Professional Documents
Culture Documents
Our
50th
year!
Be confident
MARCH 2017 £4.20 with colour
BEGINNERS’
LOOSE & LIVELY
WATERCOLOURS
How to capture
fleeting light
PAINT THREE
60-MINUTE STEPS TO
OIL STUDIES SUCCESS
TRY EASY 1 Sketch
PRINTING 2 Photo
TECHNIQUES 3 Painting
!
p002_Mar17_News 1st 17/01/2017 15:11 Page 2
& PAINTERSONLINE
in association with Great Art
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
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
M Colours used
Yo u w i l l n e e d
I Surface
G 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
I Winsor & Newton
Professinal Water Colour
See colours, right
I Miscellaneous
G Daniel Smith moonglow
G White gouache
G White gel pen
G White pastel (not oil pastel)
G Old toothbrush
Step 1
M
magazine
Step 3
M
Editor
Ingrid Lyon
L ooking out on Tenterden high street as
the snow nearly obliterates the
Georgian buildings opposite, I am
Contributing Editor
Jane Stroud reminded of how difficult it is to render the effects of weather – and
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS how much we all love to try. Only the hardy among us are tempted
David Bellamy
Tony Paul STP
to paint outdoors at this time of the year so we have included plenty
Advertising Sales of projects, demonstrations and creative ideas for you to follow this
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) month in the warmth of your own home. Don’t be lulled into
Advertising Copy complacency though, as this is a good time of the year to set
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) yourself challenges and try out new ideas.
Accounts
creditcontrol@warnersgroup.co.uk
If you’ve only been comfortable painting directly from photographs
Events Manager in the past, why not find a photo you like within these pages and
Caroline Griffiths
make a sketch from it first? Set yourself a time limit and think about
Subscriptions & Marketing Manager
Wendy Gregory composition, tone and colour ideas. What would you like to change,
Subscriptions omit, simplify or include in a painting of the scene? Rarely is any
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673) one photograph perfect for copying so take your time and think the
Online Editor
Dawn Farley
composition through or produce a series of quick thumbnail
Designers sketches to try different ideas. This is all part of the creative process
Alison Renno
Sarah Poole and will help you to become more fluent as an artist.
Leisure Painter is published
We always hope you enjoy following the demonstration paintings –
every four weeks by: you can learn a lot from following the techniques and colours used
The Artists’ Publishing Company
Limited (TAPC), Caxton House, by the tutors – but when you’ve finished, why not develop the same
63-65 High Street, Tenterden,
Kent TN30 6BD theme using your imagination or another photograph? Perhaps
(Tel: 01580 763315)
begin a series of spring flowers, paintings using warm browns or
Publisher
Dr Sally Bulgin, Hon VPRBSA snow scenes.
Publication of an article or inclusion of For those who enjoy painting from life, choose your medium and
an advertisement does not necessarily set yourself the task of painting an object, an interior or the view
imply that TAPC is in agreement with
the views expressed, or represents from your window in 60 minutes or under. This month’s anniversary
endorsement of products, materials
or techniques. TAPC does not accept competition challenge is all about simplifying and rendering a scene
responsibility for errors, omissions
or images received in good faith in an hour or under. Set yourself a timer and don’t forget to share
Annual subscription rates: your work with us all by uploading the results on PaintersOnline
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member (details can be found opposite).
countries €67; all other countries
(sterling rate) £50 Enjoy your month of painting and don’t forget to contact me if you
Foreign currency prices include have questions about your art. There’s always someone here to help.
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
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34
32 24
24 Drawing matters
IN EVERY ISSUE Part 2 Techniques, materials and creative
ideas for drawing with water-soluble
6 Letters 10 Online gallery graphite, by Anne Kerr
Your tips, suggestions, Jane Stroud chooses a pet
ideas and questions portrait from PaintersOnline 29 The sky’s the limit
Dave White uses shapes and subtle colour
7 Diary 57 Books mixing to achieve a realistic three-
Things to do this month Some of the best practical art dimensional sky in acrylics
books and DVDs are reviewed
8 Exhibitions 32 Three steps to success
Some of the best shows 59 Art clubs How to produce and transform a rough
around the country News, exhibition listings and sketch and a photograph into a finished
‘best in show’ paintings painting, by Wendy Jelbert
Coming
next month
Spring into action as you learn to draw and
paint with Leisure Painter. Here are just some
37
of the highlights to be found in the April issue
ON SALE 24 FEBRUARY
n What’s holding you
back? Creative ideas
to keep you motivated
with Helen Elliott
n David Bellamy
demonstrates
techniques to paint
trees in watercolour
n Join Pamela Kay as
she plans and paints
interiors in oils
n Follow the final
tutorial in Tony Paul’s
17-part colour series
12 n Step-by-step
demonstrations in all
your favourite media
OFFERS, HOLIDAYS & COMPETITIONS t
Use a variety of watercolour
n Rebecca de Mendonça techniques to paint this carp
2 Enter March’s 50th anniversary competition and you begins a new series on with Alison Fennell next month
could win a £50 voucher for art materials from Great painting with pastels
Art. This month: produce a painting in 60 minutes!
n Build your confidence LEISURE PAINTER
28 Save money when you subscribe to Leisure Painter by drawing with ink ON-SALE DATES
this month n Colour-mixing basics Issue On sale
May 24 March
54 £17,500 worth of prizes to win! Call for entries n Learn new skills: June 21 April
to the Leisure Painter Open Competition 2017, beginners’ woodblock July 19 May
in association with Patchings Art Centre printing at home Summer 16 June
August 14 July
56 Take advantage of the latest offers on practical art n And much more! September 11 August
books in LP’s online bookshop at PaintersOnline
Letters
body colour. Gouache’s opacity also
makes it body colour.
The old guard in the Watercolour
Society refused to exhibit the work of
artists using body colour so the rebels
formed a new society, which today we
YOUR TIPS AND QUESTIONS ANSWERED know as the RI (the Royal Institute of
Painters in Water Colours). The
traditionalist group are now known as
yellow for the outer ring of the eye the RWS (The Royal Watercolour Society).
then cadmium yellow for the inner Indeed, graphite is a slippery
darker shade. substance, often used as a lubricant,
2 Grey was used for the tufts of feathers and there is no doubt that dense
and above the eyes. Black was added application of the softer grades of
around the yellow of the eyes. graphite pencil will repel watercolour
3 I used white around the outer eyes washes, but the slightness of an
and the rest of the body, claws and log. underdrawing in graphite pencil is
Cadmium yellow was added for the unlikely to create much of a problem
beak with yellow ochre for the slight when overlaid with watercolour washes.
shadow on the nose. I then made a few Watercolour is basically a transparent
marks for the feathers. medium and I can’t see the point in
4 I roughly added a mix of light and putting a heavy tonal drawing
dark brown on the feathers and head. underneath watercolour washes. Thickly
5 With white pencil, I filled in some of applied paint, be it watercolour or body
the gaps then did the same with the colour, over a complete and heavily
black pencil. I added a few finishing applied underdrawing in graphite
touches around the eye with grey. would, as you suggest, almost certainly
5 Finally, for the branch I used a mix of result in the paint flaking off.
burnt umber, light and dark brown and But, in recent years, we have had
a spot of yellow ochre. water-soluble graphite pencils, which
Helen Shepherd dissolve into washes at the touch of a
wet brush, and now this new product is
Colour over graphite in a bottle. The information that I have
Over Christmas I was browsing through seen on the product shows that graphite
Helen Shepherd Owl Study, coloured pencil on a book Glory of Watercolour, which is has been tinted to give a small range of
black paper, 111⁄2x81⁄4in. (29x21cm) was inspired by colours, but it doesn’t seem to suggest
Sarah Morrish’s article in the April 2016 issue
about The RWS Diploma Collection.
I happened to note that the medium overlaying the product with traditional
was rarely straight watercolour as we watercolour. The fact that it is dispersed
Working on a coloured surface all use. A number stated ‘watercolour into an ink would suggest that it may
After trying Sarah Morrish’s exercise in and bodycolour over graphite’. LP have an ingredient that will keep it
Leisure Painter’s April 2016 issue, I felt contributors often advocate mixing water ‘friendly’, but the product seems
inspired to give an owl another go. I bodycolour in the hues to suit the to be marketed as a sketching medium
enjoy drawing and painting in my occasion. in its own right.
spare time in between working full My mind boggled over the concept Gum Arabic can be added to a
time, and lately I’ve been producing of putting watercolour over graphite, watercolour painting to create a jewel-
pictures on black art card with as I regard it as slippery. If this were like effect to more densely applied
Derwent Academy coloured pencils. I not enough, earlier paintings often touches of watercolour. There is no
begin by drawing in my sketchbook incorporated ‘gum’. I believe this reason or benefit to add it when using
then tracing my drawing onto the comes anyway as a binder in our normal watercolour techniques.
black card. I’ve been tracing out my paints. Yet I note Gum Arabic is in
drawings so I have spare images to suppliers’ lists. Is this something else
hand to redo again to see how each we should really think about?
one differs. For the owl study (above) I John Blatchford Send your letters to
used: Leisure Painter, 63-65 High Street,
Surface A4 black art card. Tony Paul replies: In the 1830s Winsor Tenterden, Kent TN30 6BD.
Coloured pencils Chinese white, & Newton introduced Chinese white Alternatively, email the editor at
cadmium yellow, pale yellow, light (zinc white) into their watercolour leisurepainterletters@tapc.co.uk.
brown, dark brown, burnt umber, raw ranges. This coincided with the new All letters published here win art
umber, black, grey and yellow ochre. breed of watercolourists rejecting the materials, courtesy of Daler-
Here are the steps I took: established ‘pure’ watercolour Rowney. For details of all
1 After I traced out my drawing onto techniques, by adding white to their Daler-Rowney products visit
the black card, I drew around the watercolours to make them more www.daler-rowney.com
outline with white. For eyes I used pale opaque – this then became known as
Diary
THINGS TO DO THIS MONTH
NEWS
I, Claude Monet
Based entirely on Monet’s personal letters, I, Claude Monet is
a new film documenting the tumultuous life of the artist, from
bouts of depression and despair to the euphoria Monet
experienced through the joy of painting. The film is part of the
series Exhibition on Screen, which works with international t
John Peter Russell In the Morning, Alpes Maritimes from Antibes, 1890-1,
museums and galleries to bring artists’ worlds to life. The film oil on canvas, 233⁄4x283⁄4in. (60.5x73cm) from Australia’s Impressionists
will be in cinemas nationwide from 21 February.
Courses
t Monet’s garden in Giverny during filming for I, Claude Monet n Australia’s Impressionists
Coinciding with Australia’s Impressionists at the National
Gallery in London until 26 March, there will be a two-day
course on Discovering Australia’s Impressionists on
Thursdays 16 and 23 February, 2 to 4pm in the Sainsbury
Wing Conference Room 1. The two-week course will look
at how Australia’s Impressionists helped shape
perceptions of Australian national identity and explore
how their works relate to, but are distinct from, French
Impressionist painting. Tickets: £28/£24 concessions. To
book tickets go to www.nationalgallery.org.uk/whats-on or
telephone 020 7747 2888.
n Joan Eardley
Complementing the
exhibition, Joan Eardley:
A Sense of Place at the
Scottish National Gallery
Call for entries of Modern Art until 21
n New English Art Club May, artist, Damian
The New English Art Club (NEAC) is inviting entries to its Callan, will lead a pastel
annual exhibition at the Mall Galleries in London from and paint course inspired
16 to 25 June. The closing date for entries is 24 by the artist’s work. The
February. For full details and online submission go to course will take place on
www.mallgalleries.org.uk/call-for-entries Tuesdays (10am until
n Society of 1pm) on 28 February and
Women Artists 7, 14, 21 and 28 March.
The Society of Participants will work
Women Artists (SWA) from the model and
Joan Eardley Two Glasgow Lassies
t
is inviting entries to other reference material,
c.1962/63, pastel on sandpaper,
its annual exhibition with an emphasis on 111⁄2x93⁄4in. (29x24.5cm)
at the Mall Galleries using the techniques and
in London (4 to 9 colours favoured by Eardley. The course costs £90/£85
July). Digital concessions. To book, telephone 0131 624 6560.
submissions for pre- n Vanessa Bell
selection are open Coinciding with Vanessa Bell at the Dulwich Picture
until 23 March. The Wang Ziling The Existence of Us
t Gallery, London from 8 February until 4 June, artist, Liz
hand-in day for pre- and Them in Time and Space No. 2, Charsley-Jory, will lead a five-week course for 15 to 18
selected and acrylic on canvas, 351⁄2x351⁄2in. year-olds looking at portraiture through the lenses of
(90x90cm), from the SWA artist, Vanessa Bell and the Bloomsbury Group. The
members’ work is
6 May. Awards, including the £2000 Special Fine Art workshop will take place on five Tuesdays from 28
Award, are on offer. For full information and on-line February until 28 March. For more information visit
entry, go to www.society-women-artists.org.uk www.dulwichpicturegallery.org.uk
LONDON
REGIONAL
n Djanogly Gallery
Nottingham Lakeside Arts, University
Park, Nottingham. 0115 846 7777. ‘Victor
Pasmore: Towards a New Reality’,
exploring Pasmore’s work between 1930
Vanessa Bell Wallflowers, oil on canvas, 14x10in. (35.5x25.5cm)
t
and 1969, until 18 February.
Vanessa Bell n Falmouth Art Gallery
This spring, the Dulwich Picture use of colour, abstraction and form. Municipal Buildings, The Moor, Falmouth,
Gallery in London will be showing Alongside paintings, the exhibition Cornwall. 01326 313863. ‘Artists Afloat –
around 100 paintings by the will also feature ceramics, fabrics and Tuke and Hemy at Sea’,: featuring the
modernist painter, Vanessa Bell. A a special exhibition of photographs marine paintings of Falmouth-based
central member of the Bloomsbury by Vanessa and the American writer, Royal Academicians, Henry Scott Tuke
Group, Vanessa’s work has often artist and musician, Patti Smith. and Charles Napier Hemy, 25 March to
been overshadowed by her family Vanessa Bell (1879-1961) is at the 17 June.
life and associations with other Dulwich Picture Gallery, Gallery Road, n The Fountain Gallery
painters, such as Roger Fry and London SE21 from 8 February until 4 26 Bridge Road, Hampton Court,
Duncan Grant. This exhibition sets June. See page 7 for details of related East Molesey, Surrey. 020 8941 5865.
her work in context showing her to events. Telephone 020 8693 5254; Exhibition of life poses, still lives,
be an innovative painter with bold www.dulwichpicturegallery.org.uk landscapes and abstract paintings by
Ray Collins (1927-2014), 7 to 19 February.
Liberation of Colour
There are just a few days left to see the largest exhibition
of work by Winifred Nicholson since the 1980s at the
Middlesbrough Institute of Modern Art before it moves
on to Nottingham. The exhibition focusses on
Nicholson’s treatment of light and colour, taking
inspiration from places where the artist lived or visited
throughout her life. All genres and styles are featured,
including still life, flowers, landscapes and portraits – as
well as a group of rarely seen prismatic pictures which
Nicholson created towards the end of her life, and in
which she used prisms to see how light was broken up.
Liberation of Colour continues at the Middlesbrough
Institute of Modern Art until 12 February, moving on to
the Djanogly Art Gallery in Nottingham from 4 March
until 4 June, then to the Falmouth Art Gallery from
24 June to 16 September. For more information visit
www.visitmima.com
Winifred Nicholson Cineraria and Cyclamen 1927, oil on canvas
t
233⁄4x24in. (60.5x61cm)
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
W ith any portrait, animal or human, capturing a likeness is not just about the Darren Lewis Cody, oil on canvas,
t
outward appearance – it’s character that’s the defining feature. Here, artist 1534⁄ x2312⁄ in. (40x60cm)
Darren Lewis explains how he set about painting his family pet, Cody. The result
leaves no one in any doubt as to who’s the boss! If you would like to see more work brings. I was also drawn to the low winter
by Darren, post a comment or have a go yourself and upload your own images on light streaming through the bedroom
our free online gallery visit www.painters-online.co.uk windows at the time, emitting a glow on
Cody’s youthful coat and the way it cast
Man’s best friend strong shadows in the background.
As a predominantly seascape painter, years, he has worked in a social work “I used photographs for reference, but
Darren Lewis is ideally placed in the capacity for the Kent County Council, departed somewhat by composing my
seaside town of Margate in Kent. On currently as Senior Youth Justice Worker own colour harmonies and hues to
leaving school, Darren embarked on a within the Kent Youth Offending Service. contrast the warm orange and sienna of
professional football career with Millwall “Cody is my first family pet,” explains Cody’s fur with the more muted greys in
Football Club in London, which took him Darren. “Although I have painted other the background. I love the way Cody gives
to residencies in the USA as part of a people’s pets, I found it harder to paint a ‘lord of the manor’ feel to the painting
University Soccer Scholarship programme. my own and to capture his true character. as if to say, ‘I belong here and I’m in
A serious knee injury forced his retirement The painting depicts the moment we first charge’. The painting took approximately
from competitive football and opened the relented and allowed Cody onto our bed. four months to create, as I revisited it at
doors to his academic studies at the It was Boxing Day 2015 and Cody was different times, allowing the oil paint to
University of Richmond in Virginia where seven months old. I was struck by Cody’s dry between sessions to give clarity to the
he studied art. This was followed with a pose, displaying a look of superiority as he newly applied paint. It now hangs proudly
BA Hons and MA in Fine Art at Canterbury took advantage of us and discovered all in our hallway and greets all the guests to
Christ Church University. For the past 24 the comfort being allowed on the bed our home.”
www.artsupplies.co.uk
Tel: 01204 690 114 | Email: sales@artsupplies.co.uk
o
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ARTISTS’
VALUE
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Available through a select group of stockists
www.artistsbrushes.co.uk
for full information on ranges, sets, prices.
Great value! Big savings!
Oils
t
Winter Landscape near Ugthorpe, oil on board, 10x14in. (25x35cm)
Oils
t
Snow at Lockwood Beck, oil on board,
11x15in. (28x38cm). Painted on a crisp
day overlooking the still, reflective water
on the reservoir, this was a difficult
composition to resolve. Whilst most lines
lead subtly to a focal point at thirds,
I still felt the need for that dot of red on
the lifebuoy housing. It just catches the
eye before leading it along the bankside
and into the picture.
Oils
Demonstration
Winter Above Barnby Becks
Not always happy with your initial drawing
or composition? Well, me neither! Visible
beneath the brushmarks in Step 1 is my first
attempt at the track, rubbed out with a cloth
then repositioned. Next a section of the board
at the bottom was roughly discarded before
I was happy with the composition.
l Burnt sienna Roughly establish the composition, first few marks, tones and the contours
l Light red the lightest lights and the darkest darks, of the landscape are all established, the
l Ultramarine blue all of which give you a framework and a picture can then be reappraised. If you
l Cerulean blue guide on which to work. Whilst the darks don’t feel that it quite works, there’s
l Cobalt violet (Student quality can be altered later, the only fixed still ample latitude to change it. Be
colour is more affordable) parameters at this stage are the ruthless and go with your instincts;
l Titanium whites (the thicker highlights. As you’ve nothing whiter in there are no rules.
Roberson’s or Mike Harding’s your paintbox, they won’t be changing When you stand back and look at
are preferable) and everything else will then have to be this initial stage, don’t allow yourself
toned to fit in with and around them. to feel disheartened. Yes, it may look a
n Miscellaneous Begin with a few tentative marks and mess and it’s quite a discipline to stick
l A large, clean cloth allow the painting to evolve. If you start with it. Establish the right structure
l Turpentine or Sansodor to
with a detailed drawing, you will likely and tones now, however, and it will
keep brushes clean only, not follow it to a conclusion. Once those surely pay dividends later.
used for mixing
Step 2
t
Oils
t
Winter Above Barnby Becks, oil on board, 10x12in. (25x30cm)
Watercolour
Painting project
Part 2 Learn to paint fluently and confidently as you follow
Jem Bowden’s painting of melting snow on a winter lane
LEARNING OBJECTIVES
n How to turn photographs taken
in spring into a winter painting
I n the first part of this painting
project last month, we looked
at how to combine three source
photographs (below) and turn a
(opposite), which I used to produce
the final painting. Arriving at this point
involved imagination, observation and
consideration of compositional issues.
n
spring scene into a convincing winter You can learn a lot from reinventing
Loosen up your watercolour style
landscape. I eventually produced aspects of a scene from a photograph
n Build colour-mixing confidence a composition and tonal sketch whilst keeping a firm grip on reality.
It is highly creative, and the more
reference material you collect the
better so check to be sure important
aspects of the composition look
correct before you begin painting.
The white of the paper is even more
important than usual, as you will need
to preserve it as untouched in places
for sunlit snow. When you add darker
tones, use thick paint, barely diluted
from the tube at times. Don’t be afraid
of this! It is a good way to achieve
a strong dark without risking the
muddiness that often results from
multiple layers of paint. You don’t
need to wait until near the end to
add strong darks, either. As you’ll
see from the following demonstration,
placing some quite early on in the
painting can help your eye judge
the mid-tones.
Your final sketch should already
provide you with the basis for the
tonal values (lights to darks) and you
will now need to reproduce these with
paint. Try using cooler colours for the
distant tones and warmer colours as
t The photographs that introduced the scene last month. The photograph (below) was you come forward. This helps convey
t
used to paint ivy and the other (below right) helped add detail in the finished painting the illusion of distance, thus giving
(page 18). the painting depth. LP
Watercolour
t
Step 1 t
Step 2
1 Having drawn out the main shapes of the composition, paint 1 Whilst the sky is drying place your first – and ideally only – wash
the sky. Practise this on a small scale first, as you will need to on the road. Shadows will be added later, but we don’t want to return
paint very quickly, not worrying much about the actual shapes unnecessarily to any part of the painting. Mix up a wash – as always,
of your clouds; there won’t be time! Mix up more than enough aim for more than enough – and concentrate on the tone. I used
wash of blue sky and cloud colours before beginning. I used a mix of raw umber and light red, and added some of the cloud colour
French ultramarine and added a little Indian red for the to the mix for the most distant part of the road. As you paint be careful
cloud colour. to define the edges of the puddles.
2 Using a large wash brush, dash clouds in quickly then instantly 2 Wait for the sky to dry completely before beginning the tree. Use a thick
skirt around them while they are still wet with the blue sky mix, mix of burnt umber and ultramarine to achieve a strong dark. Use the tip
touching into the bottom of the clouds, but leaving the top of a well-pointed synthetic brush to paint the branches and the full side
right-hand edges as white paper. This is to suggest where the of the brush for the suggestion of twigs. Practise this on scrap paper first.
sun, coming from the right, catches the clouds. The image Use a fairly dry brush and just skim it across the surface of the paper in a
(above) shows the paint whilst still wet, hence it looks fast motion to leave a broken mark. Less is more for this. You can always
a little darker when dry in Step 2. add more later, if the painting needs it, but you can’t take it away.
Step 3
t
1 The dark tree should help you judge the thickness of paint
needed for the mid-tone areas that follow. Using the side of
the brush again for scuff-like marks, put in the further trees
with a varying mix of burnt umber, ultramarine and Indian red.
A touch of cadmium yellow with ultramarine is the basis for
the field grass and the mossy wall. Be careful to leave white
for snow on both.
2 Add brown into the grass near the gateway whilst still wet.
3 When painting the wall, add purple, mixed from ultramarine
and Indian red into the green whilst wet, and use the thick
tree mix for dark accents at the top and bottom.
4 Next, add the wash of pale colours to the right of the road.
This can be fairly vague, but try to leave a patch of white as
a suggestion of unmelted snow. Use light red for the orange
colour and very thick paint again for the dark accents.
Watercolour
Demonstration continued
Step 4
t
t
The finished painting Winter Lane, watercolour, 1212⁄ x2012⁄ in. (32x52cm)
Watercolour
LEARNING OBJECTIVES
n Build confidence with
watercolour
n Practise a variety of traditional
watercolour techniques
n Use masking fluid to retain whites
t
Snowdrop observation sketch
t
Watercolour
Step 1
t
With a B pencil lightly
sketch the snowdrops
and a suggestion of the
horizon line in the
distance. Using an old
brush apply masking fluid
to each flower head and
scatter a few small-scale
brushstrokes into the
background to suggest
distant snowdrops. Apply
a small drop of masking
fluid on the calyx of
each flower head to
retain a highlight.
Step 2
t
t
Step 3
t
t
Step 4
1 When nearly dry, refine the tree trunks and branches with
a deeper purple mixed from a combination of alizarin crimson
and ultramarine blue, with a touch of quinacridone gold to
give a greyish purple appearance. Graze the No. 6 Round brush
downward to suggest the density of the fine branches and add
finer individual branches using the No. 3 Rigger.
2 Apply a stronger mix of green on dry paper surrounding
the trunks on the left and give more depth of tone towards
the base of the trees. Diffuse to soften the edges.
Step 5
t
1 Wet the lower area of the paper and apply a soft mix of Hansa
yellow medium in patches, avoiding most of the area under the
snowdrop leaves.
2 While still damp add ultramarine blue.
t Step 7
1 Mix a yellow green from Hansa yellow and ultramarine
and apply on the calyx using the No. 6 brush. When dry,
add a deeper tone on the shadowed right side.
t Step 6 2 Using a blue-green mix of phthalo blue and quinacridone
1 Combine Hansa yellow medium with ultramarine to yellow continue to add positive stems and leaves working
make a yellow-green and apply with brushstrokes to give from the top to the base so they taper off. Combine this
the effect of grass. technique with negative painting: surround a leaf shape
2 Finally add dilute phthalo blue in sweeping brushstrokes with a dilute wash, add water and diffuse the paint into
beneath and in the direction of the snowdrop stems. the background.
Watercolour
Demonstration continued
t
Step 8
t
t Step 10
t Step 9 Add varying shades of grey, wet on dry, on the petals
1 Increase the strength in the foreground; ultramarine to suggest form and light, leaving plenty of white paper.
and quinacridone gold creates a warm green. Where one petal overlaps another, add a hint of grey. Paint
2 Remove the masking fluid. If the pencil marks rub the final bright green decorative marking on the trumpet
off, lightly redraw the lines. with phthalo blue added to Hansa yellow medium.
Step 11
t
The finished
t
painting
Snowdrops,
watercolour,
1012⁄ x814⁄ in.
(27x21cm)
Julie King
Find out more
about Julie, her
work and classes
by visiting
www.julieking.co.uk
TRY THIS!
Ready for your next challenge? Use the
techniques you’ve learnt from the demonstration
to paint from this photograph of daffodils.
I would choose a limited palette of just five
colours to paint this scene:
1 Aureolin yellow or pale cadmium yellow
(a cool yellow for the outer petals).
2 New gamboge or cadmium yellow (a warm
yellow for the centres).
3 Ultramarine blue. This mixed with the yellows
will make varying shades of green.
4 Alizarin crimson gives warmth to the yellow
and, when mixed with ultramarine, makes a
lovely purple, which is useful for an end of
winter background.
5 Burnt sienna for the background trees. Add
ultramarine blue to make deeper or purple to
give a complementary lift to the painting.
Water-soluble graphite
Drawing matters
Part 2 Let’s look at techniques and materials for working
with water-soluble graphite pencils, with Anne Kerr
t
Traditional Maori House, graphite on 200gsm cartridge paper, 812⁄ x1134⁄ in. (21.5x30cm). Drawing techniques used from last month:
dark against light and light against dark (counter-change); broken lines; dot stipple; following the contours of the object; cross-hatch
and dot dash stipple. Less detail at the edges of the picture will emphasise the focal point.
TRY THIS!
Here are two quick sketches using
all three pencils. Some lines were
blended with water and some were Sketch 1, water-
t
not. Always lay down less graphite soluble graphite
than you think you need, as you on 200gsm cartridge
can easily add more. And remember paper, 512⁄ x512⁄ in.
to build up the tones by allowing (14x14cm)
each layer of shading to dry before
adding the next one.
Water-soluble graphite
Shading
In part one of this series (last month)
we looked at different shading patterns
for different types of textures and
shapes. When using water-soluble
t
1 Here I used all three water-soluble graphite pencils; some areas were blended, pencils, it isn’t easy to use these
especially in the background, while other areas were kept crisp. shading patterns on areas where
TRY THIS!
How to layer the pencils
Here is a photograph of a little village
in Devon. To draw the scene I simplified
the rather complicated roof line on the left
side and left out the seats and the washing
on the line. I enlarged the tree foliage
behind the house so that the chimneys
stood out against the dark background.
The results you achieve with water-
soluble graphite are quite different from
those of ordinary graphite pencils. There
is nothing to say you can’t use both
graphite and water-soluble graphite in
the same picture. Try this exercise and
see the interesting textures that emerge.
Begin with a simple object and progress
to a full picture.
Next month we will look at drawing with
ink, both water-soluble and waterproof.
1 I began
t
with the
light graphite,
which was
scraped into
a palette and
painted on
with a brush.
t
2 The
medium wash
was added in
the same way,
followed by
the dark wash.
Water-soluble graphite
Add colour
When you come to add colour to
your drawing, remember not to
use watercolour, as wetting the
paper will ruin the drawing. You
only need a hint of colour so the
best materials would be simple
coloured pencils.
If you want to go one step further,
Derwent have introduced sets of
water-soluble graphite pencils in t
2 Following the first tonal stage, far left, I added a touch of colour with coloured pencils
lovely subtle colours. LP to complete the drawing
t
3 The medium wash
t
The finished drawing,
pencil was then sharpened water-soluble graphite Anne Kerr
and additional texture lines on 200gsm cartridge Anne runs watercolour, pastel and picture-framing
were added to the drawing paper, A4 classes at her home studio in Spain. Full details can
and left as dry graphite. be found on her website www.annekerrartstudio.com
PAINT THREE
60-MINUTE STEPS TO
OIL STUDIES SUCCESS
to our sister magazine TRY EASY 1 Sketch
2 Photo
The Artist at any time PRINTING
TECHNIQUES 3 Painting
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LP03 29-31 White_Layout 1 13/01/2017 11:43 Page 29
Acrylics
LEARNING OBJECTIVES
n Build confidence with acrylics
n Produce practice pieces, not full
paintings of skies and clouds
n Colour mixing for realistic clouds
Demonstration
A sky study in acrylics
t
The finished sky study, acrylics, 18x14in. (46x35.5cm). This is a practice piece
so just enjoy the process of painting these clouds with me.
As the first step to achieving three-dimensional skies, I always begin with a graduated
background. I am using acrylics in this demonstration, but there is no reason why oil,
gouache or even watercolour couldn’t be used. I like to reuse supports so choosing an
opaque acrylic colour I lay down a cover coat of paint first. Whether you are painting
on a white background or not, it’s always good just to layer on a coat of paint, which
removes the absorbency of the support and allows slower drying coats of paint later.
t
Acrylics
Demonstration continued
t
Step 3 Shapes
Once dry, I added the first cloud shape.
Variety is the key here. A simple approach to
this is to think of irregular shapes. This could
be birds, animals or soft toys, but I like to
t
Step 2 First layer of depth use the atlas and the shapes of countries or
t
Step 4 Variety
It’s difficult to achieve a flat coat of paint continents. I mixed a little ultramarine and I then chose another geographical
without brushmarks, equal depth or other cadmium red deep with a little shape, this time the North Island of
errors in the background. So having covered complementary yellow ochre to create grey- New Zealand then added Iceland! At
the entire support and allowed it to dry (Step purple, and created a shape reminiscent of this stage I selected an odd number
1), I apply a more graduated and even coat South America. It’s not accurate, but a of clouds (three), which avoided
of paint. In this case I used ultramarine with recognisable, irregular shape. You will notice symmetry, repeated shapes and
increasing amounts of titanium white then that the shape already stands out against similiar sizes. Try not to use countries
added a little cadmium red deep. There is the graduated background, not only because or continents with straight edges,
no recognisable horizon in this study, but there is a little complementary interaction including many of the states in the
the quality of the background will allow in the colours, but also the flatter colour in USA, for instance, as they will reduce
the viewer to look at the clouds and not the cloud shape is different from the the variety and therefore interest
your background errors. It’s a very important graduated background. in your painting.
phase in the process.
t
Step 5 Three-dimensional effect
t
Step 6 Highlights t
Step 7 Acceleration
At this stage I chose a light source – in this Leaving the shaded colour at the left- For the New Zealand-shaped cloud,
case from the top right-hand corner. To add hand base of the cloud will also add I repeated the process, but used a little
the three-dimensional effect, I added pure to the three-dimensional look. You will more titanium white, which brought this
white. The underpainting of the clouds was notice that the shape of the cloud has cloud a little more forward, even though
now tacky so blending the pure white was lost a little of its South American it is smaller.
easy and using a finger allowed me to leave look, but that’s fine.
gaps between the layers or bubbles of clouds.
t
Step 8 Connections t
Step 9 Take a breath t
Step 10 More shapes
Playing the same game with Iceland, So with three major subjects in the sky, You can also use the shape and
however, I used less white to throw this I began to add the effect of a distant line properties of your applicators to create
cloud further back in the composition. of clouds. There were no country or a further variety of shapes. In this case
continent I used the side of a 12⁄ in. Round brush
shapes here, and pushed the paint onto the support.
just a little You could also use sponges or paper
more finger towels to create variable shapes.
painting with
less white.
t
Step 11 Take a further break
Having achieved a good variety of shapes, aspects and three-
dimensional effects, I checked the balance of the arrangement
and looked for small areas that needed change. t
Step 12 The final effect
This final arrangement was painted purely for practice. If you
continue with this theme, look out for the wonderful shapes of
Dave White islands in South East Asia and be prepared to find places you have
From 23 to 25 May, Dave will be running a short painting holiday, Paint never even heard of. There are more principles outlined in my book
Forest, Water and Seascapes in Acrylics, in Wells, Somerset with Alpha Sea and Sky in Acrylics. Save £2 when you buy from Leisure Painter’s
Painting Holidays (www.alphapaintingholidays.com). Find out more bookshop at www.painters-online.co.uk/store and follow the links
about Dave’s work and workshops by visiting www.davewhite.org.uk to books. See page 56 for details.
Watercolour
LEARNING OBJECTIVES
n Create sketches with useful notes,
colour notes and tonal variations
n Take photographs that will help
you paint better pictures
n Build composition skills
Watercolour
A simple outline
t
of the shapes
with colour notes
Grass Dandelion
Pale green
t
The finished painting
t
Figure 1 Reference photograph for Peyton’s Paradise (right), taken on the banks of Savusavu Bay in Fiji
LEARNING OBJECTIVES young granddaughter of one of my Cancer Centre Appeal. The inspiration
n
students came along to this location for my painting Serenity (far right)
How to interpret your subject,
with us and were having fun playing came from listening to Olivia’s CD,
not simply copy it
further down the beach while we were Stronger than Before. I aimed to
n What to move, leave out or busy painting. During a break, I noticed capture that feeling of hope emerging
enhance in a composition a perfect composition unfold around from the shadows. I also wanted to
our two young guests. It was a personalise the painting in a subtle
n How to tell a story in your work spontaneous moment that passed way so I asked Olivia which of her
quickly so I was pleased I had my songs she would like depicted in the
camera with me to capture the magic sheet music that I would paint. The
t
Peyton’s Paradise, oil, 834⁄ x18in. (22x46cm)
Your interpretation
Don’t feel limited to copying the facts in a
reference photograph. You can move your
artwork beyond the photographic inspiration
by allowing your imagination to take over
and create a contemporary composition. It
can be a lot of fun to allow yourself to play
with paint and other materials to see what
t
Figure 2 Reference photograph for Serenity (right) t
Serenity, oil, 2312⁄ x3112⁄ in. (60x80cm)
Create a story
The artist should never
be a slave to a photograph;
the photograph is merely
a source of inspiration,
which the artist can choose
to use as a basis for
weaving a more creative
story. Even if there is only
one small aspect of a
photograph that captures
your imagination, try to
extract that and build an
entirely original painting
around it. Read the story
behind my demonstration
of Thinking of You in next
month’s issue to see how
an unimpressive photo
was successfully
transformed into an
interesting painting. LP
Elena
Parashko
Elena is the author of the
empowering book Survival
Guide for Artists: How to
Thrive in the Creative Arts,
available via Amazon.
She also runs painting
retreats in Fiji and Tuscany.
For more information
about her work visit
www.elenaparashko.com
or email info@elena
parashko.com. Her blog
www.survivalguideforartists
.com has a wealth of
information for artists.
t
A New Dawn, acrylic, 3614⁄ x3614⁄ in. (92x92cm)
Back to basics
Understanding colour
Part 16 How to use the warm dark browns in your palette, by Tony Paul
t
Corner of the Rue de Danse, Bagneux, France, watercolour on cartridge paper sketchbook, A5. The greens of the trees were made from
burnt umber and phthalo green; this blend gives subdued, warm, dark greens. The lighter wall of the barn was given a very pale wash of
burnt umber before a broken and very pale wash of the green-brown mix was washed over parts of it. The broken grey wash on the face of
the building was made with burnt umber and ultramarine.
roasting raw umber. It is normally painting you will see just how bad this
Back to basics
t
Fishing Boat, Mumbai, watercolour, 5x7in. (13x18cm). The hull was given a basic wash of burnt umber. While still wet, manganese blue
was dropped into this to reflect the colour of the water, and ultramarine to create the form of the bow. When this was dry, a mix of burnt
umber and ultramarine was touched in to represent the scarring and ageing of the hull. This grey was also used in the boat’s reflections,
and the cabin doorway and window.
t
Williamsburg’s
t
Well lightened with white, this makes a natural Caucasian pink
red umber
After much research, Vandyke brown
was chosen and the kit painted with it,
cracking can become in time. Burnt decomposed vegetation and bitumen. and it really does work.
umber, being a natural pigment, It was a very unstable pigment, prone The Vandyke brown watercolour I used
is subject to many variations of hue and to fading in water-based media, and one for the portrait of John (above right) is by
tone depending on its source. Often other of the worst pigments ever used in oil, Daler-Rowney, from their Artists’ quality
pigments are added by manufacturers to taking years to dry properly, darkening, range. Labelled as being made from PBr7,
counter the variations from their colour cracking and wrinkling as it attempted it is cooler than burnt umber and warmer
charts. to do so. than raw umber. Having checked by
When proposals were made by BP mixing, I think it was made from a blend
VANDYKE BROWN to drill for oil on Furzey Island in Poole of these two pigments. I like the rather
Sometimes the burnt umber has other Harbour, Dorset, a condition of approval soft and dusty character of the Daler-
pigments added to ‘bend’ its colour to was that the visual impact of the nodding Rowney colour, perfect for a tonal
make lightfast replacements for such donkeys and associated equipment portrait study.
traditional colours as Vandyke brown. should be painted in a colour that would
Originally this colour was made from reduce their visual impact and make them WILLIAMSBURG’S RED UMBER
iron oxide-rich clays that also contained blend into the landscape of the island. Williamsburg’s red umber is a reddish
Back to basics
+ = + =
+ = + =
+ = + =
t
The Tropical Blue Sarong, oil on board, 18x18in. (46x46cm). The rocks were laid in using French brown ochre. They were then
modelled by adding white to the brown for the lighter areas and cobalt blue for the darks.
its manganese content, it is a fast drier. to burnt umber and often added to
As with many other earth pigments, FRENCH BROWN OCHRE Artists’ quality ranges to give versatility.
it can tend to dry with a matt finish. Oil Similar in handling to burnt umber,
Other media Burnt umber is used but its high oil content and medium-to-
widely in all media. slow drying rate make it more
applicable to mixes and glazing in
WILLIAMSBURG’S FRENCH BROWN the upper layers of a painting.
OCHRE PY43 Other media Brown ochre can be
Dark browns can also be made from used in all media. LP
roasting yellow earths. Williamsburg’s
French brown ochre is one such variant, orange bias of burnt umber.
made by a long roasting of PY43. You Lightfastness ASTM D4302, Class I,
may remember that this pigment in its excellent lightfastness. Tony Paul
unroasted state is yellow ochre (see Colour bias Towards crimson. Tony is the author of four popular
part 13 of this series, December 2016). Transparent/opaque Transparent. practical art books, still available on
French brown ochre has a very similar Tinting strength Medium. Amazon. Find out about Tony and his
mass colour to burnt umber, but its bias Staining No. work at www.courtenaysfineart.com
is more to a crimson red edge than the Watercolour Its qualities are similar
t
Tre Archi, Venice, oil on canvas board, 5x7in. (12.5x18cm). This was painted on a hot July morning, the shadow in the bottom right corner
soon moved past me and it became too hot to finish in situ. Taking a photograph at the start was useful, as I was able to add most of the
windows and other details later.
60-minute studies
Part 1 Oils make the perfect medium for producing quick studies.
Colin Joyce offers advice on what to pack, where to look and how to paint
Washes take longer to dry in cooler, Don’t go outdoors to paint thinking that
LEARNING OBJECTIVES damper weather and, if you become you want to produce finished work, but
n Techniques for painting quick impatient, disaster follows. I know; I’ve consider it a study that you can work up
studies in oils been there all too often. That’s when oils into a larger piece back home. In that
and a pochade box come into play. Oils way, you take the pressure off yourself
n What to pack for plein air are suitable for all weather conditions and and you can enjoy the time spent
painting are definitely my medium of choice from outdoors. Of course, sometimes you
n Develop your composition skills autumn through to spring. come away with a real beauty, which
It doesn’t take long to paint outdoors, is ready to go straight into a frame.
but I do recommend you work on a
What to pack
I paint outdoors more often than in my
studio, both in oils and watercolour,
because I believe the benefits are
enormous. I use more of my senses
when in front of the subject and this
smaller scale. To paint successfully en
plein air, your window of opportunity is
only approximately 60 to 90 minutes.
After this time has elapsed, the light has
changed so much, especially in sunny
Like most artists, I can’t resist visiting art
shops and buying materials I don’t need
to have, but want! When it comes to
painting outdoors, however, less is
shows in the work I create. I can also conditions, that you need either to move definitely more. I’ve reduced the amount
recall the sights, sounds and smells of the on or start another painting. Whatever of kit down to the minimum, as I carry
scene in front of me later when I finish you do, don’t try to continue, as the it all on my back.
the painting in my studio. painting will only become disjointed or I have two pochade boxes which work
When it comes to choosing which you will paint over what’s already on the in slightly different ways. The boxes I use
medium to take with me, often the canvas as you attempt to adapt to the now are an EASyL Lite and Alla Prima
prevailing weather conditions make way the scene has changed. By working Pochade Blackfoot, both produced in the
the choice for me. I need to be in small, say from 5x7in. to 8x10in., and USA. They can store a number of panels,
control and, unless it is warm and dry, using larger brushes it takes no time at which are usually sufficient for the day.
all to cover the canvas.
t
watercolour will prove quite difficult. I use standard size canvas panels from
Oils
t
Place Moulaiy Hassan, Essaouira, oil on canvas board, 8x10in. (20x25.5cm). Here I was both Winsor & Newton and Loxley. I also
attracted to the shadows working their way across the square. Working quickly I just hinted at make my own random sizes from MDF,
the figures as it was the play of light I most wanted to capture. I drew in where the shadows which then need coating with gesso
were at the beginning. Buildings don’t move but the light does so get that down first. before use. I always colour the surface
with a mix of ultramarine blue and burnt
sienna along with an oil-based white
undercoat to give a mid-tone surface on
which to work.
My colours are Michael Harding oils,
but I also have a number from Winsor &
Newton in the studio. I limit the number
of colours used in any one painting. My
palette comprises: yellow lake, yellow
lake deep, yellow ochre deep, burnt
umber, scarlet lake, ultramarine blue,
phthalocyanine blue lake, ultramarine
violet, terre verte, permanent orange
and titanium white No. 2.
Oils
Choosing a scene
When I go outdoors to paint I look more
for what the light does to the scene than
a particular subject. You probably have
all seen a place you normally wouldn’t
consider transformed by the way the
light hits it, perhaps after a rainstorm
when the sun comes out. If you think in
this way, you don’t have to travel far to
find lots of suitable scenes. In fact,
make a point of staying within
a few miles of home rather than spend
hours travelling and looking for that
elusive perfect spot.
When time and the transient light
allows, I make a couple of quick
thumbnail sketches in ink or soft grade
pencil to establish where I see the light
and dark areas in the scene. I want to
ensure the balance is right, avoiding an
equal amount of light and dark. What
you want is perhaps a 70/30 or 80/20
split to build more excitement into the
scene. Think about what attracted you
to the subject in the first place. I’ll also
take a couple of photos, which will
come in handy later for reference
should I decide to paint a larger version
or even add a few details to the study
if it works well.
Once I’ve set up my equipment, which
only takes a few minutes, I draw the
scene onto the canvas panel using either
blue or brown thinned with Zest-It then
block in the main shapes establishing
the light and dark areas, again thinned
down. This dries off fairly quickly and
allows thicker paint to be added on top
without sliding about. Try to avoid going t
Rio dei S.S. Apostoli, Venice, oil on canvas board, 7x5in. (18x12.5cm). I discovered John
back over the same areas as the oil Singer Sargent painted the Campo in this scene so I just had to give it a go. I learned my lesson
paint can easily mix and muddy. from painting Tre Archi, Venice (page 41) and set up under a covered walkway so there was no
Remember, you’re aiming for a study, problem with the sun this time. I spent a little over the hour on this study and particularly
not a finished piece so detail isn’t liked how I captured the impression of the stone steps going under the water.
important. I only want to capture what
attracted me to the scene in the first
place. I often set the timer on my mobile You won’t need much time if you stick
phone for 60 minutes as that hour can to my suggestions and if you go with a
pass quickly. friend or two there’s an excuse to head Colin Joyce
When you achieve what you wanted, to a coffee shop afterwards to compare Fife-based artist and tutor, Colin runs
stop! Don’t be tempted to keep going your paintings and chat about the classes, workshops and holidays, and
longer and simply move on to your next experience. Don’t wait for the weather, demonstrates for art groups. See his
scene. I would much rather go home just dress appropriately to stay warm work at the Dundas Street Gallery,
with three or four studies to work up and set up where you can seek shelter Edinburgh from 17 to 25 February.
later than one overworked painting. or dive back into the car if a shower His workshops include two watercolour
Go on, try it for yourself; you’ll have passes by. weekends in Fife (12 to 14 May
a great time and your paintings will Join me next month as I demonstrate and 22 to 24 September). Visit
improve because you’ve experienced how I painted a scene from the Forth www.colinjoyceart.com for details.
being outdoors and painting from life. Road Bridge in just 60 minutes. LP
Watercolour
t
Gordon Gibbon Oast Houses, watercolour, 8x10in. (20.5x25.5cm)
t
Tim Fisher Southview, Uppingham, watercolour on Sennelier 140lb Rough watercolour paper, 10x10in. (25.5x25.5cm)
I mix the shadow colour from French colour so it’s unnecessary to grey it off nearer trees I strengthened the mix
ultramarine blue and French vermilion. with brown. I term it as a cool colour, and using the side of the brush, dragged
These two colours can be a little intense as there is generally more cooler blue it across the surface to create the texture.
when washed over a white surface and, than warmer red included in the mix. As the light enters the picture from the
in these circumstances, I add a small As the trees in this painting covered left, I pushed more dark into the wet
amount of Venetian red to grey the a large area of the paper they were paint on the right side of the tree by
colour off a little. Although these colours produced with a large Round synthetic adding Venetian red into the green mix.
are classed as opaque, the wash is No. 14 brush using a mix of Indian Finally, I brought in shadows from an
usually thin enough to allow any yellow and French ultramarine blue. The object outside the picture. This technique
previously applied colour to show selection of brush size reflects the area to helps to break up the foreground without
through. be covered, but it’s important to have a having to add texture for grass, which
brush that comes to a good point, as this can sometimes be distracting. Grass detail
Choose the right tools can be used to paint detail quickly, such doesn’t appear until we reach the foot
Southview, Uppingham (above) shows as leaves, fine branches and twigs. of the buildings. There I added darks
a group of buildings surrounded by trees, behind the grasses to make them stand
painted on Sennelier 140lb Rough Mixing different greens out more.
watercolour paper. This is a bright white I often change my choice of yellows
paper, which contributes to the intensity to match the seasons. For spring greens Textural effects
of the colour applied. Its texture also I use primary yellow, which provides a I painted Country Lane (page 46)
helps when defining trees and foliage. wide range of greens when mixed with on Arches Aquarelle 140lb Rough
The cottage walls were painted initially ultramarine blue. As the summer wears watercolour paper. The surface is heavily
with a mix of Venetian red and Chinese on, greens become darker and more sized, which helps the paint to sit on the
orange. When the buildings were uniform in the countryside so I switch to surface for longer without sinking in. This
completely dry, I added a cool shadow Indian yellow as part of the colour mix. gives time for the heavier particles in the
wash, comprising French ultramarine To give an effect of distance, the far paint to granulate and often contributes
blue and French vermilion. The tree was painted with a diluted wash of to textural effects when painting trees
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underlying colour modifies the shadow Indian yellow and ultramarine. For the and bushes.
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Tim Fisher Country Lane, watercolour on Arches Aquarelle 140lb Rough watercolour paper, 8x10in. (20.5x25.5cm)
Final stages
When the surface was completely dry,
I added the sky. Wetting parts of the
paper with clean water, I used very
diluted ultramarine blue. Hard and soft
edges were created where the wash met
the dampened parts of the paper. For the
lower sky I added distant clouds with
a diluted mix of ultramarine blue and
French vermilion.
Yellow ochre was washed over the field
on the right. Once dry, I added a long
shadow over the road, which disappears
into the left verge. The fence posts and
t
Figure 1 Dry Rough paper ensures t
Figure 2 Paint wet in wet to add depth livestock were a dark created from
foliage texture effects and structure to the tree
ultramarine blue and Venetian red.
After painting, I dabbed the animals with
This is a relatively small painting and so I dragged it over the dry paper surface kitchen roll to soften the edges. To vary
I downsized my brush to a No. 8 Round to create the foliage shapes and tree the texture of the grasses on the left, I
synthetic and made a mix of green from textures (Figure 1, above left). scratched out in places with a sharp blade.
primary yellow and ultramarine blue. When the main shape of the tree was With practice, painting trees, leaves and
After adding a strip of masking tape for constructed I fed ultramarine blue into shrubs becomes second nature. There are
the horizon, I painted directly on to the the wet paint to give the structure numerous speciality brushes available,
white surface, adding a series of trees volume (Figure 2, above). As the tree which can also contribute to the shape,
along the lane. The farthest trees were began to dry, I added a dark mixed from form and volume of trees and bushes
painted with a mix of French ultramarine ultramarine blue and Chinese orange to in a watercolour painting. LP
blue and French vermilion to give a represent the branches against the light.
feeling of distance. On most landscapes I refrained from adding too many, just
I try to add several layers of green whilst offering a glimpse through the gaps
increasing texture and detail as the objects in the foliage. We often assume that Tim Fisher
near the foreground so I then added the branches are brown whereas they’re Find out more about Tim and his work
intermediate tree using yellow ochre and often much darker with a greenish tinge. by visiting www.timfisherartist.co.uk. His
ultramarine blue. Finally, the foreground The lane was added next. The fine latest book Drawing Masterclass: Perspective
tree was painted using a mix of primary point of the brush allowed me to paint is available from Leisure Painter’s bookshop
yellow and ultramarine blue. I made up a grasses along the track. On the left at www.painters-online.co.uk/store and
large area of this colour, spreading it over I painted around a lighter area to create follow the links to books. See page 56
the palette so that it didn’t become over- light stalks. I then removed the masking for special offers on books this month.
mixed. Using the side of the brush, tape and completed the painting.
Watercolour
t
Pencil sketches of wild fowl made on-site
Watercolour
t
Here is a drawing of the finished scene
after working from my on-site sketches and
checking details from reference photographs.
As you will see in the next step, the number
and position of the wild fowl were changed
as the painting progressed.
1 When the washes are completely dry, gently rub away the masking
fluid before adding detail and colours to the mallard and widgeon ducks
using a No. 6 pointed Round sable. My original composition featured two
ducks in the middle distance with smaller silhouettes further away, but I felt
a larger, more detailed study was important to give more impact so included
the larger bird. As you can see, this is more detailed and yet not crisp or
precise, as I wanted to conjure up an early morning scene where details are
far less discernable.
2 When you are happy that the sky washes have created the right
atmosphere for your painting, remove the masking fluid from the birds.
3 Dampen the clear area with a little water then blend in base touches of
sepia, Payne’s grey, cobalt blue and cadmium yellow, before allowing them
to dry.
4 Add sap green to the still damp head then paint touches of the darker
colours to define the feathers. Add a touch of cadmium red with
yellow for the impression of webbed feet, but be careful to allow that
all-important off-white neckband to show through from the paper.
t
Step 4 The reed beds
t
1 Carefully rub away the foreground masking fluid then add washes of Winsor
blue and Payne’s grey over the reed shapes using ½in. and ¾in. flat brushes.
2 Add light brushstrokes under the tops of each frond with a No. 6 pointed
Round in sepia to give detail to the wispy, frost-laden reed tops.
3 You will need two separate base washes for the foreground areas to show
the paler, frosty areas and vegetation contrasting against the dark underlying
water and ice. This is a classic example of the value of patient pre-planning
Richard Nichols
Richard offers everything from
before mixing and hitting the paper with paint too soon. one-day practical art sessions for
small, friendly groups and one-to-
t Step 5 Final touches one tutorials to full art breaks and
1 Using the same layering technique, mix 3 When these colours are dry, use lifting holidays. Telephone 01728 663722
sap green with a little cadmium yellow to sweeps of a small clean damp flat brush for more details or visit his websites
bring out lighter areas within the reeds. to enhance the icy effects around the at www.celebrationart.co.uk,
2 Add a dark blend of cobalt blue and grey base of the plants. Make sure you wipe the www.art-afloat.com and
in turn to add shadow areas and a more brush each time to avoid transferring or www.suffolkartsafaris.co.uk
three-dimensional effect. smudging the colours.
t
The finished painting Winter Wild Fowl, Suffolk, watercolour, 14x22in. (35x56cm)
Printmaking
A painter’s guide
to linocutting
From basic materials to a step-by-step look at the process, Lisa Hooper offers
a beginners’ guide to producing linocuts of wildlife subjects at home
Your materials
Lino blocks can be bought from many
art shops and online. Look for grey
lino that is three or four millimetres
thick. You can also use flooring lino,
but it must be proper marmoleum;
offcuts are sometimes available from
flooring shops. Both of these cut more
easily if they are warmed slightly on a
radiator or with a hairdryer at regular
intervals. There is also a material,
which is very soft and easy to cut,
called Softcut, sold by art suppliers.
People with limited strength in their
hands might prefer to use this.
Cutting tools are probably best bought
online. I use Swiss tools made by
Pfeil. Unfortunately the little sets of
blades that sit interchangeably in a
plastic handle, which most art shops
sell, are not very good. Better to
7x7in. (18x18cm)
Printmaking
t
Winter Blue Tit, hand-coloured linocut, 412⁄ x614⁄ in. (12x16cm)
Printmaking
t
How to hold a linocutting tool. Here I am cutting a woodblock, t
Inking the plate using a roller and a glass plate for the ink
but the tools are the same and held in the same way.
to £20. shape – 34350/001. They also sell oil and achieve. You can only make black
Paper You don’t need to buy special water-based inks, including Schminke, and white marks so any half-tones
paper to start; A4 computer paper is fine as well as lino. Their Abig ink rollers are have to be made with cross hatching
for taking proofs. Thin papers are much a good mid-range choice. or using the tools to cut stipples or
easier to print onto than thick ones, Should you develop a serious interest lines. Therefore, bold and contrast-
although at some stage you might in printmaking, there are also several rich designs will always work best.
want to print onto a medium-weight specialist printmaking suppliers who 2 When your drawing is finished,
watercolour paper so that you can sell online, including Intaglio Printmaker turn the tracing paper over, line it
hand colour a print afterwards. (www.intaglioprintmaker.com), up over the lino and stick the top
Burnishing tool In order to transfer the TN Lawrence (www.lawrence.co.uk) and edge to the table with masking tape.
print you’ll need a burnishing tool of Handprinted (www.handprinted.co.uk). Being careful not to move the lino,
some sort. I favour those ornamental Now you’re ready to make your first slide a piece of carbon paper, carbon
wooden eggs you sometimes see in print! side down, under the tracing. You are
interiors shops, but wooden saucepan now ready to draw over the tracing,
handles or wooden spoons can also Technique which will transfer a reversed image
be used successfully. 1 Begin by drawing around the lino onto the lino.
onto a piece of tracing paper then draw 3 Now is the time to begin cutting,
Suppliers your image onto the paper. Try to keep although if you have a can of fixative
I use Pfeil linocutting tools sold by Great it simple. When thinking about what to you might want to spray the lines
Art and others. The Great Art codes for: draw, bear in mind that complex so that they don’t rub off. Warm a
small V-shape – 34350/006; medium U- gradations of tone are difficult to spare piece of lino slightly and
practise cutting with the tools. Try
to cut along drawn lines and practise
clearing areas. In general the V-
shaped tool is good for cutting lines,
and the U-shaped one is good for
clearing areas. Hold the tools at about
45 degrees: a steeper angle will cut
deeper; a shallower angle will do the
opposite. Remember that you are
cutting away the white areas.
When you are ready to start on
your block, avoid making your first
cuts in a critical part of the design,
just in case you make a mistake.
4 When you’ve finished cutting and
are ready to print, squeeze a couple
of inches of ink out of your tube
towards the top of your glass plate.
Draw down a little ink with the roller
and begin to roll it up and down
then side to side. If you need more
ink to achieve a good flat plane, draw
more down, but don’t use too much.
If it is very wet and you can see
peaks in it, push some of the ink
back with a palette knife and try
using less. When you have a good
sheen, use the roller to ink up the
plate by rolling ink onto the surface,
t
Hand burnishing the plate using an ornamental wooden egg
t
Gone Fishin’, hand-coloured woodcut, 1614⁄ x2134⁄ in. (42x56.5cm)
and
open Art Competition 2017
in partnership with patchings Art Centre
CALL for eNtrIeS
£17,500 WortH of prIzeS
JuDgeS David Curtis ROI, RSMA Ingrid Lyon, editor Liz Wood, artist and
Sally Bulgin, editor Guest Judge: Leisure Painter co-owner of Patchings
The Artist Ken Howard OBE, RA John Sprakes ROI, RBA, MAFA Art Centre
(All art materials prizes are quoted at the rrp)
and
opeN Art CoMpetItIoN 2017
eNtry forM for poStAL eNtrIeS
(Online entries: please see point 3 in entry details, below left)
DEADLINE: March 31, 2017
Please accept my work for consideration for the 2017 competition.
I confirm that my entry is original. I have read and understand the rules
and agree to allow The Artist and/or Leisure Painter to publish,
republish and repurpose my work in print and digital formats
including but not limited to magazines, promotion materials, websites,
databases and as part of downloadable digital products.
Affix to envelope holding entry/ies and send with stamped
addressed envelope and payment of £16, (make cheques payable to
t
Leisure Painter Highly Commended Award 2016 Celia Brookes TAPC), to TA&LP Patchings 2017, 63/65 High Street, Tenterden, Kent
Just Picked, watercolour, 15x1712⁄ in. (38x45) TN30 6BD by the closing date of March 31, 2017. Or, please charge my
Signature
Postcode
Day phone/
mobile no
Email address
Please tick one box to indicate which category you are entering:
n category (by entering n category
this category I confirm that apart
from participation in amateur art
club shows or events, I do not
promote my work professionally)
Please indicate all sizes, when framed, in cms, vertical side first
Winston Oh Title of work 1
Title of work 2
Closin
g £12.99 £12.99
017 £10.99
rd M arch 2 £10.99
3
RRP RRP
RRP
£12.99 £14.99 £9.99
£10.99 £12.99 £7.99
Available from
www.painters-online.co.uk/store
and follow the link to books
closing date 3rd March 2017
LP_FullPage_MAR2017.indd 1 06/12/2016 11:36:51
LP March 2017 Books p57 _News 1st 16/01/2017 10:18 Page 6
&
in association with Patchings Art Centre & Jackson’s Art Supplies
Prizes
We are delighted to announce
exclusive sponsorship by
Jackson’s Art Supplies
l FIRST PRIZE £500 worth of
Jackson’s art materials vouchers,
£100 towards the cost of a
workshop or demonstration t
Art Club of the Year judge, the artist
to club members and a profile and tutor, Hazel Soan in her studio
about the club published in our
magazines, on PaintersOnline
and through our social media Janet Singer Poppies & Scuttle,
t
CLUB EXHIBITIONS.
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Cookham Arts Club
Spring exhibition at Pinder Hall, Cookham
Rise SL6 9EH from 2 until 6pm on Friday
3 March, 10am to 6pm on Saturday 4 March
and from 10am to 5pm on Sunday 5 March.
n Woking Society of Arts
EXHIBITIONS AND ACTIVITIES Spring exhibition at The Lightbox,
Chobham Road, from 14 to 19 March.
Demonstrations &
classes 5pm on final day. Alice Kirwan will Rest Centre, Park Row, Brighouse, at
Bedford Art Society give a harp recital at 11am on 7.30pm. Visitors are welcome. For
Artist, Alexandra Drysdale will give Saturday morning. Enquiries to Pam more information visit www.handlas.co.uk
an illustrated talk entitled Let There Malabon 0161 439 5387. Tewkesbury Art Society
Be Light to the Bedford Art Society on Halifax Art Society Artist, Graham Cox, will give a
10 March, focusing on the art and Jane Austin will lead a workshop on demonstration to the Tewkesbury Art
science of light in painting. The painting a swan in watercolour to Society entitled Moody Views in
event takes place at 7.15 for a the Halifax Art Society on 17 Pastels on Tuesday 21 February
7.30pm start at Putnoe Heights February, with an opportunity to (10.30am to 1pm) at the Methodist
Church, Bedford MK41 8EB. Entry is complete the painting on 24 Church Hall, By The Cross, Barton
free for members; £5 for visitors. For February. Workshops take place at Street, Tewkesbury. £3 for non
more information telephone Jean Peterson All Saints Parish Hall, Godfrey Road, members. Visit www.t-a-s.info
on 01234 307210 or visit Skircoat Green, Halifax from Virginia Water Art Society
www.bedsartsociety.co.uk 10.30am to 1pm. For more information Artist, Kate Osborne, will
Bramhall Art Society visit www.halifaxartsociety.com demonstrate abstract watercolours to
The 50th annual exhibition of the Hipperholme & Lightcliffe Art the Virginia Water Art Society on
Bramhall Art Society takes place at Society Wednesday 1 March at 7.30pm at the
the Village Club, Lumb Lane, Anne Alan will lead a workshop for Community Centre, Beechmont
Bramhall from 31 March to 2 April. the Hipperholme & Lightcliffe Art Avenue, Virginia Water, Surrey. Visit
Open daily, 10am to 6pm; closing at Society on 7 February at Brighouse www.virginiawater.org.uk/artsociety
NEWS
Update on
Wokingham’s frieze
Back in the Summer 2015 issue
of Leisure Painter we carried a
profile of the Wokingham Art
Society including details of a
34-metre long frieze created
by members of the society in
celebration of the Queen’s Diamond Jubilee. In invited to add their own personalities by painting t
Detail
addition to the 17 panels depicting the Queen’s themselves as bystanders, and these were then showing the
early life of the
reign, the society has added a further two panels, added to the bottom of the new panels. To find out Queen
showing pictures of the Queen during her life. Now more about the Wokingham Art Society visit
measuring a total of 36 metres, town folk were www.wokinghamartsociety.org.uk
Chailey & Newick Painting Group Katherine Walden Window to the Soul,
t
t
Joan Sawdon Smith River Shanon, oil, 1534⁄ x1112⁄ in. (40x29cm). t
Sue Smith Southbank Sunshine, watercolour, 2012⁄ x2814⁄ in. (52x72cm)
Wokingham Art Society
Joan won the best in show prize at the Wokingham Art Society’s Monday afternoons and monthly on the third Tuesday of the
annual exhibition, while Sue’s work received the public’s vote month for demonstrations. For full details of how to become a
and was awarded the People’s Choice award. The Wokingham member and to find out more about forthcoming events, outings
Art Society is a lively group of artists who meet regularly most and exhibitions, go to www.wokinghamartsociety.org.uk
NORTH
NORTHYORKSHIRE
GLOUCESTERSHIRE
YORKSHIRE
Opening times: shop Tuesday to
LINCOLNSHIRE NOTTINGHAMSHIRE
SUFFOLK
Artist's Palette
SURREY
Friday 9am – 5.30pm,
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Saturday 9am – 2.30pm The Art
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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,
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Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc Pip Seymour, Canson, Derwent,to Friday
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manyTalens,
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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.
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Talens, pigments and Schmincke Stockists of: Royal
2 Newmarket & Langnickel,
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F Gadsby
Jacquard dyes and paints, Khadi, North Yorks BD23Loxley,
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Picture framing on site.
109 West Street, Farnham,
WEST YORKSHIRE
Pink Pig, Seawhite, fabrics and Tel: 01756 70177
House of Crafts, Cretacolor, Jakar,
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The ArtLN5
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theShop
roll. - Ilkley Stockist of: Derwent,
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d’Ache.
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230 01522 527
High 487 Northallerton,
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Hawksworth Street, Ilkley, Northof:Yorkshire DL7 8LU
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Griffin Mill, London Road, Stroud, Stockist Winsor & Newton,
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Clairfontaine, Da Vinci, Daler-Rowney, Derwent, www.theartshops.co.uk
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Caran Nottingham NG14 6NU 83 Westgate, Grantham NG31 6LE
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Old347 High Street,
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Tel: Art 690114
01204 Trading Company www.patchingsartcentre.co.uk
Pan Pastel, Unison, Pro Arte, Artmaster,
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Hawksworth Street, Ilkley, Stockist of: Derwent, Pebeo, Loxley Reeves, www.theartshops.co.uk
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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
62 MARCH 2017 www.painters-online.co.uk
6
p62_63lpmar17.indd 62 16/01/2017 14:10:12
DANIEL SMITH ESSENTIALS &
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Combine the heavenly transparent colours in the
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JAKAR WATERCOLOUR
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ARTCASE: CARRYING ART ... DAMAGE-FREE
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THE SKY’S
rfu.
7702 069300
@gmail.com
Email: info@watermill.net
Call Bill or Lois: +39 366 488 2587
THE
Watershed LIMIT
Studio
Celebrating our 15 year th
WHEN IT
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ay of the month
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many more… demonstrator for art societies
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Art Materials
Clacton on Sea, Essex, CO16 8RX
studio based
d a sketchbook.” frames
11-14 Jul Sketchbooks available
- Where to Drawon-line
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23-26 Jul South Cost Scenes with Acrylics and
e is warm and encouraging, making her holidays PaletteCall 01427 787318 or visit
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with all-inclusive holidays
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ekly classes held on a Thursday morning L E UP 12-15 Aug Sketching Buildings with Pen and Wash
ovely ainting oliday dventure
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Art Shops
studio based
S E 01934 733877
21-24 Aug Loosening up with Watercolour
kies Gallery in Ludham, as well asDher EALweekend 6-11 Sep The Four Stages of Watercolour studio based
clude a two-day Paint in the Garden course
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26-29 Sep Painting Dorset Skies- acrylics or
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All Art Materials included on selected holidays
k plein air painting holidays, walking and 20-23 Oct Watercolour - the Basics and Beyond Non painters & All Abilities Welcome
studio based
Broads National Park, as well as holidays And much, much more!! Studio & Location based courses in all media
UPER UPholidays to
r, Linda will be runningSpainting Stunning Views and Amazing Locations
LE E
and to Polizzi Generosa DO inBLSicily.
U
SAV and is happy to
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
A
us with her teaching experience
£145
Boscombe Manor, Nr Bournemouth BH5 1HR
DE
meet the needs of individuals - whether it’s one-
at’s needed or special courses for groups. Look
r full details of all64
the courses and options on2017
MARCH www.painters-online.co.uk
find some step-by-step tutorials to follow.
Suppliers of the finest
lp CLA MarNEW.indd 64 art materials 13/01/2017 11:15:43
Mar 17 Holiday of the Month_Layout 1 12/01/2017 14:00 Page 3
T
inclusive painting he special light and atmosphere of Pembrokeshire makes
holiday in France. Beautiful
Beautifu
f l locat
fu location
a ion
at
this area of south-west Wales the perfect venue for artists.
Inspired by the beauty around them, Maggie and Andrew Good fo
ffood
od
Small painting groups in Limousin. Brown started running painting holidays from their home in a Friendly at
aatmosphere
mosphere
All levels welcome. quiet rural location between Letterston and Welsh Hook. Indigo Courses fofforr all abilities
Brown Creative Holidays are aimed at both the beginner and
See the website for details more experienced artists, focussing on drawing and painting the Non-painting part
partners
rt
r ners welcome
or call Mike on
land and seascapes of the area. Maggie is the resident tutor, with Ready-made groups also welcome
01256 850167 or 07774 616361
many years painting and teaching experience, while Andrew
provides the delicious, organic home cooking, making them the
The Old School Studio perfect hosts. Three, five and seven day courses are offered, all
The Old School
Old School Studio
Lane, combining painting on location with studio work. All the courses Call Sandy or Mark 01598 763505
Whittlesford,
Old School Lane, Whittlesford, are underpinned with good drawing, which Maggie is passionate Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
Cambridge
Cambridge CB22 4YS about. Guests stay in Swmbarch House – an old farmhouse with
CB22 4YS four-star grading, which has been sympathetically extended to
CAMBRIDGE based Working Art Studio
set in an attractive Victorian School House. provide three luxury double or twin rooms – all with en suite. Art Shops
Affordable one &CAMBRIDGE based
two day fully tutored Working
workshops. Art Courses are held in the contemporary drawing room and
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Akib, Paul Alcock, Marilyn Allis, Jamel Akib,set in an attractive
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conservatory studios, and guests have access to their own lounge 匀甀瀀瀀氀椀攀爀猀 漀昀 琀栀攀
Victorian School House. and garden for relaxation. The painting venues are all within a
French, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood,
le, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams short distance of the house and include the harbours and 䘀椀渀攀猀琀 䄀爀琀 䴀愀琀攀爀椀愀氀猀
Affordable one & two day estuaries of Fishguard, Newport and Solva as well as St. Davids – 㐀㔀㌀ 㠀㠀㘀㔀㘀
p-in-and-Paint Club every Thursday & Friday
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CAMBRIDGE OPEN STUDIOS IN JULY the smallest city in Britain. As a taster of what to look out for in
Tutors for
Summer School & Kids Painting Activities 2017:
in August 2017, there’s Light on the Sea (five days, any media) in April;
cked with easels, drawing boards etc,Hashim
and benefitsAkib, Vic mezzanine
from a large Bearcroft, floor with a Summer Day and Shadows (five days, acrylics and mixed media)
udents can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Soraya French, Simon Williams SBA, in June; On the Beach (five days, acrylic and mixed media in July);
TonyEmail:
hops or to request the 2016 brochure Allain, Robert Dutton
info@theoldschoolstudio.co.uk and Exploring Watercolours (five days in October). In September
er: 01223 833064 and many more popular tutors
www.theoldschoolstudio.co.uk there will be a seven-day holiday to the Tarn region of France.
Full details are given on the website.
Drop-in-and-Paint Club
every Monday, Thursday & Friday For more information contact Maggie and Andrew Brown at
View/download our 2017 brochure Swmbarch House, Letterston, Pembrokeshire SA62 5UE; 嘀椀猀椀琀 漀甀爀 漀渀氀椀渀攀 猀栀漀瀀
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Award Winning Art Chateau de Pourpry, 81220 Damiatte,
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for details see our website: Framing
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or email: Teaching art has been David’s
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Every year we offer a different selection of hand-picked Private garden in Belgium
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**To redeem this offer, enter code AMAZING on the basket page of www.greatart.co.uk. Valid unitil 31st March 2017. Only to be used once per customer, cannot be combined with any other offer and is not
valid on gift vouchers, books, magazines, products which are already discounted and products from the I Love Art range. When code AMAZING has been applied orders over £9.99 receive free delivery, orders
under £9.99 will be charged the standard rate of £4.95. Brush only orders under £9.99 will be charged the standard rate of £2.95. As standard, an additional charge of £5 will be applied for UK Offshore,
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