshire LS29 9DU Sennelier, Winsor & Newton, Conte
Stockist of: Canson, Caran D Ache, Cretacolor Patchings Art Centre Tel: Rowney,
Daler 01609 Caran
761775D’Ache etc
Gloucestershire GL5 2AZ
Tel:Faber-Castell,
01453 886560
LANCASHIRE
Tel & Fax: +44(0)1943 432016
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, www.theartshops.co.uk
Saunders Waterford,
Fabriano,Road,
Oxton Art Master
Hahnemuhle,
Calverton, Opening times: Monday to
Westgate Gallery
Golden, Royal Talens, Schmincke Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9.30am – 5pm
Sennelier,times:
Opening Winsor Monday
& Newton, Fabriano
to Ken Bromley
Canson, Art Unison,
Liquitex, Derwent, Supplies
Caran Nottingham NG14 6NU 83 Westgate, Grantham NG31 6LE
Saturday 9am - 5pm D’Ache,
Unit 13 Loxley,
LodgeSennelier Mapac
Bank Estate,
SURREY
Tel: 0115 965 3479 www.theartshops.co.uk
Tel 01476 578800
LINCOLNSHIRE
www.pegasusart.co.uk Crown Lane, Horwich,
Pullingers
Opening times: every day
Stocking:
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke
W F of:
Stockists Gadsby
Williamsburg, Rembrandt, SUFFOLK
Bolton BL6 5HY
109 West Street,
9.30am Farnham,
- 5.30pm
Daler-Rowney, Loxley, Pip Seymour,
WEST YORKSHIRE
Surrey GU9 7HH
Old347 High Street,
Holland, Lincoln,Cobra,
Pip Seymour, The
Tel: Art 690114
01204 Trading Company www.patchingsartcentre.co.uk
Pan Pastel, Unison, Pro Arte, Artmaster,
Lincolnshire LN5 7DQ
Tel: 01252 715390 The Art Shop - Ilkley
Winsor & Newton, Daler-Rowney, 36a Earsham Street,Bungay N35 1AQ www.pullingers.com Hahnemühle, Pebeo.
Tel: 01522 527 487 Opening times: Monday to Friday Stockists of: Winsor & Newton, Hawksworth Street, Ilkley,
01986 897939 Stockist of: Canson, Caran D Ache, Cretacolor
Derwent, Daniel Smith, Schmincke,
www.gadsbys.co.uk 9am - 5pm Daler-Rowney, Derwent, Caran d’Ache, West Yorkshire LS29 9DU
www.theartradingcompany.co.uk Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Da Stockist of: Arte,
Vinci, Pro WinsorArches,
& Newton,
Canson, Stocking: Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
Daler Rowney, Caran D’Ache etc
Saunders Waterford watercolour paper,
www.artsupplies.co.uk
Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Stockists of: Winsor
Pip Seymour, & Newton,
Canson, Derwent, Roberson,
Unison, Liquitex,
Faber-Castell,
Sennelier,Brushes,
Leonard
OldRoyal
Golden, Holland,
Talens,Pro
Winsor & Sennelier,
Newton, Fabriano
Canson,
Arte,
Schmincke
WEST YORKSHIRE
www.theartshops.co.uk
Winsor & Newton, Daler Rowney, Pro Arte,
Hahnemühle,
Westgate Fabriano, Somerset.
Gallery Canson, Liquitex, Derwent, Unison, Caran
Daler-Rowney, Daniel Smith, Liquitex, St Cuthberts Mill, Artmaster, Pebeo. The Art Shop
83 Westgate, Grantham NG31 6LE
NORTH YORKSHIRE
Bob Ross, Derwent, Caran d’Ache, LINCOLNSHIRE D’Ache, Loxley, Sennelier Mapac
Hawksworth Street, Ilkley,
Jackson's Art Supplies
Tel 01476 578800 W F Gadsby
The
Stocking: Royal Talens, Da Vinci, Schmincke Pro Arte,Art Shop
Loxley, Bockingford, Arches, SUFFOLK
West Yorkshire LS29 9DU
Unit 4 Brearley Court, Baird Road,
Waterwells Business Park,
Saunders Waterford
2 Newmarket and
Street, accessories.
Skipton, SUFFOLK
347 High Street, Lincoln,
Lincolnshire LN5 7DQ The Art Trading
Tel: 01943 432016Company
WEST YORKSHIRE
Gloucester GL2 2AF
North Yorks BD23 2JB
Tel: 01756 70177
Tel: 01522 527 487
The Art Trading
Opening
36a Earshamtimes: Monday
Street,Bungay N35to1AQ
01986 8979399am – 5.30pm
Tel:The Art729672
Shop - Ilkley www.gadsbys.co.uk Saturday
LONDON
www.theartshop.co.uk
01452 Company
Stockist of: Winsor & Newton, www.theartradingcompany.co.uk
Hawksworth Street, Ilkley, Stockist of: Derwent, Pebeo, Loxley Reeves, www.theartshops.co.uk
Opening times: Daler
55 Rowney, Caran
Earsham D’Ache
Street, etc
Bungay Stocking: Golden, Lascaux, Unison,
West Yorkshire LS29 9DU Unison, Daler-Rowney, Sennelier, Winsor
Stockists Daniel
Sennelier, of: Winsor
Smith,&Pro
Newton,
Arte, Da Vinci,
Monday to Friday
Tel & Fax: 9am
+44(0)1943 – 5pm
432016 Jackson's
& Newton, ConteArt Supplies
Saunders Waterford, Suffolk NR35 1AF Pip Seymour, Canson, Derwent, Roberson,
www.jacksonsart.com
www.theartshops.co.uk Hahnemuhle, Fabriano, Art Master
1 Farleigh Place,
Westgate Gallery Daler-Rowney, Loxley, Pip Seymour,
Tel: 01986 897939
Winsor & Newton, Daler Rowney, Pro Arte,
Jackson’s warehouse holds painting,
Canson, Liquitex, Derwent, Unison, Caran London N16 7SX
SURREY
83 Westgate, Grantham NG31 6LE
Opening times: Monday to
Tel 01476 578800 NORTH YORKSHIRE
Pan Pastel, Unison, Pro Arte, Artmaster,
Hahnemühle, Pebeo.
drawing,
D’Ache,printmaking and sculpture
Loxley, Sennelier Mapac Tel: 020 7254 0077 Stocking: Royal
Saturday 10amTalens, Da Vinci, Schmincke
– 5pm The Art Shop
materials from Golden, Sennelier, Pullingers
Opening times: Monday to Friday (closed Sunday and Bank Holidays) 2 Newmarket Street, Skipton,
SUFFOLK
Schmincke, Winsor & Newton etc. 109 West Street, Farnham,
WEST YORKSHIRE North Yorks BD23 2JB
The Art Trading Company
9am
Surrey– 5.30pm,
GU9 7HH Saturday
Tel: 01252
10am – 6pm 715390
www.TheArtTradingCompany.co.uk
The Art
Stockists of: Shop - Ilkley
Old Holland, Michael
WALES
Tel: 01756 70177
www.theartshop.co.uk
www.pullingers.com
36a Earsham Street,Bungay N35 1AQ Emrys
Stockist Art Supplies
of: Derwent, Ltd
Pebeo, Loxley Reeves,
HAMPSHIRE
01986 897939
www.theartradingcompany.co.uk
www.jacksonsart.com
Stockist of: Canson, Caran D Ache, Cretacolor
Stockists of: painting,
Clairfontaine, Da Vinci,drawing and Derwent,
Daler-Rowney,
Hawksworth
Harding,
Daniel Smith,
Street, Golden,
Sennelier,
West Yorkshire LS29 9DU
Ilkley, Lascaux,
NORTH YORKSHIRE
Tel: 0238 0339444
W F Gadsby NORTH YORKSHIRE Pullingers
Saturday 9am – 5pm
109 West Street, Farnham,
Opening times: Monday to
The Art Shop 347 High Street, Lincoln,
Jackson's Art
SUFFOLK
The Art Shop Skipton
www.emrysart.co.uk
Surrey GU9 7HH
Saturday 9.30am – 5.30pm Lincolnshire LN5 7DQSupplies Stockists
Tel: 01252of: Winsor & Newton, plus many
715390
2 Newmarket Street, Skipton,
Email: perrysart@btinternet.com Tel: 66,
01522 527 487Approach,
The Art Trading Company
Online & instore
North Yorks BD23 2JB Arch Station www.pullingers.com
more including Daler-Rowney, Sennelier,
Tel: 01756 www.gadsbys.co.uk 36a Earsham Street,Bungay N35 1AQ Stockist of: Canson, Caran D Ache, Cretacolor
High-quality art70177
materials at competitive London SW6 3UH 22 Newmarket Street, Skipton, Unison, Pro Arte, Derwent.
www.theartshop.co.uk Stockist of: Winsor & Newton, 01986 897939 Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
prices and a personal friendly service. Daler
Tel: 020Rowney,
7384Caran
3055 D’Ache etc North Yorkshire BD23 2JB
www.theartradingcompany.co.uk Faber-Castell, Golden, Royal Talens, Schmincke
Stockist of: Derwent, Pebeo, Loxley
Winsor & Newton,
Reeves, Daler-Rowney,
Unison, Daler-Rowney, Stocking:
Tel: 01756 Golden, Lascaux, Unison,
701177 Sennelier, Winsor & Newton, Fabriano
Opening times: Monday to
Sennelier,
Derwent, WinsorGold
Montana & Newton, Conte
spray paints,
Westgate Gallery Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Thursday 9am – 6pm, Friday, Opening times: Monday
Derwent, to Friday
Saunders Waterford, Hahnemuhle,
Golden, Sennelier, Unison and much more.
83 Westgate, Grantham NG31 6LE Pip Seymour,
9am - 5.30pm,
Canson, Roberson,
LINCOLNSHIRE
WTo discuss a listing
Fabriano, Art Master 9am – 5.30pm,
Tel 01476 578800
F Gadsby
Stocking: Royal
Saturday 9amTalens,
– 5pmDa Vinci, Schmincke NORTH YORKSHIRE
Saturday 9am – 5pm.
SURREY www.theartshopskipton.co.uk in ourLN5 UK 7DQArt Shops
347 High Street, Lincoln,
HERTFORDSHIRE
Pullingers
www.jacksonsart.com
WEST YORKSHIRE
Stockists of: essential high-quality
The Art Shop
Stockists of: Pebeo,
Street,Derwent,
Skipton, Sennelier,
Lincolnshire
Tel: 01522 527 487
Art 109Van Go Farnham,
West Street, The Art Shop - Ilkley
painting and drawing materials from
2 Newmarket
North Yorks
Unison, BD23
Winsor & 2JB
Newton,
directory contact
www.gadsbys.co.uk
Tel: 01756 70177 Stockist of: Winsor & Newton,
Anna-Marie
Rowney, Caran D’Acheon
Surrey GU9 7HH Hawksworth Street, Ilkley,
TheTel:
Studios, 1 Stevenage Road, brands including Sennelier, Daler-Rowney, Loxley, Artmaster, Daler etc
01252 715390 West Yorkshire LS29 9DU www.theartshop.co.uk
Knebworth, Hertfordshire SG3 6AN
www.pullingers.com Winsor & Newton,
Tel & Fax: Golden,
+44(0)1943 432016 Reeves, Hahnemühle,
Stockist of: AMTLoxley
Derwent, Pebeo, Products,
Tel:Stockist
01438 of: 814946
Canson, Caran D Ache, Cretacolor www.theartshops.co.uk
Old Holland and more. Reeves,
and manyUnison, Daler-Rowney,
more. 01778
Westgate 392048
Gallery
C W S
68 DECEMBER 2016 www.painters-online.co.uk
6
p68_69_lp_dec16.indd 68 21/10/2016 11:27:33
WATERCOLOUR EASEL
This practical, lightweight Jakar aluminium
easel comes in a quality black carrying bag
and weighs 1.62 kilos including bag.
Folded size 66cm, maximum canvas
height 120cm. It has a lever so that it
can be adapted for both vertical and
horizontal use. This makes it suitable
for all kinds of painting and an ideal
Christmas gift for watercolourists.
£44.99rrp.
DERWENT GRAPHIC PENCILS
Jakar International Limited
Using only the finest graphite, the Derwent Graphic range boasts
info@jakar.co.uk
www.jakar.co.uk improved core strength, perfect for expressive sketches or detailed
illustrations. Available in 20 consistent degrees from 9B to 9H.
A pack of 12 Graphic pencils are £13.60rrp and 24 Graphic
pencils are £27.10rrp. Telephone: 01900 609585
or visit the Derwent website at www.pencils.co.uk
Give the gift worth over £50 that SPECIAL 76-PAGE ISSUE THIS MONTH
UK’s
lasts all year round for just £39.99 No.1
L MADE
LS MA
c ive JAC KSO N’S
perspecct
perspective
OILS
GIFT VOUC HER
ADE EASYS
SY
ART SUP PLI ES
I JACK SONS ART.
The Metallic Creative Box includes three Neocolor I water-resistant
sttep-by-step
Try a step-by-step COM
YOUR
YO
YOUR CHALLENGE!
CHALLENGE!
Paint a white
on white still life
WATERCOLOUR
W
WAATERC
AT R
RC
flowers, skies
land
and landscapes
water-soluble fibre-tipped pens, 10 illustrated black cards, two
blank cards and 12 black envelopes. This set retails for £29.99rrp.
Simple ideas and
exe
ex
xercises to fire
exercises
y ur creativity
yo
your t
ty
FIONA PEART
District National Park. This is a taught
course with lots of support, making life PAINTING COURSES. 1-7 day and
better. Tel: 01433 621546. weekly art courses painting flowers
Informative and lively email: alanhearsum@btinternet.com and gardens, landscapes, watercolour
demonstrations and workshops web: hearsuma@freeuk.com or line and wash with Jan Blanch in
Norfolk also Brusho classes. Very good
for art societies and clubs. accommodation.
Ring 01451 820014
or email fiona@fionapeart.com Watershed Studio Painting holidays in Corfu.
Tel: 01493 393639 or 07702 069300
www.fionapeart.com Celebrating our 15th year Email: janblanchartist@gmail.com
www.janblanch.co.uk
• Proven reputation for quality courses
• Warm welcome & home-cooked food
• Rural studio in its own grounds TARN AREA, SW FRANCE. Painting
• Excellent local accommodation holidays. Excellent food and
• High profile, popular tutors accommodation, superb landscape,
Fraser Scarfe, Roger Dellar, forestry, mediaeval villages, studio, large
Carole Baker, Sylvia Paul,
Robert Dutton and many more… swimming pool. Professional tuition by
Ken Ray BA, WSCAD, Diana Golledge,
Call Allison Bond for details:
Cora Martin.
01255 820466
Details: Bob and Carla Schaap,
Email: allison@watershedstudio.co.uk
www.watershedstudio.co.uk Chateau de Pourpry, 81220 Damiatte,
St Clere’s Hall Lane, St Osyth, Tarn, France. Tel: 0033 563 707 176
Clacton on Sea, Essex, CO16 8RX Email: bobencarla@aol.com
always s
iser Art Holidays in Dorset
DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
Roger Dellar, Soraya French, Jeremy locatio on SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
Ford, Steve Hall, Terry Harrison, Barry n with • Prices from £155
SNEAK PREVIEW OF SOME OF THE DOZENS
Herniman, Thomas Schaller, Haidee-Jo g r ou p
• 500 m from the sea OF COURSES IN 2017 WINTER WARMERS
• Free transport Two full days’ tuition in our cosy studio from 10am to 5pm,
• Highly professional tutors
Summers, Keiko Tanabe, Paul Weaver & many more • Friendly house-party atmosphere
light lunch and delicious dinner plus bed and breakfast all
for only £155 Why not pamper yourself and add Friday and/
or Sunday night dinner, bed and breakfast at the special
• Delicious food and wine
painters’ rate of £55 per night? Most people do!
• All accommodation en-suite Sat 21 & Sun 22 Jan Dip Your Toes in the
Somerset, Exmoor National Park, • No single supplement
• Stunning locations - easy walking Sat 18 & Sun 19 Feb
World of Fantasy
Drawing for Beginners
North Devon Coast, North • All abilities and non-painting Sat 18 & Sun 19 Mar Animal Portraits in Pastel
partners welcome SPRING AND SUMMER HOLIDAYS
Cornwall, Lake District, Wye • Well equipped studio 10-13 Mar Getting to Know Watercolour
27-30 Mar Spring Gardens with Watercolour Pencil
Valley, Provence, France & The • Maximum 10 students each group
4 - 7 April From Light to Dark in Watercolour
8-11 April Landscape With Pen and Wash
Western Algarve, Portugal 18-21 Apr Let’s Look at Texture in Fantasy studio based
6-9 May Mixed Media Landscape
Painting by David Webb
SUPER P
18-22 Jun Embellish Your Fanasty Paintings
DOUBL AVE
15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
01934 733877
19-22 Jul Riverside Views and Bridges
DE A L S 23-26 Jul South Cost Scenes with Acrylics and
U B L
DO L SAVE Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
DEA
£145
Boscombe Manor, Nr Bournemouth BH5 1HR
THE SKY’S
Val Pettifer, Lesley Rumble, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams
u.
tutored workshops.
Drop-in-and-Paint Club every Thursday & Friday
702 069300 CAMBRIDGE OPEN STUDIOS IN JULY
Three day Summer SchoolTutors
& Kids for 2016-2017:
Painting Hashim
Activities in August Akib,
gmail.com • Demonstrations/one-to-one tuition
THE LIMIT
Paul Alcock, Marilyn Allis, Jamel Akib,
The School House is well stocked with easels, drawing boards etc, and benefits from a large mezzanine floor with a
Email: info@watermill.net • All materials included comfortable reading area. Students can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Call Bill or Lois: +39 366 488 2587
Vic Bearcroft, Melanie Cambridge,
• Lunch included, plus tea & coffee For full details of all workshops or to request theClare Crossman,
2016 brochure Email:Soraya French,
info@theoldschoolstudio.co.uk
Drop-in-and-Paint Club
N CANVAS HOLIDAYS Glenthorne, Grasmere, various dates
The Algarve, May 10-17 Call Anna Marie to discover the
every Thursday & Friday
Three day Summer School &
The Watermill in Tuscany, July 15-22 opportunities available to you. Kids Painting Activities in August
Call Anna-Marie
DALVARO ART
to discover Art Materials Art
rt
r breaks
bre
rreaks
ks
k in Exmoor
Ex
E moor
the opportunities Sidewinder Studio www.shorlandoldfarm.co.uk
ww
www
ww..shorlandoldfa
w ffarm.co.uk
available to you. 01243 552186
Shop online
T: 01778 392048
www.sidewinderstudio.co.uk f l locat
Beautiful
Beautifu
fu a ion
location
at
CHINESE BRUSH PAINTING SUPPLIES ffood
Good fo od
E: annamarieb@ We have an extensive range of high quality,
aatmosphere
Friendly at mosphere
warnersgroup.co.uk authentic Chinese Brush Painting supplies, Courses fofforr all abilities
beautiful accessories and specialist books.
r ners welcome
Non-painting part
partners
rt
LEARN AT HOME. Watercolour
and drawing. Beginners/advanced • Over 300 titles in stock Ready-made groups also welcome
• Starter packs for beginners
correspondence
ws demonstrates in the port courses.
at Mèze, Easy, relaxed,
ce on one of her Paint ‘N Canvas holidays NDD.
thorough. Details: Jenny Trotman
Tel: 01305 264568
Framing
S
www.catswhiskersart.co.uk panish artist, Dolores Alvaro and her English husband, Call Sandy or Mark 01598 763505
day organiser, Linda Matthews is passionate
Harold, have been running Dalvaro Art painting holidays Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
ng from life, en plein air, and in fact was the
e first four-day plein air paintingJoin festival –
Ashcraft Framing
from their home, Las Orquideas (The Orchids) in Valencia,
Tony Hogan
ALL-INCLUSIVE SPANISH WATERCOLOUR
Spain since Artists Frames
2009. During that time they have experienced all
roads – in 2014. Her schedule is a busy one, - Save money on framing HOLIDAYS in the mountains of Southern
types of people with very different prerequisites for their
ng from weekly morning classes to week-long - Complete or self-assembly Spain. Superb food and delightful
in they holidays,
- Plain wood orsopainted
have listened and adapted along the way to please as
both in this country and abroad. What en-suite air-conditioned rooms.
many
- Inlay artspecialist
frame students as possible. Loly organises the painting, while
n is her dedication to getting out
Cornwallthere and Instruction is followed by fieldwork,
Harold
- Large, handles
standard andthe holiday.
bespoke “It’s all about giving our guests a
sizes
f what is around you. “Wherever you look including visits to Granada and Mojacar.
to paint,” she says. “YouScarborough
relaxing and enjoyable opportunity to improve their art,” says
can never be bored Exclusive - St Ives/Nicholson style Everything included except your flight.
Loly, “no matter what level they are, in a rejuvenating and
a sketchbook.” Venice or Spain frames available on-line
refreshing, as well as an inspirationally relaxing environment.”
Non-painting partners welcome. For
is warm and encouraging, making her holidays Call 01427
are787318
some 22orinternational
visit special offers and customers' comments
for your 2017 There tutors, covering all media from
for beginners who need a bit of courage to www.ashcraftframing.co.uk/store
acrylics and pastels to oils and watercolour, many of who will be
visit www.watercolourspain.com
Fun
side the comfort of a studio. On Artoffer
Holiday
this year Tel: 020 3239 6786 or 0034 637 458679
known to Leisure Painter and The Artist readers, including Les
a
kly classes held on a Thursday morning locations
choice of great at her
es Gallery in Ludham,www.hoganart.co.uk
as well as her weekend Art
Darlow, Shops
Arnold Lowrey, Robert Dutton, Sue Ford, Paul Weaver and
Art Shops
Roger Dellar. Courses to look out for in 2017 include Painting
ude a two-day Paint Garden course
in theadmin@hoganart.co.uk
E Mail: Water and Marine Subjects with Joe Dowden in May, and later in
ast Ruston Vicarage Gardens. Tel; There
01208are also
895088 the year, Painting Watercolour Landscapes with Pablo Ruben and
plein air painting holidays, walking
Mobile: and
07888852503 Spanish Landscapes in Watercolour with Eugen Chisnicean.
oads National Park, as well as holidays Guests stay in the beautiful hillside villa overlooking the town of
Linda will be running painting holidays to
nd to Polizzi Generosa in Sicily. Framing Benigánim. The villa has been completely renovated to provide
exceptionally comfortable accommodation. All the rooms are air-
s with her teaching experience and is happy to conditioned with en-suite bathrooms. The landscaped gardens are
Ashcraft Framing
eet the needs of individuals - whether it’s one-
Artists Frames
’s needed or special courses for groups. Look
a feature of the villa, with tennis court, swimming pool,
vegetable garden, fruit trees, chickens and ducks, creating the
full details of all-the
Save moneyand
courses on framing
options on perfect atmosphere for relaxation as well as providing ample
- Complete or self-assembly
nd some step-by-step tutorials to follow.
- Plain wood or painted painting subjects without ever leaving the villa.
- Inlay frame specialist Suppliers of the finest Suppliers of the finest
- Large, standard and bespoke sizes art materials art materials
thews, Broad Skies Gallery, Ludham Bridge, VISIT OUR ONLINE SHOPon the landline at 0034 96221 7226;
Exclusive - St Ives/Nicholson style Contact Loly and Harold VISIT OUR ONLINE SHOP
Norfolk NR29 5NX. Telephone 01692 630485;
frames available on-line mobile
FREE0034 61085 7136; email lolialvaro@dalvaro.es;
CATALOGUE FREE CATALOGUE
tncanvasholidays.co.uk or visit Tel: 01453 886560
www.dalvaro.co.uk Tel: 01453 886560
sholidays.co.uk. Call 01427 787318 or visit email: info@pegasusart.co.uk email: info@pegasusart.co.uk
www.ashcraftframing.co.uk/store Griffin Mill, Stroud, GL5 2AZ Griffin Mill, Stroud, GL5 2AZ
SUMMER 2016 65 71
www.painters-online.co.uk DECEMBER 2016
magazine
is available Watercolour
Inspired by nature
digitally
Here’s an easy-to-follow watercolour demonstration to practise applying light,
fluid washes while reserving the white, by Rachel McNaughton
Surface
Saunders Waterford High
White 200lb Rough paper Cobalt Neutral Quinacridone Burnt Burnt Payne’s Aureolin Daniel
15x22in. (38x56cm) turquoise tint gold umber sienna grey Smith
light (or light red) moonglow
Winsor & Newton
Professinal Water Colour
See colours, right
Miscellaneous
Daniel Smith moonglow
White gouache
White gel pen
White pastel (not oil pastel)
Old toothbrush
Step 1
magazine
Step 3
PAINTERSONLINE
and ExaClair Competition
PaintersOnline, the online
home of Leisure Painter
and The Artist, has teamed ENTER NOW
up with ExaClair, the UK To win one of ten sets of three
supplier of Clairefontaine, Paint’ON Fine Art Pads worth
to offer you the chance to £25(rrp) from ExaClair please visit:
win one of ten sets of three
Fine Art Pads from its new www.painters-online.co.uk
Paint’ON Multi-technique
collection – an A3 and an A4 the online home of
in white, and an A4 in natural and
tan, worth £25(rrp) per set. magazines, and click on the links
to competitions. Closing date
for entries is January 20, 2017.
The thick and luxurious 250gsm Clairefontaine started production in
paper in this range is suitable for 1858, in the town of Etival-Clairefontaine,
Winners will be selected at
acrylic painting, gouache, ink, dry situated next to the Meurthe river, 90km random from all online entries.
or oil pastels, collage and other dry from Strasbourg. It now produces an
techniques. The pads are a clever extensive range of premium fine art When completing your details please
way for established or budding make sure you opt in to receive our
papers for numerous disciplines,
great regular email newsletters so that
artists to delve into a wide range including watercolour, sketching, pastels we can keep you up to date with what’s
of media without requiring a and acrylics. For more information visit new at PaintersOnline, including the
different pad for every type. www.clairefontaine.com latest features, images in the galleries,
new competitions and other great offers.
PAINTERSONLINE
and Royal Talens Competition
PaintersOnline, the online home
of Leisure Painter and The Artist,
has teamed up with Royal Talens ENTER NOW
to offer you the chance to win To win a Rembrandt Soft Pastels
a set of 150 Rembrandt Soft Pastels General Selection Master Box from
in a display box worth £375(rrp) Royal Talens please visit
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
Family group
Born in Derry, Northern Ireland, Paul
Porter has always had a strong interest in
drawing and painting. He graduated with
a BA Hons in Graphic Design in 1984 and
started working in the design business,
before setting up his own business with a
colleague in 2005. Painting was
something he continued to do in his
spare time. “As a change from pushing a
mouse around all day at work,” he says,
“I usually take to the back room at home
where I can enjoy my oil painting. It’s
amazing how time flies once you are in
the zone and, as a stress buster, I could
not recommend it more highly. Although
I have to admit to feeling sad when I
have to hand over a commission that I’ve
spent countless hours working on.”
The Houstons was the result of a
commission Paul received from a
business acquaintance who wanted a
portrait of her family as a present to her
husband in celebration of his 60th
birthday. Paul explains: “The painting
was to include portraits of the seven
t
Paul Porter The Houstons, oil, 26x34in. (66x86.5cm) members of the family and was to be a
surprise for the husband. Ideally I would
have liked to plan and photograph the
family group myself, but as this was to be
a surprise, this wasn’t possible. Instead, I
was given this photograph of the family
(left) taken when they were on holiday in
Svalbard – a group of islands between
Norway and the North Pole. The
photograph showed the family in one
long line, with the hut looming large in
the background, which I thought
constricted the space I was able to give
the portraits on the canvas. Instead I
moved Peter, the father, and his son on
the left to just behind his wife and eldest
daughter to break up the line and make
it more interesting. I also reduced the
size of the hut slightly and moved it to
the left, allowing room for the sign.”
t
Photograph of the Houstons taken on holiday in Svalbard
READER HOLIDAY
May
9 to 21,
2017
PAINT IN VIETNAM
with Peter Brown NEAC, ROI
a wonderful adventure capturing every corner
of these towns, producing lots of work and
learning much from him. Peter is a humorous,
enthusiastic and inspirational guest artist.
For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com