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LP07 1 Cover_Layout 1 05/05/2017 14:50 Page 1

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

Our
50th
year!

STEP-BY-STEP wisteria
JULY 2017 £4.20 in watercolour

IMPROVE YOUR
composition and
perspective skills
BE INSPIRED
by line and wash

DEVELOP YOUR
TONAL WORK
Focus on acrylic
palettes and
supports
DAVID BELLAMY
on painting in
the Arctic
How to paint a
portrait in pastel
!

Paint loose TOP TIPS


and lively for painting
landscapes from photos
 

DRAWING FIRST STEPS


Practice Paint an owl
makes perfect! in detail

Lear� to Draw & Paint
‘ Val Cansick Studio’ Opens in Herts

Formerly known as Churchgate Gallery in Hitchin, Hertfordshire, Val has moved


her teaching studio and exhibition space to pretty Halls Green in Weston, Hertfordshire
within Fairclough Hall Farm. Set in hundreds of acres of beautiful North Hertfordshire
countryside, the demand for courses prompted a search for a rural location that would
support plein air painting within easy reach of the studio for finishing outdoor work,
as well as a selection of regular workshops and courses through the year. All the tutors
are experienced and professional artists who have their own expertise to bring to the
studio and all levels of ability are welcome. Choose from illustrative to impressionist
most genres are covered, so whatever your preferred medium or style there is something
for everyone. Whether you just want to have a new hobby, to de-stress, or trying to
become a more skilled artist, you will find something to help you pursue your aims.

Val also runs week long courses at her base in Cornwall, located on the edge of
the beautiful Camel Trail, loved by artists, walkers, and cyclists alike, who like to explore
the variety of landscape and seascapes available on the Cornish Peninsula. Her cottage
studio is within easy walking distance of the River Cam and the Camel Trail that ends
in Wadebridge after meandering through the old railway route into the town.
Contact the studio for a brochure and/or see the website for further information
on dates of workshops and courses.

Prices begin from £25 for a half day workshop or £95 for one day workshops,
to £275 for 3 day courses and £450 for intensive 5 day courses.

Contact details: call: 07544 343749 or visit: www.artvalcansick.co.uk

p02_lpjuly17.indd 1 09/05/2017 09:36:27


July welcome_Layout 1 08/05/2017 15:04 Page 3

Incorporating Leisure Painter


and Craftsman
and Creative Crafts
VOLUME 51/7
ISSUE 561
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
JULY 2017

Editor
Ingrid Lyon
L ast week’s judging day for this year’s
Open Competition, which included
professional artist and tutor, Liz Wood
Contributing Editor
Jane Stroud
Editorial Consultants
and professional artist, David Curtis, was the highlight of the year.
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
We saw a superb variety of subjects and media, including more
Tony Paul STP
mixed-media and oil work than ever before, and the standard
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048) continues to rise year by year. We noted many good subject ideas
(annamarieb@warnersgroup.co.uk)
Advertising Copy and strong compositions, but the ranges of tone and contrast were
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) sadly lacking in some of the paintings that were shortlisted, but not
Accounts
creditcontrol@warnersgroup.co.uk
chosen for exhibition. Liz recommends drawing six small graphite
Events Manager reference squares, ranging from darkest to lightest tones and
Caroline Griffiths
Subscriptions & Marketing Manager ensuring your paintings show at least some of these tones.
Wendy Gregory
Subscriptions
‘In the same way that composers write refrains in music to hook
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
the listener in,’ she continues, ‘so should we use a repetition of tone,
Online Editor shape and colours throughout a painting. Repetition of shape and
Dawn Farley
Designers colour is especially appealing. Van Gogh, Cézanne and Matisse all
Alison Renno
Sarah Poole took shapes and invested them in different areas of the composition.
Leisure Painter is published Look at their work for guidance, especially Turner’s paintings of
every four weeks by:
The Artists’ Publishing Company Norham Castle and Van Gogh’s seascapes with boats.’
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, David Curtis comments on this year’s entries: ‘I get a clear sense of
Kent TN30 6BD
(Tel: 01580 763315) steady improvement in technique and subject awareness in both the
Publisher familiar names and some new contributors to the competition. I am
Dr Sally Bulgin, Hon VPRBSA
sure this in no small part can be attributed to the informative articles
Publication of an article or inclusion of
an advertisement does not necessarily and content the artists derive from this magazine. Especially, I see
imply that TAPC is in agreement with
the views expressed, or represents very capable application of the watercolour technique in all its forms
endorsement of products, materials
or techniques. TAPC does not accept and, it seems, an increasing use of the oil medium, which appears to
responsibility for errors, omissions
or images received in good faith be on the ascendency in both the Leisure Painter and The Artist
Annual subscription rates:
UK £39.99 (includes Northern Ireland); categories.’
USA $80; Canada $92; EC member
countries €67; all other countries The Leisure Painter exhibition opens at Patchings Art, Craft &
(sterling rate) £50
Photography Festival on 13 July and closes on 20 August (see page 71
Foreign currency prices include
bank charges. Payments made for details). See you there!
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

Newstrade distribution by INGRID LYON Editor


Warners Group Publications plc
(Tel: 01778 391000)

SUMMER 2017 issue on sale 16 June

www.painters-online.co.uk JULY 2017 3


LP05 4-5 Contents_News 1st 08/05/2017 14:32 Page 4

Contents JULY 2017


12 55

36 6

24 Arctic adventures
IN EVERY ISSUE In an extract from his new book,
David Bellamy describes his experiences
7 Diary 64 Art clubs of sketching in cold and remote places
Things to do this month News, highlights and
exhibition listings 28 An acrylic view
8 Exhibitions Part 2 Tony Paul discusses palettes, supports,
Some of the best shows 70 Online gallery priming and colours as he continues his four-
around the country Jane Stroud chooses a part series on painting with acrylics
pastel painting of a boat
10 Letters from PaintersOnline 32 Wisteria in focus
Your tips, suggestions, From materials and techniques to drawings and
ideas and questions a finished painting, follow Rachel McNaughton
as you paint a spring favourite in watercolour

36 A true likeness
Part 2 Martin Ash completes the portrait of
FEATURES a small child step by step in pastel pencils
and soft pastels
12 Coastal waters
Hints and techniques for painting beaches 40 Line and colour
and coastal scenes through the seasons in Part 2 Make every line count as you practise
oils, with Christine Pybus line and wash techniques, with Tim Fisher

17 Painting project 44 From photo to painting


Part 2 Follow Jem Bowden step-by-step Part 7 How to extract different ‘stories’ from
as he paints a loose and lively spring one photograph and change the background,
On the cover landscape in watercolour with Elena Parashko
Tim Fisher Mermaid Street, Rye,
pen and wash, 10x14in. (25.5x35.5cm). 21 Drawing project 49 Close encounter
Practise pen and wash techniques with Part 2 Build your drawing and painting Part 1 Take preliminary steps to painting a
Tim this month on pages 40 to 43 skills as you produce two versions of the portrait of an owl, practising a variety of
same scene, by Anne Kerr watercolour techniques, with Paul Hopkinson

4 JULY 2017 www.painters-online.co.uk


LP05 4-5 Contents_News 1st 08/05/2017 14:38 Page 5

Coming
5
next month
Learn to draw and paint with confidence.
Here are just some of the highlights to be
found in the summer issue of Leisure Painter
58
ON SALE 16 JUN
n Try three different
approaches to
painting with acrylics
n First steps to painting
a harbour scene
n Paint a nocturne in
watercolour
n Beginners’ botanical
studies
n Complete your
detailed portrait of
an owl in watercolour
n How to use
6 61 watercolour pencils
n Explore coloured Tony Paul Bathers in the Frome
t

grounds for drawing at Moreton, Dorset, acrylic on


board, 10x8in. (25.5x20cm).
OFFERS, NEWS AND COMPETITIONS projects Tony Paul continues his latest
n Be inspired to paint
series by looking at three
6 How to win Artists’ pen sets from Staedtler, worth in your garden
different acrylic techniques.
£62.50
n Step-by-step oils
11 Enter Leisure Painter’s 50th anniversary competition
for your chance to win a £50 voucher from GreatArt n Seasonal landscapes LEISURE PAINTER
in acrylics, oils and ON-SALE DATES
20 Save money when you subscribe to Leisure Painter watercolour
this month Issue On sale
n How to overcome Summer 16 June
48 Take advantage of the latest offers on practical art shyness when August 14 July
books in LP’s online bookshop at PaintersOnline September 11 August
painting in public October 8 September
54 Join Lachlan Goudie as he paints in Antibes and n And much more!
the Côte d’Azur in September
69 Paint alongside Hazel Soan in India this year
71 The latest news from Patchings Art, Craft and
Photography Festival in July – who’s on the schedule
and events to pre-book

55 Loosen up!
More from the brush of Wendy Jelbert as she paints a lively
farmyard scene step by step

58 Go green
Richard Holland focuses on strong composition, perspective and
mixing greens as he paints buildings in the landscape in oils

61 Sunlight and shadow


Follow Colin Joyce as he demonstrates how he infuses his work
with tonal changes to create depth and drama t
How to overcome your fear of painting in public, with Michael Fenner

www.painters-online.co.uk JULY 2017 5


1st
Call for entries P
£1, rize
000
Portrait Prize 2017
At the RBSA Gallery
rtists are invited to enter portraits in all media*.
Artists
Only digital file(s) of original work can be entered
for selection.
Deadline to enter Wed 7 June, by 4pm.
Exhibition on show Thu 27 July - Sat 19 August.
+ Download the interactive application pack at rbsa.org.uk.
LP07_WebcompS_Layout 1 03/05/2017 14:15 Page 1
* Except photography. © Image - John Williams, Winter, Oil (detail). Highly Commended award in 2015.

Royal Birmingham Society of Artists


RBSA Gallery, 4 Brook Street, St Paul’s, Birmingham, B3 1SA
T 0121 236 4353 W www.rbsa.org.uk
Registered charity no 528894. Registered company no 122616.

PAINTERSONLINE
and STAEDTLER Competition
PaintersOnline,
the online home of ENTER NOW
Leisure Painter and
The Artist, has teamed To win one of five tins of
up with STAEDTLER 50 triplus colour fibre tips
to offer you the chance from STAEDTLER please visit:
to win one of five tins
of 50 triplus colour www.painters-online.co.uk
fibre tips worth
£62.50(rrp) per set. the online home of
and
magazines, and click on the links
Discover the comfort and ease of 1mm. It contains water-based ink that to competitions. Closing date
writing and drawing with a triplus washes out of most textiles and has a for entries is July 30, 2017.
triangular shaped pen from STAEDTLER. ventilated cap for safety. The ink is also
Ergonomically shaped for a relaxed grip, ‘Dry Safe’ which means it won’t dry up Winners will be selected at
triplus pens remain comfortable to hold if accidentally left uncapped. random from all online entries.
even when in use for long For complete drawing and
periods - ideal for any adult colouring flexibility, the colours of When completing your details please
colouring addicts. the triplus fibre tip match those of make sure you opt in to receive our
great regular email newsletters so that
Available in 48 intense the triplus fineliner and broadliner we can keep you up to date with what’s
colours, the triplus colour fibre perfectly so the different pens can new at PaintersOnline, including the
tip has a stable, pressure- be mixed and matched for use in latest features, images in the galleries,
resistant tip for durability and artwork. For more information new competitions and other great offers.
a line width of approximately visit www.staedtler.co.uk

6 JULY 2017 www.painters-online.co.uk

p06_lpjuly16.indd 6 05/05/2017 10:57:48


LP July 2017 Diary p7_News 1st 08/05/2017 09:41 Page 6

Diary
THINGS TO DO THIS MONTH

Open studios
n Derbyshire David Thomas

t
Over 200 artists and artisans will be Cranesbills and Book,
oil, 113⁄4x13in.
showcasing their work in this year’s (30x33cm). David will
Derbyshire Open Arts, which has been be taking part in the
extended to run from 27 May until 2017 North Yorkshire
Open Studios
4 June. Full details of all the
participating artists are available from
www.derbyshireopenarts.co.uk
n North Yorkshire
From fisherman’s cottages to
Victorian workshops, 129 artists will
be opening their studios for on of
the largest open studios event in the
country. The North Yorkshire Open
Studios takes place over two
weekends in June – 3 and 4; and 10
and 11 (10.30am to 5.30pm daily).
To find out more go to
www.nyos.org.uk
n Open for Art
Eighty artists in the Dorchester,
Weymouth, Portland and
Abbotsbury areas of Dorset, including
Tony Paul Riders in the Frome at Moreton, acrylic,
t
Janet Mayled The Visitor, dye, acrylic and
t
Leisure Painter’s editorial consultant, 113⁄4x153⁄4in. (30x40cm). Tony will be showing his work pastel, 211⁄4x29in. (54x74cm). Janet will be showing
Tony Paul, will be opening their as part of Dorset’s Open for Art open studio event her work at the Derbyshire Open Arts event
studios between 20 May and 7 June
as part of Open For Art. Brochures are n Surrey 2001 and provide an opportunity to meet
available detailing all the exhibitors Over 148 studios will open their doors and talk to artists in their studios, watch
and the 42 venues that will be showing in locations throughout Surrey and its demonstrations, buy artwork and get
solo and group shows. For details borders for 16 days from 3 to 18 June. involved in creative workshops. For full
email osadmin@artwey.co.uk Surrey Artists’ Open Studios began in details visit www.surreyopenstudios.org.uk

Always learning Show your work


Linda Birch NWAG Wildlife Art
Leisure Painter contributor, Linda Birch The Natural World Art Group is
will be leading her 16th Summer inviting entries to its NWAG
School at Hampsterley in the North Summer Exhibition of Wildlife
Pennines from 3 to 7 July. Full details Art. Selected work will go on
are available direct from Linda at show at the Natural World
lindajoycepitt@aol.com Gallery at Banham Zoo, Norfolk
Plein air for beginners from 15 July to 17 September.
Artists Joanne Weaver and Fran Russell All two and three-dimensional
are running plein air oil or acrylic work is acceptable as long as the
classes for beginners at various subject is wildlife, wild
locations in Kent on 5 and 16 June, landscape or botanical. The
and 3, 14 and 21 July. Visit closing date for entries is 1 July.
www.franrussellart.co.uk or telephone For details, email Viv Rainsbury:
Joanne on 07415 891098. viv.rainsbury@virginmedia.com;
telephone 01493 440972 or visit
Fran Russell The Royal Military Canal at
t

Appledore, oil on board, 12x8in. (30x20cm) www.naturalworldartgroup.co.uk

www.painters-online.co.uk JULY 2017 7


LP July 2017 Exhibitions p8-9_Layout 1 08/05/2017 09:44 Page 2

LONDON

Exhibitions JANE STROUD RECOMMENDS


n Bankside Gallery
48 Hopton Street SE1. 020 7928 7521. ‘The
Society of Graphic Fine Art’, 5 to 18 June.
‘Above and Beyond’: paintings by Natalia
Avdeeva celebrating the countryside and
coastline of Great Britain, 20 June to 2 July.
n Jonathan Cooper Park Walk Gallery
20 Park Walk SW10. 020 7351 0410. Still lifes
by James Gillick, 8 June to 1 July.
n Llewellyn Alexander Gallery
124-126 The Cut, Waterloo SE1. 020 7620
1322. ‘Bruce Yardley’: one-man show, until
24 May. ‘Not the Royal Academy 2017’: a
Salon des Réfuses, featuring the best of
work submitted to the Royal Academy
Summer Exhibition, but not hung, 13 June
to 19 August.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘Minerva
2017’: featuring the work of 200 Japanese
artists, 30 May to 2 June. ‘Wildlife Artist of
the Year 2017’: hosted by the David
Shepherd Wildlife Foundation, 28 June to
2 July.
n The Marylebone Gallery
25 Devonshire Street W1. 020 7935 0530.
‘Frazer Price’: watercolours, photographs
and glass sculpture, 25 to 27 May.
n Messum’s
28 Cork Street W1. 020 7437 5545. ‘Wilfrid
Gabriel de Glehn 1870-1951’: focusing on
de Glehn’s classical subjects and Arcadian
landscapes, until 26 May.
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
‘Michelangelo and Sebastiano’, until
25 June.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘America After
the Fall: Painting in the 1930s’, until 4 June.
‘Summer Exhibition’, 13 June to 20 August.

REGIONAL
n Attenborough Arts Centre
The University of Leicester, Lancaster Road,
Leicester. 0116 252 2455. ‘A Brush With
Colour’: marking the 20th anniversary of
the arts centre, the exhibition in the
Balcony Gallery will showcase over 500
postcard-sized works by 50 of the centre’s
Creative Learning artists working to a brief
set by tutor, Jenny Gravette, 9 June to 6
August.
John Singer Sargent Spanish Fountain, 1912, watercolour and pencil on paper, 21x1312⁄ in. (53.5x35cm)
n Falmouth
t
Art Gallery
Watercolour brilliance Municipal Buildings, The Moor, Falmouth,
Cornwall. 01326 313863. ‘Artists Afloat –
A major exhibition of watercolours by the Anglo-American artist, John Singer
Tuke and Hemy at Sea’, until 17 June.
Sargent comes to the Dulwich Picture Gallery this summer. The exhibition is ‘Winifred Nicholson: Liberation of Colour’,
arranged thematically and will include landscapes, architectural subjects and 24 June to 16 September.
figurative scenes, focusing on the artist’s use of unusual perspective and arresting n Harbour House
poses. This exhibition of nearly 80 works is the first major UK showing of Singer The Promenade, Kingsbridge, Devon.
Sargent’s watercolours since 1927. The exhibition can be seen at the Dulwich Picture 01548 854708. ‘Drifting into Plein Air’:
Gallery, Gallery Road SE21 from 21 June until 8 October. Telephone 020 8693 5254 paintings by Jolanta Bogdan, until 31 May.
for opening hours or visit www.dulwichpicturegallery.org.uk ‘Swansong’: paintings by Simon Dobbs,
23 May to 4 June.

8 JULY 2017 www.painters-online.co.uk


LP July 2017 Exhibitions p8-9_Layout 1 08/05/2017 09:44 Page 3

n Hilliers Gardens
Jermyns Lane, Ampfield, Romsey,
Hampshire. ‘Off the Wall’: work by a diverse
group of local and internationally-known
artists, including Leisure Painter contributor,
Wendy Jelbert, 9 to 28 June.
n The Jerram Gallery
Half Moon Street, Sherborne, Dorset.
01935 815261. Paintings by Katherine
Swinfen Eady featuring Salisbury Plain, the
west coast of Scotland, France and Italy, 10
to 28 June.
n Tate Liverpool
Albert Dock, Liverpool Waterfront. 0151 702
7400. ‘Portraying a Nation: Germany 1919-
1933’, featuring the work of painter Otto Dix
and photographer August Sander, 23 June to
15 March 2018.
n Victoria Art Gallery
Bridge Street, Bath. 01225 477233. ‘Bath
Society of Artists 112th Annual Open’, 20
May to 15 July

All information given here is correct at the


time of going to press, but you are advised
to check details and opening times with
the galleries prior to your visit in case of
unavoidable alterations to their
exhibition schedules

Stephen Thomas Hope Cove, oil, 15x151⁄2in. (38x39.5cm)


t

Contemporary Passions
Contemporary Passions is an annual exhibition at
the Harbour House Gallery in Kingsbridge, Devon
featuring new work by ten members of the South
Hams Arts Forum, including that of Stephen
Thomas (above). The exhibition runs from 6 to 18
June. For more information telephone 01548
854708 or go to www.harbourhouse.org.uk

New English
Founded in the later part of the 19th century, the
New English Art Club now boasts around 90
painters working in a variety of media, but all
with a concentration on direct observation and
the human figure. Its annual exhibition takes
place each year at the Mall Galleries in London
and features works by members as well as
paintings, drawings and prints selected from an
open submission.
The annual exhibition of the New English Art
Club can be seen at the Mall Galleries, The Mall,
London SW1 from 16 to 25 June. Telephone 020
7930 6844 or visit www.mallgalleries.org.uk.
Readers of Leisure Painter are offered free entry
for two on mentioning the magazine at the
gallery desk.

Melissa Scott-Miller Summer Back Garden with the Artist and


t

Family, oil on canvas, 48x36in. (122x91.5cm)

www.painters-online.co.uk JULY 2017 9


June letters_News 1st 09/05/2017 10:22 Page 11

Letters
reading my last two copies of
Leisure Painter, I have started to paint
in pen, line and wash. I am 81 years
old and it’s great to try something new.
I haven’t tried acrylic or oil painting
yet, but there’s plenty of time to learn
YOUR TIPS, SUGGESTIONS, them later.
IDEAS AND QUESTIONS David Parkes

Painting with disabilities


I was interested in the letter from
Maisie Taylor (Leisure Painter, June)
and was sorry to hear of her
difficulties.
I have a problem with my hands,
owing to arthritis. I recently tried
working with pastels and have found
them easier than using a brush. I was
also interested to read the report by
Tim Fisher in the May issue on Caran
d’Ache Neocolor II water-soluble
pencils. These can be used as pastels
and/or watercolour. I found them
easier to use and less messy than soft
pastels. I think these pencils may be
of some help to Maisie.
Moira Jones

Experiments with paper


I recently purchased Yupo paper to
try out and was looking for some
inspiration when I came across a
beautiful painting of koi carp by
Alison Fennell in April’s issue. So I
thought I’d give it a go with this paper.
It’s a fun, but strange paper to work
Digital art t
Dennis Donald Skiddaw, plein-air sketch with and I was wondering if other
In reply to Marlene Griffin’s letter made using ArtRage on an iPad readers have used it and whether they
(Leisure Painter, May) on the place can pass on any tips on technique?
of digital art in our exhibitions, The tablet is so convenient to use, Steven Foster
may I suggest support for all forms and cleverly emulates real oil and
of mark making, which can be watercolour paint, charcoal, pastels From the editor: Ev Hales
recognised as art? I enjoy painting and ink. Skill and technique are (Leisure Painter, June) advises that
with acrylics, which I believe met involved; it certainly isn’t painting- students try as many different types
with early criticism, and drawing by-numbers. of surfaces as possible. See two of Ev’s
with ink, but more recently have At around £4 for the app, why not paintings on Yupo in the June issue.
also experimented with ArtRage give it a go? You’ll receive several We would love to hear from readers
on an iPad. A recent en plein air hundred pounds’ worth of of their experiences using this and
sketch I made of Skiddaw can be ‘equipment’! other unusual surfaces.
seen above. Dennis Donald

Send your letters to


Storage for art materials made into plan chests for my paintings. Leisure Painter, 63-65 High Street,
Further to the question about storage You could also decorate them to match Tenterden, Kent TN30 6BD.
solutions for materials by Mary Hawking your taste or to look better when stored Alternatively, email the editor at
(Leisure Painter, May), I thought I would in a room. leisurepainterletters@tapc.co.uk.
pass on my own way of storing my work. Angela Gilbert All letters published here win art
In common with most of us, I suppose, materials, courtesy of Daler-
I don’t have a lot of spare cash and have Changing style Rowney. For details of all
made a smashing job of using the boxes I was a draughtsman when I first started Daler-Rowney products visit
I receive every time I order my work and have found the loose style of www.daler-rowney.com
Fisher400 paper. Used flat, they can be painting difficult to achieve. After

10 JULY 2017 www.painters-online.co.uk


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& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers

JULY’S COMPETITION PRIZES


Be inspired by the season and We are delighted to announce exclusive
Rachel McNaughton (pages 32 to 35) as sponsorship by GreatArt throughout
you paint late spring flowers or a scene from this year’s anniversary competitions
your garden this month in the medium and
style of your choice. Please upload your Each month’s winner will receive £50
entry by 12 noon on Thursday 10 August. worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor, Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current 4 You will be invited to send a
accepted. Only original work Painting Competition links high-resolution image of your
will be considered and paintings to Anniversary Competitions winning entry to Leisure Painter
based on reference photographs 2017. You must be registered for publication in the magazine
must have been taken by the and logged in to PaintersOnline in spring 2018.
artist or used with the permission before you can upload an image. 5 All work entered will be
of the photographer. Only one 2 Upload your July entry by the featured on our website at
painting per artist each month closing date of 10 August at www.painters-online.co.uk.
will be accepted. 12 noon. 6 The judges’ choice will be final.
1 Online digital entries must 3 Entries will be judged after 14 No correspondence will be
be sent via our website at August and the winning entrant entered into.
www.painters-online.co.uk. will be informed later in August.

www.painters-online.co.uk JULY 2017 11

p11_lpjuly17.indd 11 05/05/2017 11:02:46


LP07 12-15 Pybus1_Layout 1 05/05/2017 11:24 Page 12

t
Girl in a Red Beret, Sketch at Sandside Café, oil on board, 6x8in. (15x20cm) A favourite drawing and painting place of mine, beachside
cafés have an abundance of colour, interest and let’s not forget, coffee and cakes. What more civilised place could there be to sit with
a sketchbook or paints?

Coastal waters
Spring Take a stroll by the coast with Christine Pybus as you
pick up hints and techniques for painting the changing seasons

LEARNING OBJECTIVES winter waves to, whilst still requiring warm clothing, are people
unwelcoming, a more structured and with energy, movement, colour and
n Develop compositional skills in business-like demeanour. Gone is that vibrancy.
any medium wild energy and turbulence of those It’s also very easy to be blinkered and
n Practise mark making with oils winter storms and the sun, now higher to see just the three options: beach, sea
in the sky, has changed both the or beach and sea. However, beginning
n Work through the oil-painting colour and tone of the sea. From a to spring into life at this time of year are
process from sketch to finished hard, steely grey it’s now turned to a multitude of other unique, exciting
painting a distinctive, soft turquoise and whilst and interesting subjects clinging to the
still well short of the crispness, sparkle coastal peripheries, all of which can be
and colour of its full midsummer incorporated into a composition: cafés,

W ith no daffodils, leaves,


lambs or snowdrops, what,
you might well ask, is the
difference between winter and spring
on the beach? On the face of it, the
plumage, the sea at this time of year
is a delight to paint.
Moving ashore, that still low sun
sends long purple shadows reaching
searchingly across the beach. Then
beach huts, and those aforementioned
figures to name but three.
Beach and sea aren’t all about strong
colour, equally there’s a beauty to be
found in these soft, muted, early
changes are less obvious, but pause there are people, often lots of people. morning, complementary colours. Yes
for just a moment to look and you’ll Not just those hardy few, wearing complementary; the opposites on the
find that they’re far more significant layers of thermals and dark colour wheel. Sparkle is achieved by
than you might imagine. waterproofs that just a month ago using short staccato marks of varying
The mood of the sea has changed were trudging wearily along battling hues of blues and yellows placed next
from the malice and anger of those the elements. No, these, whilst still to each other. LP

12 JULY 2017 www.painters-online.co.uk


LP07 12-15 Pybus1_Layout 1 05/05/2017 11:24 Page 13

t
Sandsend from the Old Railway
Line, oil on board, 6x8in. (15x20cm).
This is another of my little
‘immediate’ sketchbox oils. These
studies are often much livelier and
fresher than the larger, more
considered works. The compositional
possibilities are endless at this time
of year when there’s no leaf cover,
long shadows and light sparkling
through the branches. Adding this
detached, almost intrusive, extra
dimension to an otherwise ordinary
beach scene is just one of those
numerous possibilities.

TIP Keep your sketchbook to


hand and not just on the beach,
but also at airports, railway
stations and whilst on holiday.
Find somewhere where you’re
not overlooked and can sit or
sunbathe. A day on the beach
or a wait for your train or
flight can then be whiled away
sketching figures. Inevitably
immobile, people are
concentrating on their books, the
departure board, or simply laid
out on the sand, seats or floor.
They’re the finest source of
models available. Always select
your subject as they sit down,
t
Spring Sunrise, East Row Beck, oil on board, 11x15in. (28x38cm). This was painted rapidly and
which usually gives you at least much the better for it, due to the fast changing light. The sky, background and foreground had to
a guaranteed five minutes.
be blocked in immediately with a big brush. I could then concentrate on the subject: the sparkle
and figure in the middle distance.
t

www.painters-online.co.uk JULY 2017 13


LP07 12-15 Pybus1_Layout 1 05/05/2017 11:25 Page 14

Oils

Demonstration Surfers at Upgang


You will need
n Surface n Daler-Rowney Artists’ oils
l Gesso-primed MDF board l Naples yellow 1, lemon yellow
10x12in. (25x30cm), (hue), yellow ochre, raw sienna,
washed with burnt sienna burnt sienna, light red,
or ground colour of your ultramarine blue, cerulean
choice. Alternatively use blue, cobalt violet (Student
an oil board, pad or quality colour is more
canvas affordable). Plus the thicker
n Rosemary & Co brushes Roberson’s or Mike Harding’s
l 3 Long Flat Hog oil titanium whites are preferable,
brushes, between Nos. 2 particularly for seascapes
and 8 n Miscellaneous
l Rigger No. 2 l A large clean cloth
l Watercolour-type brush l Turpentine or low-odour
No. 2 Sansodor. To keep brushes
clean only; not used for mixing

t
The original idea, with
notes, which was much
changed in the finished
picture (below right)

t
Step 1
Put down a few tentative
marks, essentially a rough
line drawing then establish
first those darkest areas,
whilst at the same time
considering the
composition. Nothing at
this stage is fixed so you
still have the option to
stand back, look at the
layout, change your mind
and to alter or amend
elements until they feel
comfortable.

TIPS FOR STEP 1


1 Composition The description simply silhouettes, which at this stage are now lie between those darks and lights,
‘comfortable’ is a strange choice perhaps, roughly suggested, as they will be refined and using this approach makes it so much
but then that’s the main criteria for a later. In this picture the main group of easier to judge them.
good composition. Is it easy to look at and three figures are at the thirds point – the 4 Brushmarks The wave and lighter sea
does your eye flow through the picture? focal point – and where the eye goes to colours are at this stage simply a series of
More importantly, and you’ll know first. They lead to a secondary group, next marks put next to each other. This way
immediately if this is the case, does it jar to the more distant figures and finally out they will retain their freshness; mix them
when you look at it? If so, stop, take a to a ship on the horizon. The whole together and they’ll turn to mud. At a
piece of paper and sketch alternative composition therefore forms a fluid S later stage those gaps left can be filled in,
ideas until you feel it’s working. The word shape. There is still (smudged) evidence of still retaining many of these initial marks
you is important here; it’s your painting. other figures that I removed, as they were without losing their luminosity. Note that
2 Figures Painting figures can be off- confusing to the composition. the reflections on the wet foreground
putting for many, however a group of 3 Direction of light With the direction of beach are painted in broad, downwards
surfers in black, walking either towards light from the left, the cloud shadows can strokes and even at this early stage look
or away from you is a good starting point. be established, followed by just a few of wet. Add a few coloured, single
They have no detail whatsoever and are the lightest lights. All other tones must brushmarks to suggest the surfboards.

14 JULY 2017 www.painters-online.co.uk


LP07 12-15 Pybus1_Layout 1 05/05/2017 11:25 Page 15

Step 2
t
1 Establish the sky colour, working from darker at the top to
lighter towards the horizon. Note the vigorous, dynamic
brushwork and regular changes of colour and tone in that blue.
Use bigger brushmarks at the top (nearer) and smaller towards
the more distant horizon. To achieve movement in the sky, it
must be painted rapidly, perhaps better thrashed, scrubbed or
lathered on, as opposed to painted.
2 Once the sky is established the wet sand into which it reflects
can be suggested using broad, downward marks. That then
essentially is the board covered and you can now go on to
Step 3 which is to refine it as much or as little as required.
Over refining, of which we are all often guilty, will quickly dull
that freshness and light so carefully established early on.

t Step 3
1 Initially, soften those obviously too can be
dark cloud shadows along with their refined.
corresponding reflections, a few soft, Paint out the areas that you don’t and the boat on the horizon reduced to
distant clouds on the horizon will add want with white and leave what you a suggestion. Look at the overall picture
depth too. Add the braking waves using do want dark. and ask yourself: Does any mark or area
titanium white straight from the tube 3 A little ‘action’ can be added to the jump out? Is it too harsh? If it is, adjust
with just the tiniest amount of lemon foreground using warm and cool colours, accordingly; if not, leave well alone.
yellow added to crisp it up. This paint just breaking up those harsh vertical
isn’t brushed on, but more put or laid on. marks and adding a suggestion of sand
Overworking these marks will kill all the beneath the surface.
light and impact from them. 4 With gaps in the waves filled in, using Christine Pybus
2 To lift the subject, a white wave is put crisp marks on the wave tops, softer at the Find out more about Christine and her
behind the dark figures and it’s at this bottom, the figures can now, if required, work by visiting www.pybusfinearts.co.uk
stage, using white paint, that the figures be toned down using blues and purples

t
The finished painting Surfers at Upgang, oil on board, 10x12in. (25x30cm)

www.painters-online.co.uk JULY 2017 15


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magazine
is available Watercolour

Step 5


1 I always begin with the eye of a bird, as this is


where painting comes alive. Using a No. 3 brush,

digitally
wet the eye and drop in a thin wash of French
ultramarine, avoiding the highlight areas and
the edges of the eyes.
2 Let this dry then do the same with a mix of
French ultramarine, lamp black and alizarin
crimson, being careful not to go too wide around
the eyes.
3 Once dry add a touch of the same colour but
watered down to the light areas to the sides of
the eyes.
4 With the No. 00 brush add a tiny second
highlight within each eye by using tiny circular
motions then, whilst wet, lift off the area with
a point of a piece of kitchen roll.
5 Let it dry again then add the details to the
bottom and top of the eye with a mix of raw
umber, burnt umber and burnt sienna. Use a little
white watercolour to add the highlight.

TIP Dab your brush once on a piece


of kitchen roll, just to take off
surplus paint.

Step 6


1 Now we need to put down a couple of


washes onto the face. Begin by mixing a very
weak wash of French ultramarine and lamp
black. Wet the face with clean water, avoiding
the eyes, and drop in the weak wash around
the edges of the face and around the bottom
of the eyes towards the beak.
2 Whilst still wet add a weak wash of raw
sienna to the sides of the beak, adding
a faint outline to the beak so you know
where things go at a later stage. Let it dry.

l Instant acccess to your Step 7




1 Using the No. 00 brush, paint the


fine feathers within the face, using a
mix of French ultramarine and ivory
black. Add in a touch of raw sienna
around the eyes and beak. Keep a
constant check on the direction of the

magazine
feathers and the curves of the lines.
Some areas are darker than others so
add more detailed layers to these parts.
2 Use the same process with the
brown areas underneath the eyes with
a mix of raw sienna and burnt sienna.
3 Add the details around the heart-
shaped face with the same blue-grey
colour, adding a touch of raw sienna
to some of the outer edges.
4 Wet the beak with clean water and
add a light wash of raw sienna. Whilst
wet, paint the outline with the French

l View any time, anywhere


ultramarine and lamp black mix,
allowing the paint to blend towards
the centre of the beak. You may
need to strengthen this once dry.

52 JULY 2017 www.painters-online.co.uk

l Easy access to paid-for past


and present issues Go to www.painters-online.co.uk and
l All issues stored in one place click on the ‘Subscribe’ tab, search for
l Subscriptions and single Leisure Painter magazine at these
copies from just £2.99 stores or scan the QR code
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p16_lpjuly17.indd 16 05/05/2017 11:06:53


LP07 17-19 Bowden_Layout 1 05/05/2017 11:49 Page 17

t
The finished painting Spring Landscape, watercolour, 15x22in. (38x56cm)

Painting project
Part 2 Paint spring greens in the landscape, with Jem Bowden
a working tonal sketch (below right) I’d like to focus on the painting method
LEARNING OBJECTIVES based on our spring reference photograph as we go along. It is aimed at being fresh,
(below left). I also suggested some mixes energetic and, if anything, underworked.
n How to loosen up your style for greens, primarily aiming to avoid This approach generally involves some
n Paint loose and lively gaudiness! risk-taking, but I think helps to convey
watercolours In this half of the project we’ll paint our the nature of our subject, which really
watercolour, aiming to replicate the tones is spring itself.
n Practise mark making in the sketch and use those colour mixes It may help you to work on a smaller
you practised last month, along with a scale, but still try to be swift and use

I n the first part of this painting


project last month we looked at how
to simplify and emphasise the best
aspects of our composition to arrive at
few others for the sky, grasses and other
areas of the landscape. Please refer to part
one in the June issue for a description of
the green colour mixes mentioned here.
large brushes. Prepare your mixes in
advance, think through the process
then be fearless! I hope you enjoy the
following challenge. LP

The photograph that introduced the spring landscape last month The finished tonal sketch of the scene
t

t t

www.painters-online.co.uk JULY 2017 17


LP07 17-19 Bowden_Layout 1 05/05/2017 11:52 Page 18

Watercolour

Demonstration Spring landscape

You will need


n Saunders Waterford n Brushes
200lb Hot-Pressed, l Large squirrel
15x22in. (38x56cm) hair mop
l Black Sheep brush –
n Winsor & Newton
a medium-sized
Professional
adapted Chinese
Water Colours
calligraphy brush
l Winsor blue (red shade)
(available from
l French ultramarine
my website,
l Indian red
l Light red
see below) t
Step 1 Mark out the composition in simple terms
l Raw sienna n Miscellaneous First, draw out lightly the main shapes of the composition. Think in
l Cadmium yellow l 8B (or soft) pencil terms of scale and correct placement, but don’t be fussy about the
l Burnt umber l Soft putty eraser small stuff. If you take ages on a perfect drawing, you may become
too precious to take those risks I mentioned!

Step 2 A breezy sky – fast into action!


t

1 The sky process needs to be fast and loose to achieve an effect of


whispy clouds catching the sun in places. With the large mop brush
quickly place a few pale patches of light red, dispersing across the sky area.
These can be rough. Don’t worry about their shape at all; variation in
placement is more important and speed is of the essence.
2 Then load the mop with Winsor blue, greyed slightly with a small
amount of light red (pre-mix this so you are able to act swiftly). Quickly
skirt your brush all around the edges of the cloud ‘patches’, touching into
them in places, but in other places leaving small areas of white paper
around their edges, especially on the tops. Where the paint merges allow
the colours to run. Try not to fuss, but move on swiftly.
3 Pale your wash away towards the bottom of the sky with clean water.

t Step 3 Background and mid-ground washes


1 Once the sky is dry place dabs of the blue in a couple of dabs of the pale raw sienna 2 Once dry, begin on the trees. At the left
sky colour along the top of the distant hill. mix (see last month). Allow the colours is a dark, quite thick, cool mix of the grey
Join the dabs with a more purple mix of to merge on the paper, wet against wet. and raw sienna mix (see last month). Look
French ultramarine and Indian red. Throw Resist the temptation to stir it all together. at the sketch to judge your tone correctly
and try to make it dark enough first time
so you won’t need to overpaint later. This is
important in retaining the freshness we’re
aiming for.
3 Vary the colour towards the warmer mix
(using extra raw sienna) as you move along
the hedgerow, with the exception of the
sparse purple tree (Indian red and
ultramarine).
4 Use the cadmium yellow-based mix (see last
month) against the sky on the right. Use the
raw sienna mix again for the field with Indian
red added at the base while it is still wet.

TIP Concentrate on your brushmarks.


Use the brush briskly on its side (and
the tip for branches). With as few
strokes as possible aim for marks that
have energy and movement. Sometimes
you’ll want quite a dry brush, but mix
these with wetter strokes for variety.
Take risks, but be careful not to fill
those important gaps in the foliage.

18 JULY 2017 www.painters-online.co.uk


LP07 17-19 Bowden_Layout 1 05/05/2017 11:50 Page 19

Step 4 The foreground

t
Suggest the ground foliage with a range of
loose marks, including some strong tones
(thick paint) set against white paper in places.
I used a little burnt umber dropped into one
part wet in wet for a spot of warmth. The
colour used to the left is the greyer mix
shown last month. Keep the far right very
pale. The whole area is slightly dappled with
light and shade, and can remain vague.

Step 5 The main tree

t
Here the foreground tree is shown half
completed. Use thicker blends of the
cadmium yellow and grey mix with yet more
vigorous brushmarks to suggest foliage. The
trunk uses a thick mix of French ultramarine
and Indian red. A few branches are scraped
out at the top – light against dark – with
a fingernail while the paint is damp.

t Stage 6 Finishing touches


Take a break from your painting and return
with fresh eyes. Towards the end it really
pays to spend more time looking and
considering than actually painting. I wanted
to judge carefully how much of the foliage
and thin branches coming down from the
top of the painting would be needed. This
involves more risk taking and a less-is-more
approach so take your time and perhaps
practise tone, colour and marks on a scrap
sheet first. In the end I added a few extra
brushstrokes to complete the main tree,
placed a solitary bird in the sky to help
draw the eye deep into the scene, and
slightly darkened the left foreground to
give a better idea of shade. See what your
own painting needs – then be brave!

Jem Bowden
Jem is a full-time artist and
watercolour tutor, providing
one-to-one tuition,
demonstrations, workshops,
weekly classes, and residential
painting holidays, including
the Wye Valley in Watercolour
(9-14 July) with Alpha Painting
Holidays (www.alphapainting
holidays.co.uk). For more
details, and to see a blog and
galleries of his work visit Jem’s
website at www.jembowden
watercolour.co.uk, email
jembowdenwatercolour
@gmail.com or telephone
0117 9711735.

t
The finished painting Spring Landscape, watercolour, 15x22in. (38x56cm)

www.painters-online.co.uk JULY 2017 19


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LP07 21-23 Kerr_Layout 1 05/05/2017 12:01 Page 21

Drawing

Drawing Project
Part 2 Complete your drawing of this Mediterranean town scene
using graphite and pen and wash techniques, with Anne Kerr

LEARNING OBJECTIVES
n

n
How to work from photos
Build confidence with your
L ast month we looked at the
photograph I had taken whilst
visiting the beautiful little
Mediterranean town of Montenegro
(below). I also included the greyscale
our reference picture, I suggested
several ways of tackling the project
using drawing materials of your choice.
I suggested you might like to mix up
the types of drawing materials to give
drawing skills
version of the photograph (page 22) new and interesting effects. Remember
n Ink drawing and pen & wash to help you to distinguish the light and there are no rules when it comes to art.
techniques to follow dark tones. Using this photograph as The materials I used were:
l Arches Hot-Pressed (HP)
watercolour paper, 111⁄2x81⁄4in.
(30x21cm)
l Micron permanent ink
drawing pens, Nos. .02
and .05
l Winsor & Newton
Professional Water Colours:
ultramarine blue, burnt
sienna, raw sienna and
phthalo turquoise
l A large watercolour brush
and palette.
Before I began, I checked that
the ink in my drawing pen was
waterproof, as I intended to
add watercolour washes to the
drawing. The following steps
show the three-pass method
I used to build up my picture:
an initial outline sketch,
followed by additional detail,
and finally the dark tonal values
and texture lines added to the
centre of interest.
I hope you enjoy following
drawing and painting along
with me over the page. LP

Demonstration
Montenegro

You will need


l Arches Hot-Pressed (HP)
watercolour paper,
111⁄2x81⁄4in. (30x21cm)
l Micron permanent ink
drawing pens, Nos. .02
and .05
l Winsor & Newton
Professional Water
Colours: ultramarine blue,
burnt sienna, raw sienna
and phthalo turquoise
l A large watercolour brush
and palette

t
The photograph that introduced last month’s painting project: buildings in Montenegro
t

www.painters-online.co.uk JULY 2017 21


LP07 21-23 Kerr_Layout 1 05/05/2017 12:02 Page 22

Drawing

Demonstration continued

t
This black-and-white version of the scene
will help you to produce a fully tonal drawing

t
Step 1 Drawing from the inside out
I completed an outline sketch of the scene
beginning with the largest shapes and working
my way down to the smallest shapes, which
enabled me to place the picture accurately on
the paper without running out of space. I kept
many of my drawn lines broken and slightly
uneven to give the picture movement and
interest. The little market stall and the chair did
not add anything to the ambience of the scene
so I replaced the market stall with additional
foliage. I went straight in using ink (without a
pencil drawing first) and decided to treat the
picture rather like a vignette so that filling the
whole of the paper was not important to me.

Step 2 Power pointing


t

With the outline complete I concentrated


on adding the dark tonal values and texture
lines to the centre of interest. I deliberately
made the outside areas of the picture less
interesting with fewer tonal values so that the
viewer’s eye would be drawn to the centre of
interest, which comprised the doorway, steps
and supporting wall. The lighting effect in the
original photograph was not particularly strong
so I reminded myself that the light was coming
from the left by adding a large arrow on my
drawing board. I chose to enhance the effect
of the light so that it lit up the end of the street,
casting a strong shadow from the building on
the left of the drawing. Notice how the surface
of the street has been suggested with only a
few stones and pebbles. Likewise, the walls of
the buildings only have a representation of
the textures that make up these features; the
brain will fill in the rest of the story. There’s
no need to draw every brick and stone.

22 JULY 2017 www.painters-online.co.uk


LP07 21-23 Kerr_Layout 1 05/05/2017 12:03 Page 23

Step 3 Colour washes

t
1 Having completed the drawing
I was ready to add colour using light
watercolour washes. I was conscious
that this was a line and wash picture,
not a pure watercolour painting, and
loose, gentle and unfussy washes of
colour were all I needed. It didn’t
matter if the colour ran over onto
nearby features; this all added to
the loose and spontaneous look to
the picture. My first washes were
wet in wet:
Sky Ultramarine and a little
burnt sienna.
Buildings on the right of the picture
Raw sienna and burnt sienna.
Building to the left of the picture
Ultramarine and burnt sienna.
Central wall and house Raw sienna,
and leaving small white patches.
Road Ultramarine and burnt sienna
with a little pure burnt sienna
dropped into the foreground.
Windows Any mixture already on
my palette with a little turquoise
dropped into the central windows
to draw the eye.
Foliage Ultramarine blue, raw sienna
and a touch of burnt sienna.
2 Once the first washes were
completely dry, I added the shadows
to the picture using various mixtures
of ultramarine blue and burnt
sienna, wet on dry.

The finished painting


t

Montenegro 1, pen & wash,


1112⁄ x814⁄ in. (30x21cm)

SAME SUBJECT, DIFFERENT MEDIUM


I tried the same picture using If you have been following this
alternative drawing media to achieve series of six articles on drawing, you
a totally different effect. I completed have now probably decided on your
this using a selection of Derwent favourite medium. I do hope you
Graphite pencils in 2B, 4B and 8B on have been inspired to tackle regular
an A4 piece of smooth Bristol Board. drawing, especially if it is something
Once again this was completed using you hadn’t tried before. It has been
the three-pass method: an initial a pleasure to introduce you to just
outline sketch, followed by additional a smattering of techniques and ideas
detail and finally the dark tonal over the past six months. I would love
values and texture lines added to to know how you got on; you can
the centre of interest. always contact me via my website.

Anne Kerr
Anne teaches on painting holidays in the UK, Italy and Spain She gives talks
and painting demonstrations to local art groups and runs classes at her home
studio. Full details can be found on her website www.annekerrartstudio.com
t

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t
Tasiilaq harbour iced up

Arctic adventures
Join David Bellamy and fellow artist, Torben Sorensen, as they
venture deep into the Arctic to find inspiration and colour everywhere

LEARNING OBJECTIVES
n How to paint in cold climates
n Techniques and ideas for
sketching with water-soluble
media
n Be more flexible with your work

T he morning sun was casting silver


sparkles across the ice, but it was
ice-cool sitting on the sledges
waiting to go. Dog teams leaped
excitedly about, barking with eager
anticipation of a morning run across the
frozen wastes. Torben was sitting on the
back of another sledge, and we each had
an Inuit driver, who normally sat at the
front, cracking his whip and giving the
odd guttural command to the huskies.
With a jerk we were away. Across the
soft snow, the ride was smooth and
dream-like. In the clear light, one could
see great distances and happily sketch
distant peaks without any need to hurry.
The Greenland sledge is an excellent
sketching platform while the going is
smooth. Many times I drew Torben’s
sledge as a focal point in a sketch of
the savage landscape. Eight to 12
dogs massed together can look like a
t
Iceberg in Sermilik Fjord, Greenland. The mist came and went, so I sketched rapidly with shapeless mess in a drawing if you are
water-soluble pencils to capture the dramatic atmospheric effects caused by the changing scene. not careful. Two or three heads are

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t
Icebergs Caught in the Evening Glow. Tense moments sketching as the light faded, while imagining a host of hungry polar bears about
to emerge out of the gloom.

sufficient, with the blurring of flying


powder snow an excellent device to
lose most of those racing legs.
When something really exciting
demanded a more considered drawing,
I called a stop and we often took the
opportunity for a hot drink as we
sketched. After sitting for some time
on the sledge, it was always welcome
to stretch the limbs and follow the dogs’
example of jumping about a bit to
warm yourself up.

Travel arrangements
Our route lay across fjords, up mountain
slopes and down the far side to the next
fjord. There was no sign of life, no birds
or beasts to relieve the grey desolation.
Visually the weather ranged from sunny
and benign to moisture-laden indigo
nimbus broken here and there with
white strands; the snowstorms obligingly
keeping well into the distance. In this
landscape dominated by blacks and t
David sketching with a spotter scope. Photograph by Torben Sorensen.
whites, especially in flat lighting that
tends to diminish colour, the starkness
of the contrasts was striking. An artist evil-shaped rocks sticking out of the Sketching foray
has to be careful to seek out those snow. In the evening we felt a desperate need
nuances of intermediate tones that are Sledging across hard sastrugis – ice to stretch our legs, so, clad in down
present, but this was difficult to see ridges sculpted into the surface by the jackets and snow boots, we emerged
against glaring white snow. I had to wind – can be likened to riding a road from the hotel and hiked across deep
look hard for colour here, while at the drill at high speed, as the ice is rock snow towards the fjord. Once away from
same time watching out for rocks ahead hard. At one point we stopped to check the building, thoughts immediately
that might overturn the sledge. I had whether Bent, Torben’s driver, had sprang to mind of polar bears hiding
lost enough pencils already – they flew caught any seals in a net he had set a behind every large icy eminence, waiting
out of my hands as we swerved, took day or two earlier. A post driven into to jump out at us. We had no rifles, my
off over an ice hummock or crashed the sea ice marked the spot and the largest weapon being a No. 10 sable
into a snow bank. Huskies appear to Inuit dug down until a patch of dark brush to fend off any bear attacks. Where
have little concept of how annoying it water was revealed. Sure enough, when land ended and the fjord began was not
can be to see your sketchbook Bent’s friend, George, hauled the net in, obvious, but we hoped the fjord ice was
disappear down an icy crevasse. At a small ringed seal had been caught. thick enough to take our weight. The
times I imagined the lead dog must Torben had the pleasure of its rather evening was clear, with a sunset in the
have a grudge against artists, as so often smelly companionship on his sledge offing. Huge icebergs lay frozen into
t

he seemed to head directly for the most for the rest of the day. Ikaasaartik Fjord, waiting for the summer

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t
Huskies in full cry. The original pencil sketch holds a fleeting memory of hurtling down a steep slope while looking backwards at the
following sledge, holding myself in position with legs straddling the sides, then bouncing off the sledge onto a snow bank and back on
again, still with sketchbook in one hand and pencil in the other.

thaw to release them. Beyond the fjord, knew full well that if one did appear, a coloured line, but not the intense
the snowbound slopes of Iperajivit we would have no hope of reaching one I would expect working into a
were turning pink in the evening glow. the hotel before it was upon us. The damp surface. The temperature was
To the west rose a range of sharply icebergs glowed a fiery red in the falling rapidly. Still no bears in sight.
defined peaks. From where we stood, evening light, so watercolours were Torben was working away nearby and
no sign of civilisation was visible, obligatory. The water was kept in a we exchanged howls of laughter at
simply raw Arctic scenery. container in a neoprene pouch inside our pathetic efforts.
Stopping near what we thought was my jacket and as I poured it out, it Over the years, experience has
the edge of the fjord, we extracted our turned into an icy sludge. Quickly taught me that however hopeless a
sketching gear and began drawing. I dipped a large brush into the sludge, sketch may be, something positive
Removing a glove reminded me flicked it into the paint and applied it always accrues from the work. Simply
how cold it was. Another bear check to the sketchbook, but the brush hairs by looking at the marks you have
revealed none in sight, though we were already rock hard. I discarded the made, however wild and incoherent,
brush for a second you find so much detail of the scene
one, just managing flooding back into your memory.
to get a wash over Completing well-remembered or
part of the repetitive details immediately you
This article was adapted background before return to tent, hotel, or wherever,
from David Bellamy’s the hairs froze. The will further enhance the sketch,
Arctic Light (Search Press, washes instantly although it can be self-defeating if
£25). Save £2 when you reticulated on the you overwork it.
buy this book from our paper as they iced As we packed our pencils away,
bookshop at www.painters- up. Normally, for the light was fading, so it was time
online.co.uk. Turn to page rapid-fire sketching to return to base. Into the Arctic dusk
48 for details. Meet David like this, we hiked, through deep snow, our
at Patchings Festival in I work into the wet thoughts enlivened by the imaginings
July (see page 71 for washes with a of a whole host of polar bears in hot
details) and find out more watercolour pencil, pursuit, as we continually glanced
about David by visiting but here it simply over our shoulders. LP
www.davidbellamy.com rattled across frozen
reticulations, leaving Into the misty icebergs
t

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LP07 24-27 Bellamy_Layout 1 05/05/2017 13:06 Page 27

Inspiration

t
Old Church, Tasiilaq. To increase the rock textures in the foreground, I stuck small pieces of oriental paper in place. The church is now a museum.

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t
Acrylics

An acrylic view
Part 2 Tony Paul discusses palettes, supports, priming and colours
as he continues his four-part series on painting with acrylics

Polythene palettes
LEARNING OBJECTIVES
n

n
Understand acrylics
Make the right choices for
T his month I want to look at
polythene, disposable and stay-
wet palettes to help you make
the right choices then go on to discuss
supports and how to prime them.
When acrylics were introduced, starter sets
were often supplied with small polythene
palettes. Polythene’s greasy feel is ideal to
give the strongly adhesive acrylic resin
palettes and supports Finally, we’ll look at how support, little to grip on to. These 9x6in. palettes
n Tips and techniques for painting priming and colour palette come were suitable for small paintings only,
portraits together to produce a portrait. particularly as the thumb hole reduced
further the available mixing area.
On a recent visit to Ikea I noticed that
lids were sold separately to the shop’s
polythene storage boxes so I bought a
39x28cm lid. This is reasonably light and
can be hand held if necessary, but I tend
to put it on an adjacent table or chair.
The design I have has a raised central bar
along its length and recessed areas to
either side. I adopted the regime of setting
out my palette on the bar, leaving the
adjacent wells for mixing. These can hold
a considerable amount of liquid paint
if required.
Cleaning the polythene palettes is
simplicity itself. After cleaning off the wet
mounds of paint with kitchen roll, place
the lid on a horizontal surface and, with a
jug, pour warm water until the lid is filled
to its top edge. Add a dash of washing-up
liquid and hey presto, in less than a
minute the residual paint will begin to
wrinkle as the water creeps beneath it.
Drain off the excess water and wipe off
the loose skin of paint with more kitchen
t
Polythene makes cheap and easy-to-use palettes for acrylics. Colours shown from left roll. Any obstinate bits can be rubbed off
to right: phthalo green, burnt umber, cobalt blue, phthalo blue, burnt sienna, cadmium with the residue loaded kitchen roll.
red, alizarin crimson, yellow ochre, cadmium yellow, lemon yellow and titanium white. It may be difficult to remove acrylic from
some hard plastic or wooden palettes.
Unvarnished wooden palettes are really
unsuitable and should not be used.

Disposable palettes
Tear-off palette-shaped paper pads,
complete with thumbholes, come in two
types: those made of greaseproof paper
and those, again of paper, which have
a plastic-coated mixing surface. The
former, older type tends to wrinkle and
distort and, if worked fairly wet, can
end up in an unholy mess. The plastic
laminated type (right) is more stable
and therefore easier to use.

Stay-wet palettes
These are basically vacuum-formed
plastic trays into which dampened
absorbent paper is laid. Over this is placed
a membrane of greaseproof paper on
which you mix the colour (top right).
Acrylics dry by evaporation. As the water
begins to evaporate, the paint draws water
through the membrane paper to replace
t
Winsor & Newton plastic laminated disposable palette, 912⁄ x1412⁄ in. (24x37cm) the water lost so, in theory, the paint

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LP07 28-32 Paul_Layout 1 05/05/2017 13:10 Page 29

should never dry out. This process is


known as osmosis. However, on hot
or windy days the evaporation can be
so rapid that the absorbent paper under
the membrane dries out, causing the
colour to dry on the palette. It is a good
idea to take a mister bottle with you to
occasionally re-wet the absorbent paper.

The painter’s palette


What colours do I choose in acrylics?
Well, if you use other media you will
by now have found a range of colours
you like using. Most, if not all, will be
available in acrylics. However if acrylics
are your introduction to painting, the
following advice may be useful.
Try to cover the spectrum with your
colour selection. You will need a cool
t
This Daler-Rowney Stay-Wet Palette is useful when using acrylics in the open air
and warm version of the three primary
colours – perhaps lemon yellow and
cadmium yellow, cadmium red and a Canvas textures
lightfast alizarin crimson, cobalt blue
(or ultramarine) and phthalo blue (or
cerulean blue). To this you should add:
titanium white (unless you are using
a pure watercolour-style method); an
earth yellow – perhaps yellow ochre;
an earth red – burnt sienna; a dark
brown – burnt umber; and a green –
phthalo green. These 11 colours will
enable you to mix any colour you need.
But, of course you can add favourites
of your own to the list. I love Naples
yellow and red oxide, as I find them
universally useful.

Supports
Acrylic is an excellent adhesive. It is also
elastic, although it does become less so
as it ages. It is better tempered than oil
when used on stretched canvases, its
elasticity far more able to cope with the
tightening and loosening of the canvas
as the seasons or humidity change.
Any non-greasy or non-water repellent
surface can be used for painting on
without needing a primer. But beware:
t
Linen canvas
some linen canvases are oil primed and
unsuitable for acrylics and so are the
famous Daler boards. Increasingly what
is known as universally primed or acrylic-
gesso primed canvases or boards are
marketed as suitable for oil or acrylic
use – these should be used.
The surface finish of a painting in
acrylic will depend on the texture of
the boards or canvases and the quality
of the colours used. Cheap acrylics
painted on a smooth board will probably
have a greasy, plasticky appearance, with
brushmarks reduced almost to nothing
if painted thinly.
As acrylic dries by evaporation the
paint shrinks in thickness, so the impasto
needs to be a little heavier than you
desire and it is sensible to use a support
which itself has a reasonably textured
surface. The broken texture of the
support will break up the light reflection
and give the painting greater character.
Linen canvas (above right) has an
attractive slub texture, more characterful
than that of cotton canvas (right), the t
Cotton canvas
t

effect of which is more mechanical.

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LP07 28-32 Paul_Layout 1 05/05/2017 13:11 Page 30

Acrylics

Acrylic gesso should be applied

t
generously and randomly to give a
broken texture. Remember, acrylic’s
thickness shrinks as it dries.
t
Two primed canvases in my usual
colours – raw umber (for portraits and
interiors) and red oxide (landscapes)

In this sight-size drawing of Lesley,

t
I painted over a failed watercolour with
the raw umber tinted acrylic gesso.
I used just two brushes – a No. 6 Rigger
and a No. 12 golden synthetic filbert,
both by Rosemary & Co.

t
I painted the model using just three
Golden Open pigments – titanium white,
burnt sienna and phthalo green. This mix
gave a greyish green, which was sympathetic
against the beige of the toned-in background.

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However linen canvas is more


expensive than cotton.
Many professional artists make their
own supports for smaller paintings,
usually based on MDF panels. MDF
(medium density fibreboard) is similar
in appearance to hardboard, but is
smooth on both sides. It is available
in several thicknesses. The 3mm is
ideal for small paintings of up to about
10x12in. (25.5x30.5cm), but for larger
paintings of up to 12x16in.
(30.5x40.5cm), you could use the 4mm.
For paintings larger than this, 6mm
should be used. In sizes over 30x20in.,
MDF becomes fairly heavy so perhaps
then canvas is a better option.

Priming your support


Once cut to size the surface of the
panel should be sanded slightly to
give a key to the primer. Cut and
sand in the open air as the dust in
some variants can be carcinogenic.
Artists’ acrylic gesso is the perfect
primer for acrylics (far left). Don’t
use leftover emulsion from the garage,
as it is not made to have the longevity
of artists’ materials. Emulsion often
has a slippery surface, causing
adhesion problems.
Acrylic gesso is generally found as
white and can be used straight from
the tub. For those who like a tinted
surface, add pigment to the gesso.
I mix a batch up and keep it in a
redundant M&S cocktail sausages tub.
I make two colours - raw umber and
red oxide (above left) – the first I use
for portraits and interiors, the second
for landscape work. The raw umber
is the complementary colour to flesh
and the pinkish colour complementary
to landscape greens. Pigments are
t
In contrast to the drawing of Lesley (left), this is a full-colour portrait from a similar
available from Great Art and Jackson’s viewpoint using a wider palette of the Open acrylics.
at reasonable prices.
The addition of pigment gives the
gesso more body, increasing the
texture and absorption. Bear in mind
that there will be a colour shift as it
dries so make it paler than you think
you’ll need to allow for this. You can
always add a dash of pigment, stir it
in well then put a thin sample on to
a scrap of paper and dry it with a hair
dryer, repeat the process until the
tone is satisfactory. White should
read clearly against it.
Next month I will be demonstrating
different approaches to painting with
acrylics. The open studio at my home
is up and running and will close on 4
June – all Leisure Painter readers are
welcome. I hope to see you here. LP

Tony Paul
To find out more about Tony’s workshops,
email tonypaulart@btinternet.com.
Tony will also be opening his studio for
the event ArtWey, which runs from 20
May to 4 June (10am to 4pm; open
Mondays from 2pm).
t
Note in this close-up how the texture of the board and the brushstrokes combine for
a painterly character.

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LP07 32-35 McNaughton_Layout 1 05/05/2017 13:21 Page 32

Watercolour

Wisteria in focus
From materials and techniques to drawings and a finished painting,
Rachel McNaughton takes you through the painting of this spring favourite
starting point only. Copying a photo is be fresh, clean yellow-greens, which
LEARNING OBJECTIVES as much an infringement of copyright as I mix from aureolin and Payne’s grey.
n Colour-mixing practice copying someone’s painting. In any case, However, the time that wisteria is in
why would you wish to make a copy of flower, there are few leaves on the plant.
n Make the right choices for your a photo? It is far better to be creative and Palette I am fond of the muffin tray-type
materials produce something original. However, palette I use. I can mix strong dark
n Learn a new loose and lively if you are unsure what a flower, bud or washes and the deep wells keep the wash
method with watercolour leaf looks like then photos are a great liquid longer than the flatter palettes.
resource. Build up a library of images Brushes I love to use the Da Vinci liner
you can call on when necessary, and brush Series 17, No. 8. It has a good

A few years ago I made a conscious


decision to loosen up my painting
style. Until then I had been careful
to paint almost every petal. My painting,
as a result, had become predictable and
look, look and look again. Really looking
will open your eyes to things you have
never noticed before.

Your materials
reservoir for plenty of colour, but comes
to an incredible point so I can make both
fine lines and larger areas.
A water spray is another useful piece of kit.
If I find myself becoming too detailed a
no longer excited me. Many, many sheets I hope the following will be useful to quick spritz of water loosens it up again.
of paper later and I evolved my paint-it- you as you choose your own materials Magic eraser You can find these among
and-mess-it-up technique. for this project: the cleaning products in the supermarket.
Having spent many years painting Paper My favourite paper is Saunders A small piece torn off and dipped in
flowers in a more controlled and detailed Waterford High White 425gsm, mainly clean water is great for removing hard
way was a big advantage to loosening because it is so white and clean and I lines where you don’t want them or
up. I have a wealth of flower shapes and like a rough surface to help with texture. for blurring outlines and blending. And
colours locked in my head and as my Colours I use Winsor & Newton I always have kitchen roll and a paint
new technique of painting doesn’t involve watercolours in tubes. It is much easier to rag to hand as well.
drawing, my mental filing system is mix large washes from soft paint in tubes
invaluable. However, it is easy to make than to make enough from pans in a A new technique
assumptions about any subject if you paintbox. I prefer Artists’ quality paints My paint-it-and-mess-it-up technique
haven’t taken time to really look at it. for their clean colours and this is begins with a fairly careful painting of
The best way I know of making myself especially true of Payne’s grey. In the a few of the individual blossoms on the
look closely is to spend time on drawing Winsor & Newton Professional Water hanging racemes of wisteria. Before the
my subject in pencil. Obviously it is better Colour range, this paint is much bluer paint has time to dry completely, I clean
to do this from the real thing but, if the than others and it makes good strong the brush and with it slightly damp, drag
subject isn’t available, photos are the greens when mixed with most yellows. it gently and lightly through the painted
next best option. I use my own photos For wisteria my colour choice is: Winsor flowers. I then go onto painting more
as well as ones found on the internet. violet, cobalt violet, cerulean blue, blossoms and repeat the process,
I have a word of caution here. If you permanent rose, a little opera rose and splattering a little whenever the fancy
are using internet material, use it as a white gouache. Stems and leaves tend to takes me. LP

Demonstration Wisteria
Wisteria has to be one of my favourite
floral subjects to paint. Although its
flowering period is short, it is spectacular
while it lasts. That profusion of purples
and chalky mauve is irresistible! There is
no drawing on the watercolour paper, but
it is a good idea to make a few sketches
first, just to acquaint yourself with the
structure of the flower. You really need to
have a good mental picture of your subject
as well as photographs and the real thing!
Think carefully about your composition
before you commit to paint. Off centre is
generally better than a flower placed in
the middle and you need to have different
lengths and movements. All the same size
and all perfectly straight is boring to
look at and unnatural, too.

Build up your own reference library


t

of your favourite subjects

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LP07 32-35 McNaughton_Layout 1 05/05/2017 13:21 Page 33

Watercolour

t Colours used
You will need
n Surface
l Saunders Waterford
High White 425gsm
paper 17x9in.
(43x23cm)
n Watercolour
Winsor Cerulean Ultram Cobalt Aureolin Opera Payne’s
(see colours, right) violet blue arine violet rose grey

t
Step 1 t
Step 2
1 Begin by making the following 1 Keep adding more, varying the colour
washes: cobalt violet; Winsor violet and each time and allowing the washes to run.
ultramarine; and a creamy mix of aureolin 2 Before everything dries, rinse your brush clean
and Payne’s grey (to make a yellow-green). and take excess water from it by gently wiping
2 Starting away from the centre and using on a rag. Drag the damp brush through your
the Winsor violet and ultramarine wash painting lightly to create ragged areas of colour.
paint a few individual flowers at the top This is my paint-it-and-mess-it-up technique.
of a spray of wisteria. Add more with Use it sparingly. Too much messing up makes
t
Look hard at your subject and make a cobalt violet and allow the colours to a big mess! Repeat this sequence until you
variety of preliminary drawings of wisteria run into each other. have a spray of wisteria.

Step 3
t

With the creamy mixture of


green and a fine brush, such
as a Rigger, add a few stems
and calyces. If the flower
colour is still wet and the green
runs in so much the better. It
makes a connection between
the flower and the stem.

Step 4
t

1 As the painting dries,


introduce darker florets with
a stronger (using less water)
mixture of the original washes.
2 When it is completely dry use
negative painting to suggest
lighter coloured florets.
(Negative painting is painting
the area around the flower,
not the flower itself.)
3 Repeat this process until
your first tassel of wisteria
is complete.
t

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LP07 32-35 McNaughton_Layout 1 08/05/2017 15:17 Page 34

Watercolour

Demonstration continued
Step 5

t
1 You can now begin another either
higher or lower than the first. If the
second runs into the first that is to
be encouraged, but if it doesn’t
happen, that’s fine, too. Make sure
your second blossom is of a different
length and shape from the first.
Avoid rigid, straight stems; a little
more curved is more relaxed and
natural.
2 Splatter purples and pinks from
your paintbrush then use a water
spray to soften them if necessary.
The magic eraser comes in handy
here if you need to soften hard
outlines.
3 A third spray of wisteria can now
be painted. The second and third
spray of flowers should be left a little
more unfinished and indistinct to
give depth to the painting. Use the
water spray to blur outlines a little,
and paint more clearly defined
flowers on dry areas. It isn’t always
t
Step 6
necessary to give every flower a stem. Dilute the creamy mix of green with water and add a
Leave something for the imagination little more yellow if necessary. Use this to paint an
to fill in. It makes a more interesting area of leafy foliage above the flowers. Suggest
painting and helps to create an veining in the leaves with the point of a cocktail
overall loose effect. stick while the paint is still wet.

t Step 7
1 Spend a little time looking at how shape resembles flowers. Use both sometimes and a little splatter.
the paint has settled and dried on the positive and negative painting to define 2 Notice how stems pass over some flowers, pushing
wisteria flowers. Pick out areas where the them, adding dark green stems them to the back and creating depth. Take your time
and work over the
whole painting,
moving on when an
area becomes too
wet to continue. Use
darker flowers to set
off the pale ones
and don’t become
overwhelmed with
unnecessary detail.
Look at the two
images here of
largely the same
area of flowers.
Notice how more
florets have been
suggested in the
right-hand image
without overdoing
the detail.
3 Use both hard and
soft edges to ensure
a more interesting
painting for the
viewer.

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LP07 32-35 McNaughton_Layout 1 05/05/2017 13:22 Page 35

Watercolour

Rachel McNaughton
Find out about Rachel, her work
and her classes by visiting
www.artbyrachel.co.uk
t
The finished painting Wisteria, watercolour, 17x9in. (43x23cm)

www.painters-online.co.uk JULY 2017 35


LP07 36-39 Ash_Layout 1 05/05/2017 13:27 Page 36

Pastel

A true likeness
Part 2 Follow Martin Ash step by step as he paints
a portrait of a child using pastel pencils and soft pastel

LEARNING OBJECTIVES and lively three year old. Of those photos, and so results in a more natural
50 were blurred, with the face turned and unselfconscious pose. Numerous
n How to paint pastel portraits away or just not the right expression – photographs provide alternative
n Practise pastel techniques and the latter ones show she became viewpoints and light sources and, of
suitable for all subjects bored. I printed a shortlist of 36 images, course, limitless time to study your subject.
12 to a page for easy side-by-side
n How to produce a realistic comparison. This is a vital exercise if Colours used
likeness of your subject you have a lot of similar pictures, and Although I name the main colours and
Darcie’s parents narrowed this to 12, brands used in this painting below, there

I hope that last month’s look at materials


and techniques for achieving pastel
portraits has been useful and that,
having practised with your own pastels,
you’re ready to follow my demonstration
which still made a difficult choice.
You have to know and be able to take
what you need from photographs to
make them suitable as reference material.
A word of warning: photographs taken
are similar colours in all the brands. The
named colours are not always used pure,
but are often mixed, and here and there
I touch in tiny amounts of other colours
to make subtle adjustments. This may be a
of the painting of Darcie (below). too close to the subject will distort the heresy, but I often feel that, within reason,
Young children hardly stay still long face into what I call the back-of-spoon colours need only to be approximate
enough to be photographed, let alone effect. I therefore photograph a face from anyway. It is more important to pay
painted! If your subject is an active toddler several feet away using the zoom facility. attention to careful draughtsmanship.
you have no choice. In 15 minutes I took This puts the whole head within the depth CarbOthello ivory 105 pastel pencil The
133 photographs of Darcie, a very alert of focus, is less distracting to the subject basic foundation colour underlying all the

Demonstration Darcie

t
Step 1 t
Step 2
This is the initial sketch drawn life-size to establish the This shows the basic drawing transferred to the chosen support –
simplified structure of the head within the mass of hair. Draw Colourfix soft umber primer on white mountboard. The light and
a centre line to indicate how much the head is tilted from the dark lines indicate where light and dark areas are located in the
vertical and how much it is rotated from directly facing the painting. As we work through the next stage of blocking in the
viewer. By careful measuring establish the positions of the eyes main areas of tone and colour, these rather bold ‘landmarks’
and mouth within the depth of the head and draw parallel lines will be lifted out using Blu-Tack.
through them, again to confirm the tilt of the head. Indicate
the main shapes of the hair, neck and shoulders.

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LP07 36-39 Ash_Layout 1 05/05/2017 13:27 Page 37

skin tones and much modified with other Blending and mixing
colours. Also used for the hair highlights. The smooth skin tones in my pastel
CarbOthello bister 635 (sepia) pastel pencil portraits involve a lot of blending and
To delineate dark items, for instance, mixing of colours, both within the
eyelids, nostrils and within the mouth. painting and on test strips of the same
Also used in the hair and skin shadows. paper. I also stray into the spare space
CarbOthello caput mortuum 642 and 645, at the edge of a painting that will
and Derwent burnt carmine 65f pastel eventually be covered by the framing t
Useful aids for pastel painting Fan and
pencils Used for the lips and tongue, and mount. small stiff brushes, ready-made torchons,
to introduce a certain amount of ‘rouging’ I use a variety of aids. First is the tip cotton buds, Blu-Tack, which can be
to the cheeks and into shadows. of my little finger. Other useful tools are modified to any shape for lifting and
Derwent Chinese white pastel pencil used torchons, which are ready-made pointed cleaning, and a mahl stick.
for the teeth, eye highlights and to mix sticks of compressed fibrous paper used
with and modify other colours. to apply and blend colours. I also make useful blender in any medium, and
CarbOthello light flesh tint 681 pastel my own by cutting a 6in. piece of a short stiff brush can be used to carefully
pencil To add warmth to the cheeks and blotting paper, tapering from 2in. deep scrub out unwanted pigment for a major
neck. Use sparingly and beware of any at one end to 1in. at the other. Rolled up, amendment.
colour purporting to be flesh tinted; very this produces a tapered stick, which can There is also Blu-Tack. Keep a piece
little skin is actually that pink. be soft or hard by choice, depending on warm in your non-painting hand; it is
CarbOthello leaf green middle 570 pastel how tightly it is rolled. Pigment mixed always useful for picking out unwanted
pencil A light green base colour for on test strips can be picked up on the pigment, lifting out small areas and
Darcie’s eyes. torchon and applied to and blended cleaning the area around the image.
CarbOthello leaf green deep 595 pastel into the painting. Finally, to keep hands and cuffs off
pencil Dark blue-green for the dark parts Cotton buds can be used either to the painting, I use a mahl stick – a piece
of the irises. blend or wipe out pastel. The shadows of dowel with one end padded with rag
CarbOthello cobalt blue 425 pencil was below Darcie’s eyes, for instance, were or kitchen roll, which can be rested on
used for Darcie’s shirt. gently wiped out to allow soft umber to the painting with the padded end away
Rembrandt white supersoft soft pastel was show through a light coating of red-grey. from the image. Your wrist or hand is
used to apply a lot of light pigment to So many skin colours are indefinable, supported and steadied by the stick,
create the blended highlights in the face. but reddish-grey occurs a lot; look at the enabling you to work closely on detail.
Daler-Rowney red-grey soft pastel was shadows on your hands. I also use oil When the pad becomes grubby just
used in the skin shadows. painting brushes. The fan brush is a add another piece of kitchen roll. LP

t
Step 3 t
Step 4
1 Block in the light areas using the flat side of the sharpened tip of Here a little more pastel has been added to strengthen the light
a CarbOthello ivory pastel pencil. areas above the eyes, around the mouth and on Darcie’s neck
2 Use CarbOthello bister (sepia) pastel pencil to confirm the position of the and cheeks. Note the light area added down the profile of her
eyelids, nostrils, the shape formed by the lower edges of the teeth and the right cheek, which will be the basis of an area of reflected light.
dark shape within the mouth. These dark items are useful in establishing Also note that, at this stage, no blending has been attempted.
the likeness and are a much-needed confidence builder as we feel our way All the pigment in the roughly blocked-in area, including the
into the painting. It is important to make them right, as faults in blue shirt, will eventually be rubbed into the surface to become
draughtsmanship can show up at a later stage and cause disappointment. the foundation for the next application of pastel.
t

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LP07 36-39 Ash_Layout 1 09/05/2017 09:41 Page 38

Pastel

Demonstration continued
Step 5t

1 Add more pigment to the light areas and colour to the lips
and tongue and Darcie’s right cheek, using tints of CarbOthello
caput mortuum (642 and 645) and Derwent burnt carmine and
Chinese white.
2 To anticipate the iridescent irises lay a foundation of pale
green (CarbOthello leaf green middle 570), which will be overlaid
with dark bluish-green (CarbOthello leaf green deep 595) for the
shadows in the upper irises and the dark edges of the irises.
3 Apply dark blue where the collar of the shirt will be in the
shadow of Darcie’s hair.
4 I emphasise the need to think ahead while painting to decide
how you are going to produce a certain effect, as in the eyes, or
where there are going to be light items overlaying dark areas, for
instance, the hair. Pastel, of course, has the advantage of being
corrected easily, either by brushing out with a hog’s brush or by
lifting out with that essential stand-by, Blu-Tack.

Step 6
t
From this angle, Darcie’s right cheek is seen in profile, while
her left cheek, the inner area of her right cheek, left upper
lip and left sides of her chin and nose tip are convex surfaces
facing the viewer. To create this illusion and to achieve a
balance with the apparent volume of the right cheek, you need
to emphasise those surfaces so must add a significant amount
of light tone. To apply enough pigment you need a soft pastel
stick and I used Rembrandt white supersoft. This close-up shot
shows what appears to be an alarming crudity of application,
which, in earlier years, I might have thought had ruined the
whole image. But this seeming overload of pigment will be
blended easily into the surrounding areas and any
superfluous medium can be brushed away.

Step 7
t

1 I’ve now started to soften the whole face by blending the


pastel with my fingertip. The foundation layer was well rubbed
into the surface, as I don’t use fixative and need to be sure that
it will not be disturbed when overpainted. This picture shows
the skin tones, which are smoother than in Step 6, and the
work done on the eyes – detailing the eyelids and blending
the colours in the irises.
2 Very little of the whites of the eyes, even of an innocent
child, are actually white and here I used a warm grey
(CarbOthello 706) to model the spherical shape of the eye. Note
the shadow cast by the eyelids over the upper part of the eyes.
3 I can never resist putting the highlights into the eyes quite
early, as these bring the eyes to life and help, along with the
position of the pupils, to establish the direction of the gaze
and the personality of the subject.
4 I also started to rub in the different areas of hair tones in
a mix of sepia and ivory, again to form a foundation layer
over which to finally detail the hair.

Martin Ash
Martin offers tuition to individual students and art
groups, and for many years has tutored adult education
art classes for East Sussex County Council and Adult
Colleges for Rural East Sussex. For information, please
telephone 01892 853536 or 07759 925087 and email
martinashartist@btinternet.com

38 JULY 2017 www.painters-online.co.uk


LP07 36-39 Ash_Layout 1 05/05/2017 13:28 Page 39

t
The finished painting Darcie, pastel on mountboard primed with Colourfix soft umber, 14x11in. (36x28cm)
t
Step 8
1 The final stages involve modelling of the accuracy to achieve an unmistakable likeness ivory and sepia pastel pencils. You need a
skin tones. Add more colour to the shirt and in the face, you can be a bit freer with this light touch to avoid disturbing the foundation
model the folds. To avoid them becoming too area. I like children’s hair to be tousled in layer. Note lighter tones where the hair
dominant, keep the colouring of clothes fairly a portrait. A young child lives in the moment, curves outwards and allow some light over
muted in a head and shoulders portrait. unselfconscious of appearance and Darcie’s dark and vice versa. Where the hair flows
2 I erased and redrew Darcie’s teeth, showing hair was like this. To achieve this effect, rub over the shirt, lift some of the dark blue but
that they recede into shadow. in more base tones then stroke in the it is possible with practice to put in fine
3 Finally, work on the hair. While you need individual hairs with continually sharpened light hair with a few deft strokes.

www.painters-online.co.uk JULY 2017 39


LP07 40-43 Fisher_Layout 1 05/05/2017 15:04 Page 40

t
Staithes Harbour, pen & wash on 270gsm cream-coloured paper, 11x16in. (28x40.5cm)

Line and colour


Part 2 Develop your sketching skills with ink and watercolour washes as
Tim Fisher discusses materials and how to use them with confidence
LEARNING OBJECTIVES
n Know your materials
n Learn good practices for line &
wash techniques
n Practise colour mixing with a
limited palette

W hen going away on holiday,


I’ll pack an assortment of
art materials that I can bring
into use as I see inspiring subjects.
Often I pack far too much, which is
cumbersome to carry around and at the
end of the day I enjoy the convenience
of a sketchbook and ink pen, which
fit easily into a backpack. There are
t
My pen & wash kit To keep everything streamlined I prefer a limited palette of five tubed occasions though when using colour
colours, contained within a pressed-steel Sennelier palette. The colours (all Sennelier) are to record a subject can provide good
French ultramarine blue, French vermilion, primary yellow, yellow ochre and Venetian red. The practice for using a medium and provides
travel brush is a Jackson’s No. 12 Arctica. This is a large synthetic brush, which comes to a good a useful reference for future paintings.
point and is handy for large washes and detail. If a smaller size brush is needed then a natural Sketchbooks, although fine when
hair brush will give the best service as it is so much more absorbent than synthetic. Water is applying graphite or ink, don’t perform
carried in a small bottle or sourced nearby. I carry a small collapsible water pot as a container. as well when liquid colour is applied.

40 JULY 2017 www.painters-online.co.uk


LP07 40-43 Fisher_Layout 1 05/05/2017 15:05 Page 41

t
Pharaoh’s Garage, pen & wash on 270gsm cream-coloured paper, 11x16in. (28x40.5cm)

The paper tends to be absorbent and will looser and more fluid. I begin working with the last sketch, I worked across two
buckle easily. Recently, I was introduced quickly with a lighter line so that mistakes pages of the open sketchbook to give
to a new range of sketchbooks made by can be rectified more easily. Towards the me a large panorama.
Stillman and Birn (available from Jackson’s end I reinforce some of the ink lines to I noticed the windows were quite dark
Art Supplies), which are ideal for dry and give more of a feeling of depth to the and so in places added black pen into the
wet media, including watercolour and ink. work. When the drawing is complete and openings. This was quite a complicated
The books come in a range of weights if the weather’s not too good, I will retire subject, but it was helpful to visualise the
and I use the A4 Delta series, which to more comfortable surroundings to shape the sky made as a negative shape
contains 270gsm cream-coloured paper. complete the work in colour. A digital against the buildings. I also worked lightly
The off-white colour offers the extra photo is handy for later colour references. outwards with the pen from one point,
opportunity of applying white ink or other I also avoid adding ink shading or other drawing each adjacent shape, as this way
media for highlights. The heavy-weight unnecessary detail, which saves time of working makes the scale easier to
paper also stays firmly in position when when producing the sketch. control.
painting under slightly breezy conditions, For the view of Staithes (above left), Once the drawing was complete,
whereas normally I would need an elastic I was fortunate to be able to perch on I applied the colour. The sky was a
band to hold the paper in position. the harbour wall tucked out of the wind wash of ultramarine into which grey was
For drawing I pack a Faber-Castell Pitt blowing in from the sea. Once the sketch added – mixed from Venetian red and
Artists’ fine waterproof drawing pen and was complete, I added the colour: blue for darker clouds. The buildings
a retractable 2mm 3B clutch pencil. Sky Ultramarine blue, diluted at the edges were washes of yellow ochre and pink
Retractable pencils save disappointment for softer clouds. A little Venetian red was using diluted French vermilion. The
when finding the pencil tip has broken added to the mix for the stormier clouds. foliage was a mix of primary yellow
upon arrival at the sketching site. They Distant hill A mix of primary yellow and and ultramarine blue.
often also contain a sharpener at the ultramarine blue, varying the proportions At the very end of the painting, I
opposite end to help keep a sharp point. of the two colours as I worked across added the shadows. It was a dull day, but
Finally, a packet of disposable tissues the paper. including shadow gave the painting more
always comes in handy for mopping up. Orange rooftops A mix of primary yellow volume and a three-dimensional effect.
All these items pack compactly into a grip and French vermilion. I kept the direction of shadow consistent
seal bag, which is especially useful to Shadows (all the buildings and across with a light source chosen from the left.
prevent suitcase leakages when travelling. the road) Ultramarine with a touch of Generally, working out of doors means
vermilion. Shade was added to the darker that the paint is much slower to dry and
Working process parts of the stored lobster pots and the so a little planning is required as to where
My method of working is to stand when harbour wall and bridge to the left. to place the next wash. Even so, I still
sketching and work rapidly with pen onto The next sketch shows the remains of encountered back runs where wet paint
the surface with no preliminary pencil Pharaoh’s garage in Ravenglass (above). met damp and formed a hard edge. Back
work. When combining ink with colour I stood to sketch the old petrol pump and runs are difficult to remove so I tend to
while standing, the ink line becomes
t

the cottages receding into the distance. As leave them as a reminder of the day. LP

www.painters-online.co.uk JULY 2017 41


LP07 40-43 Fisher_Layout 1 05/05/2017 15:06 Page 42

Pen & wash

Demonstration Mermaid Street, Rye


Mermaid Street, Rye is a
demonstration of my working
method. This classic view (right)
is well worth a visit if you
are in the area. Looking down
a sloping and curving street
containing a number of
buildings can present quite
a challenge to the viewer.

You will need


n Surface
l Arches 140lb Rough
watercolour paper
10x14in.
(25.5x35.5cm)
n Sennelier watercolour
l French ultramarine
blue
l French vermilion
l Primary yellow
l Yellow ochre
l Venetian red

n Faber-Castell Pitt
Artists’ fine waterproof
drawing pen

t
A reference photograph of the scene

Step 1
t

Visualise the shape the buildings make against the sky and
the shape of the foreground road. Sometimes it’s a help to
add the outline lightly with pencil before beginning to draw.

Step 2
t

Begin drawing directly onto


your paper with the pen,
working about two-thirds of
the way into the paper on the
furthest building down the
street, gradually adding all
the buildings on the left-hand
side. Then add the right-hand
building without trying to be
too precise on the spacing of
the timbers and the windows.
You can always add marks
later if you want extra detail.
Strengthen some of the lines
with pen to distinguish the
buildings at the end of the
street from the distant
hillside.

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LP07 40-43 Fisher_Layout 1 05/05/2017 15:06 Page 43

Pen & wash

Step 3
t
1 Add a wash of yellow ochre over the sky, allowing some of the
colour to wash over the building rooftops and walls. Reserve the
white buildings as dry paper. Whilst the wash is still wet, add
diluted French ultramarine blue and allow it to drift downwards.
2 Add the distant hill with a mix of ultramarine and vermilion.
Mix a green from ultramarine and primary yellow and feed it
into the base of the wash.
3 Paint the rooftops on the left-hand buildings. This is a green-
grey mixed from ultramarine and Venetian red then separately
primary yellow and ultramarine. Add these mixes in turn and
allow them to blend on the paper.
4 Thoroughly mix these two sets of colours for a brown-grey and
paint the building fronts in the far distance, varying the strength
of the wash to give the impression of light at the end of the
street. Continue with this colour to fill the street between
the buildings.
5 Mix Venetian red with a touch of ultramarine and use this
brick colour on the left side of the street and for the impression
of cobbles on the road. Reserve white paper for some of the
buildings. Continue the wash into the building on the right.
6 Add the darks for the timber frames, windows and gutters
using a mix of Venetian red and ultramarine. Leave the painting
overnight so that it is completely dry before adding the shadow.

t Step 4 Tim Fisher


1 Using a soft squirrel brush and a large 2 To finish, strengthen washed-out Meet Tim at Patchings Art, Craft and Photography
mix of ultramarine blue with a touch darks and add others where needed, Festival in July. Visit him on his stand or watch
of French vermilion, sweep the mixture especially around the windows and his demonstrations on Sunday in our marquee.
over the buildings on the right and across gutters, using a blue darkened with See page 71 for details. Visit www.timothyfisher
the street. Add corresponding shadows Venetian red and applied with artist.co.uk for details of Tim’s work and courses.
to the buildings across the street. a fine brush.

t
The finished painting Mermaid Street, Rye, pen & wash on Arches 140lb Rough watercolour paper, 10x14in. (25.5x35.5cm)

www.painters-online.co.uk JULY 2017 43


LP07 44-47 Parashko_Layout 1 08/05/2017 15:21 Page 44

Inspiration

From photo to painting


Part 7 Elena Parashko nears the end of her eight-part series
by looking at how you can interpret and work from one photograph

Whether you intend it or not, every best – portrait, landscape, panorama or


LEARNING OBJECTIVES piece of art you create tells a story. The square. Then you can photograph this
n How to tell a variety of ‘stories’ subject, focal point, angle, colours, mood small part of the total scene to use as
using just one photograph and format you choose will guide the a reference.
viewer towards a particular interpretation.
n How to modify, add and omit Whether you are looking at a vast Change of background
information from photos landscape or a complex interior scene, It is common to find a fantastic photo of
n How to change the background your paintings will be more successful a subject you are inspired to paint, only to
if you narrow down your focus to telling be disappointed with a boring background

t
one specific story rather than trying to

T his month we are looking at small


sections of a photographed scene
to select which story you would
like your artwork to tell. Remember that
the information you leave in is just as
include absolutely everything you can see.

Helpful tool
When searching a vista for subject
matter to draw or paint, a viewfinder
ONE PHOTO, FIVE STORIES
If you already have reference photos
that contain too much information,
important as the details you leave out. is a useful tool to help isolate exactly you can still isolate different stories
We also explore ways in which to use which story you want to tell. To make in different parts of the photo. Let’s
a photo of a subject but change the one, cut two L shapes from a piece of explore how we can tell five stories from
background, how to use a great photo of cardboard then hold them up in front this one scene of an old homestead on
a background and add different subjects, of you and look through the window to a country property, depending on which
and how to combine ideas from multiple frame the scene. Move the position of the aspects are focused on and the format
photos to create your own composition. two L shapes to test which format works used for the artwork.

t
Original scene of country property

44 JULY 2017 www.painters-online.co.uk


LP07 44-47 Parashko_Layout 1 05/05/2017 15:22 Page 45

Inspiration
t

t
Story 1
Zooming in slightly creates a more intimate feel and establishes a stronger
t
Zooming in
connection between the people who live in this house and their livestock, as on the house
the focus is no longer on the vast property. The traditional landscape format
creates a more
The unconventional portrait format
t
personal story
(where the top and bottom of the image are longer than the sides) lends of a landscape tells the story of the
itself well to a nostalgic scene like this. relationship between the house with
its inhabitants and the sheep
t
Story 3
This portrait format (where the sides
of the image are longer than the top and
bottom) shows only a sliver of sky and
ground. By removing a lot of the context,
the story focuses on the homestead and
sheep and the relationship between
them. Even though it is a traditional
subject matter, the use of the portrait
format rather than landscape format
is not conventional and adds interest
to a simple subject.

t
Story 2
By cropping most of the land and creating a low horizon, the focus shifts
t
A panoramic
to the sky. The viewer’s attention is drawn to the subtle cloud patterns that format tells the
may not be noticed if other information is included in the painting. The story of a big
wide panoramic format tells of huge open spaces in the country where the sky and immense
presence of humans in the small house is dwarfed by the immense sky. landscape

t
A portrait of a sheep
t
Story 5
This is a simple portrait of a sheep
centred in a square format with no
other distractions. The story focuses on
the sheep’s anatomy, texture of wool,
play of light and shadow over its form
t
Story 4 and the mood conveyed by the expression
This story is all about a herd of grazing sheep: how they interact as a t
This is a on its face. Again, with the context almost
group, their proximity to each other, the direction they are facing, and their simple story completely cropped, the story asks rather
behaviour and mood. This can even be about the play of light and shadow about a herd of than answers questions. What is the
on simple forms. When the painting does not tell the complete story – such grazing sheep sheep looking at? Where is it? Is it alone?
as the location of the sheep – the viewer has a chance to interpret the story What’s going to happen next?
in their own way, depending on past experience and memories.

www.painters-online.co.uk JULY 2017 45


LP07 44-47 Parashko_Layout 1 05/05/2017 15:16 Page 46

t
Sea Horse, oil on canvas, 20x24in. (51x61cm) was inspired by the photograph of the horse below
or one completely inappropriate for a
successful painting. This is when you
can use the photo to paint the subject and
your imagination to paint a background of
your own choosing. This is how I created
the painting Sea Horse (above).
On a day at the races I took lots of great
photos of thoroughbreds being exercised
before and after their races. The animals
were all magnificent but the wire fences
and concrete stalls were very unattractive.
As my favourite landscape to paint is
the sea, I thought it would be fun to
incorporate the horse subject into an
imaginary seascape and be playful with
the painting title at the same time.

Change the subject


The same principle applies when a
photo of an inspiring background needs
an interesting subject to complete the
composition. When you superimpose
a subject onto a foreign background
first ensure that the direction of light
and shadow is consistent between the
background and the subject. Then make
sure the size of the subject is in correct
proportion to elements in the background.
To make this easy, print out a photo of
the subject to scale and place it onto the
dry background painting to determine
the exact position and to check the size
t
Reference photo for the painting Sea Horse before committing it to paint.

46 JULY 2017 www.painters-online.co.uk


LP07 44-47 Parashko_Layout 1 05/05/2017 15:16 Page 47

This is how I painted Hamilton Days


(below). I had a great photo of the
landscape and I wanted to capture the
busy water sport activities of the beach
but I didn’t have one photo with all the
action I wanted to depict. Instead,
I looked through all my photos and
selected images I liked of people sailing,
paddle boarding, swimming, kayaking
and walking on the beach. I then cropped
and printed out these images in what
I guessed would be appropriate relative
sizes. Remember the rule of perspective:
the people in the distance would appear
smaller than the people in the foreground.
I then moved the photos around on the
completed and dry background painting
until I had a pleasing and balanced
composition. I was then able to draw
all the subjects in these positions. If the
direction of light falling on the subjects
t
Background painting of Hamilton Days (below) with photos of subjects placed on top
was inconsistent with the light source
coming from the left in the landscape, five separate reference photos taken in series, I hope you will have the
I made appropriate adjustments to the different locations to create a harmonious confidence to use photographs effectively
light and shadow on the subjects and their painting that tells an interesting story. as an artistic tool and paint creatively
cast shadows in the painting process. An artist is not a camera. Our job is not from them. LP
simply to copy what we observe in the
Combine ideas world around us or in photographs. Even
Sometimes a situation or location sparks though reference photos are a great way
the imagination that goes way beyond to document observation, by also making Elena Parashko
what’s actually there. That’s when we can creative decisions that depart from the Elena is an award-winning artist, teacher
deliberately construct a story from many facts presented, we add so much more and writer from Sydney, Australia. She will
fragmented sources of inspiration with the meaning and subtlety of emotion into a be leading plein-air painting holidays in
use of multiple reference photos. The work of art along with our own unique Tuscany, Italy (14-21 October) and Fiji
demonstration of Boomerang next month interpretation of life. By using the Islands (10-17 June). For details visit
takes you through my process of using techniques explored in this eight-part www.elenaparashko.com

t
The finished painting Hamilton Days, oil on canvas, 3112⁄ x47in. (80x120cm)

www.painters-online.co.uk JULY 2017 47


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LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:30 Page 49

Watercolour

Close encounter
Part 1 Learn how to take and use photographs of wildlife, before you begin painting
a barn owl using a variety of watercolour techniques, with Paul Hopkinson

LEARNING OBJECTIVES
n How to work from photographs
n Build your watercolour technique
repertoire with confidence
n How to paint detail in
watercolour

W ith any detail work, a sharp,


large and clear photo is ideal.
It’s difficult to imagine the
detail so you need to be able to see
everything you would like to paint.
Of course some areas will be in
shadow, but we are looking for the
main parts of an animal, such as the
face, eyes, ears and nose. For those
of you with iPads or other tablets and
computers, zoom into the detail so you
can see how the hairs or feathers are
knitted together. You will also be able
to see the colours that will make up
the image much easier.
If you prefer to work from a print and
have photo-editing software on your
computer, crop the large photo and
print off sections, such as the eyes,
nose and ears, or any tricky area you
can’t quite make out.

Taking photos
With any animal portrait I always
recommend taking the photo outdoors
and on the largest photo size their
camera can take. It’s a good idea to
crouch down low to the animal so you
are level with its eyes to remove the
issue with your subject having a large
head and a small body. Have sunlight
behind you and try to take the photo
on an overcast but bright day.
There are many ways to take pictures
of birds. One way is to visit a bird of
prey centre where you can get up close t
This lovely photograph of a
to a variety of beautiful birds, including barn owl, which is the reference
owls. As for your own garden, set up a material for the following two-
perch – such as a broom handle stuck part project, was taken by
in the ground with a branch screwed to photographer, Phil Winter. See
the top of it – then place a feeder on more of Phil’s photographs at
both ends. This can be positioned near https://goo.gl/8GXpqy
a window where after a few days you
should receive a few visitors. Hide A close-up of the face of a barn
t

behind a gap in a curtain so you can owl shows the kind of detail you
slowly peek your camera through. If need to study
you don’t have a garden, why not try
a similar set up on a window box or, on an overcast but bright day.
with permission, set one up in a nearby If the sun is in front of you the
wood, leaving and replenishing seeds photos will be dark and the
in the area for a few days. The main birds silhouetted, but if it’s a
problems you might encounter will be very dull day the photo may
the light and distance so try to get as be grainy and blurred. Timing
is very important. LP
t

close as you can and take the photos

www.painters-online.co.uk JULY 2017 49


LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:31 Page 50

Watercolour

Demonstration Barn Owl

You will need


n Surface n Watercolour n Miscellaneous
l Bockingford brushes l Paper towel
300gsm NOT l Nos. 00, 3 l 2 water pots
pre-stretched and 5 l Mixing palette
111⁄2x81⁄4in. l Large wash l Masking tape
(30x21cm) brush (for l Masking fluid
l Mechanical pencil
n Watercolour background)
l Putty rubber
See colours, below

Colours used

Lamp Translucent Burnt Indigo French


black grey umber blue ultramarine

Alizarin Burnt Raw Yellow Opaque


crimson sienna sienna ochre white

t
Step 1
Draw the barn owl using my drawing as a guide. Keep
your drawing lighter than the one shown here, which
was darkened for this lesson. When drawing, remember
to place a sheet of paper under your hand to avoid
transferring natural oils from your skin to the paper.
This will act as a resist and may cause problems when
you apply washes of colour. Use the putty rubber to
lighten the lines if they turn out too dark, just
enough so you can see them.

Step 2
t

The next stage is to add masking fluid to the


inside of your drawing to an approximate 1in. width.
Masking fluid can quickly ruin a brush so use an old
brush lightly stroked through a damp bar of soap
before loading. Once finished, allow the masking fluid
to dry. A cocktail stick is also handy for flicking out
tiny details within the wet masking fluid. Be quick,
as it will dry before you know it. Wash out your
brush thoroughly afterwards.

50 JULY 2017 www.painters-online.co.uk


LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:31 Page 51

Step 3
1 Make up four separate thin washes of translucent grey, 2 Do the same with burnt sienna, burnt umber and
t t

burnt umber, yellow ochre and burnt sienna. Wet the background translucent grey, but use less grey at the top of the paper,
(avoiding the bird) with clean water three times, but before you which will give you a nice light effect. Leave to dry flat for
start make sure that your paper isn’t running like a waterfall! two or three hours before the next stage of removing the
Let the water soak in a little before you apply the colours. Begin masking fluid. Do not dry it with a hair dryer, as this
with the lightest colour, yellow ochre, and ‘squiggle’ it randomly can cause the masking fluid to harden within the paper
around the background, leaving gaps for the other colours. and could tear the painting when removed.

Step 4
t

Remove the masking fluid


with a dry finger by rolling it
towards the bird and not towards
the background. The reason for
this is to prevent any possible tears
the mask could cause and ruin the
background. We can cover up any
problems within the bird and no
one will ever know!

TIP Remember your colours


will dry much lighter so play
with the background colours
on a spare piece of watercolour
paper before you head to your
main painting.

www.painters-online.co.uk JULY 2017 51


LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:35 Page 52

Watercolour

Step 5

t
1 I always begin with the eye of a bird, as this is
where painting comes alive. Using a No. 3 brush,
wet the eye and drop in a thin wash of French
ultramarine, avoiding the highlight areas and
the edges of the eyes.
2 Let this dry then do the same with a mix of
French ultramarine, lamp black and alizarin
crimson, being careful not to go too wide around
the eyes.
3 Once dry add a touch of the same colour but
watered down to the light areas to the sides of
the eyes.
4 With the No. 00 brush add a tiny second
highlight within each eye by using tiny circular
motions then, whilst wet, lift off the area with
a point of a piece of kitchen roll.
5 Let it dry again then add the details to the
bottom and top of the eye with a mix of raw
umber, burnt umber and burnt sienna. Use
a little white watercolour to add the highlight.

TIP Dab your brush once on a piece


of kitchen roll, just to take off
surplus paint.

Step 6
t

1 Now we need to put down a couple of


washes onto the face. Begin by mixing a very
weak wash of French ultramarine and lamp
black. Wet the face with clean water, avoiding
the eyes, and drop in the weak wash around
the edges of the face and around the bottom
of the eyes towards the beak.
2 Whilst still wet add a weak wash of raw
sienna to the sides of the beak, adding
a faint outline to the beak so you know
where things go at a later stage. Let it dry.

Step 7
t

1 Using the No. 00 brush, paint the


fine feathers within the face, using a
mix of French ultramarine and ivory
black. Add in a touch of raw sienna
around the eyes and beak. Keep a
constant check on the direction of the
feathers and the curves of the lines.
Some areas are darker than others so
add more detailed layers to these parts.
2 Use the same process with the
brown areas underneath the eyes with
a mix of raw sienna and burnt sienna.
3 Add the details around the heart-
shaped face with the same blue-grey
colour, adding a touch of raw sienna
to some of the outer edges.
4 Wet the beak with clean water and
add a light wash of raw sienna. Whilst
wet, paint the outline with the French
ultramarine and lamp black mix,
allowing the paint to blend towards
the centre of the beak. You may
need to strengthen this once dry.

52 JULY 2017 www.painters-online.co.uk


LP07 49-53 Hopkinson_Layout 1 05/05/2017 15:32 Page 53

Watercolour

Step 8
t
1 Once this is dry change to the
No. 5 brush and very lightly give
the barn owl’s face a light wash
of clean water. This will soften
the details a little and help them
to look more natural.
2 Now begin on the outside of the
head. With the No. 5 brush, add
a light wash of raw umber and burnt
sienna to the brown areas then a
light wash of the same face colour
(blue-black) to the bottom right of
the face.
3 Once dry, make up a thicker mix
(creamy consistency) of raw sienna
and burnt sienna and another of
burnt sienna and burnt umber. Using
the No. 00 brush, carefully paint the
details, varying the colours from your
mixes as you go. Remember every
layer you paint will become darker
so add a few layers extra to the top
and sides of the head, adding the
smaller darker marks as you go.
4 Add the whiter areas using your
French ultramarine and lamp black
mix, but very watery, and add a
second layer of the same mix to
the right underside of the face.
5 Once all this is dry, strengthen
your mixes and using the No. 00
brush paint the fine detail lines,
ensuring these are not too straight.

Step 9
t

1 Drop opaque watercolour white into


your palette and add a tiny amount of
water, just enough to enable you to
paint a line without it breaking. Too
thin and the white will fade into the
background. Use the No. 00 brush and
add the fine white details all over the
face, keeping a check on the curves,
shapes and directions they go. Even
though you need to cover the face
in white, allow the under details to
show through; thicken the paint
a little in the lighter areas.
2 Add a thin line of white to the
centre of the beak then very lightly
blend the edges of this line to soften
it with a clean damp brush.
3 Next work on the neck areas, again
watching the direction you need to
go. Use a thinner mix of white for the
shaded areas. We will place a wash of
colour onto the body in the next issue
and complete the portrait of the owl.

Paul Hopkinson
Find out more about Paul,
his work and classes by visiting
www.devonartist.co.uk and
facebook.com/thedevonartist
paul or follow him on Twitter
at twitter.com/thedevonartist.
If you have any questions
about this article, please
email paul@devonartist.co.uk t
Follow Paul as he completes this painting of the barn owl in next month’s issue

www.painters-online.co.uk JULY 2017 53


LP02 Holiday Goudie_Layout 1 08/05/2017 14:31 Page 38

Reader holiday

Paint in Antibes and September


16 to 23,
the Côte d’Azur 2017
with Lachlan Goudie ROI

Antibes and the Côte d’Azur


The special light, the wonderful warm
Mediterranean colours, an interesting
rocky coastline and the verdant
vegetation on the Cap d’Antibes and
Cap Ferrat, as well as elegant villas and
the attractive fortified town of Antibes
set against a backdrop of the Alps have
appealed to artists over the years and
make the French Riviera one of Lachlan
Goudie’s favourite places to paint.

The painting programme Travel and hotel arrangements


Each day will be spent painting on the Cap Flights are from London Gatwick to Nice.
d’Antibes using local buses for greater freedom Accommodation is in an intimate
Lachlan Goudie’s to access the many different painting locations. 13-bedroomed Provençal Mas (former
work has evolved from the Scottish There will be one day trip to Cap Ferrat to farmhouse) with a secluded garden and
tradition of figurative painting, and sketch in the gardens of the Villas Ephrussi swimming pool.
incorporates portraiture, still life and de Rothschild, Kérylos and fashionable It is conveniently located midway between
landscape, with drama and colour Beaulieu. Lachlan will encourage you to paint Antibes and Juan-Les-Pins. It is approximately
underpinning his work. He has won every day and will assist students with an a ten-minute walk to Antibes old town and
numerous accolades including the organic approach to techniques. He is very the beaches. Dinners are included and will
RSP prize at the Royal Glasgow happy to show individuals how to resolve be in a variety of local restaurants. An
Institute of Fine Arts, the Norman problems and, where appropriate, he will do accompanying travel escort will look after
MacFarlane Prize at the Royal a demonstration, although there will be no you, taking care of all the arrangements
Scottish Academy and the ROI Oil group demonstrations. Lachlan will be and assisting you with local transport.
Painters Award for young artists. He sketching and working in gouache and
regularly exhibits in major exhibitions watercolour, but all media are welcome. This l Price per person £2,995
in London, Scotland and New York. painting holiday is ideal for intermediate and l Single room supplement £350
Lachlan is also a captivating more experienced students. You may choose l Number of painters 10 to 12
television presenter and art critic. to work alongside Lachlan or independently. l Fully inclusive except for lunches

For full details contact 01825 714310


art@spencerscott.co.uk www.spencerscotttravel.com
Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 led by renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, Amsterdam with Ken Howard OBE RA, Belgium
and Holland with Pamela Kay NEAC RBS RWS, southern Italy with Richard Pikesley PNEAC RWS, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP07 53-55 Jelbert_Layout 1 05/05/2017 15:46 Page 55

Watercolour

Loosen up!
Part 3 Follow Wendy Jelbert step-by-step as she completes her painting
of a farmyard using a variety of loose and lively painting techniques

t
The finished painting Farmyard Chickens, watercolour, 12x16in. (30.5x40.5cm)

chicken varieties. It resembles a


LEARNING OBJECTIVES very bad hair day and is an exciting You will need
n How to produce loose and lively subject on which to practise the n Surface
watercolour marks loosening up exercises I discussed l 140lb watercolour paper 12x16in.
n
over the past couple of months. (30.5x40.5cm)
Follow step-by-step the painting To add even more visual interest
of a farmyard scene n Watercolour
to the demonstration painting –
l
n
Hooker’s green dark, Winsor violet, Winsor
Easy wet-in-wet technique and give you more practise – I also
included a silkie variety to paint. blue, cerulean blue, Winsor yellow, Winsor
The entire farmyard, which led into red, yellow ochre and alizarian crimson
n

T he frizzle chicken is a delightful


and unusual rare breed, made
up of feathers that face vertically
instead of lying flat as seen in most
a flower patch of my friend’s farm,
was a lively buzz of these adorable
birds. I just had to take out my
l
Miscellaneous
Tube of white gouache
l Masking fluid with applicator
t

paints. LP

www.painters-online.co.uk JULY 2017 55


LP07 53-55 Jelbert_Layout 1 05/05/2017 15:47 Page 56

Watercolour

Demonstration Farmyard Chickens


Step 1
t

1 Sketch the suggestion of the garden, with the foreground


bird and the distant chicken.
2 Apply a little masking fluid where the light areas may be
of help later on. Allow some of the areas to stay free of
lines to allow the paint to move freely about.

t
Step 2 t
Step 3
1 Wet the paper’s surface and drop bright yellow over 1 Quickly lift out the wattle area and add a bright red spot.
the neck area and ochre over the face. Allow the colours Allow it to merge over the face into the background. Do let
to merge into the body and feet. this vital seeping of the colours happen.
2 Add Hooker’s green to the background between the 2 Paint deep violet over the body and add more ochre
birds, emphasising the negative shape between them. to the neck.

t
Step 4 t
Step 5
Keeping the surface wet, accentuate the body shape with Using a wetted tissue, soften and alter the chicken’s shape to
deep violet and a weaker wash added to the silkie’s body to a more rounded and satisfactory feature. Strengthen the tail
give it definition. Tint the tail area with cerulean blue and and colour the pots using burnt sienna and white gouache.
add an accent of burnt sienna to the base of the neck and
background pot behind the white chicken shape.

56 JULY 2017 www.painters-online.co.uk


LP07 53-55 Jelbert_Layout 1 05/05/2017 15:47 Page 57

Step 6 t
1 Whilst still wet, use alizarin crimson to define the
wattle and eye areas. Darken the sides of the body using
violet and sienna, and add Winsor blue to the lower body.
2 Roughly place more flower pot colours and splatter
the foreground using burnt sienna, violet and blues;
allow to soften in the wetter places.
3 Place cerulean blue under the chickens in the
shadowed areas.

t Step 7
1 If the paper begins to dry, rewash very carefully. The
paper needs to be thoroughly dry before rewashing or
you will create unsightly watermarks in your work.
2 Redefine the pots with a combination of sienna and
violet, and darken the tail a little with Winsor blue.
As you proceed, try to leave something for the
imagination to work on in your painting.

Step 8
t

1 Rub off the masking fluid to expose the white flashes


needed for the mad feathers. I washed over these with
ochres and blues, allowing them to fade
into the chicken’s feathers slightly.
2 Splatter more pebbles and place
autumn leaves to echo the colours
of the bird into the foreground.

Step 9
t

Highlight the background against


the hen’s shape using small accents and
flicks of white gouache and the original
masking fluid applications. Define the
legs and feet, and add details of the
silkie hen and deeper accents to the
flowerpots.

The finished painting Farmyard


t

Chickens, watercolour, 12x16in.


(30.5x40.5cm)

Wendy Jelbert
Wendy’s courses and
exhibitions are on her website
www.wendyjelbert.co.uk

www.painters-online.co.uk JULY 2017 57


LP07 56-57 Holland_new_Layout 1 05/05/2017 15:52 Page 58

Oils

Go green
Richard Holland focuses on composition, perspective and mixing
greens, using a view he has sketched and painted through the seasons

LEARNING OBJECTIVES
n

n
How to mix greens
Follow an oil painting process
from initial sketch
I n this article I want to look at painting
a view I have sketched and painted
many times through the seasons. For
my latest version of this scene, I used a
watercolour sketch (below) made in the
see in the finished painting (page 78).
We also concentrate on composition and
perspective issues before we tackle colour
mixing and how to achieve a variety of
greens without resorting to readymade
autumn as the basis for the greens you tube colours. LP
n Beginners’ perspective

You will need


n Surface
l Canvas board 12x16in. (30.5x41cm)
n Pip Seymour Oil Colours
l French ultramarine blue, indigo,
cobalt blue, cerulean blue,
Sansepolcro blue, lemon yellow,
cadmium yellow, cadmium yellow
deep, Naples yellow deep, raw
sienna, cadmium red, alizarin
crimson, burnt sienna, burnt
umber, buff titanium and titanium
white. Thinned down Venetian rose
flesh for underpainting.
n Rosemary & Co brushes
l Short flats, Nos. 20, 10 and 5
n Miscellaneous
l Winsor & Newton Heavy Carvable
Modelling Paste
l Coco Bella thinner
t
Your reference photograph of the scene

Step 1
t

Watercolour sketch
To capture the moment
at Hill Top Farm
I painted this small
A5 watercolour sketch
on location to work
from as my reference
material back in the
studio. I painted this
early last autumn, just
as some of the foliage
was going over, which
offered me deep greens
with the hint of
autumnal colour.

58 JULY 2017 www.painters-online.co.uk


LP07 56-57 Holland_new_Layout 1 05/05/2017 15:53 Page 59

Oils

Head towards
vanishing point
Centre third

Looking
up at
Horizon/eye level

Looking
Lead-in down to
Light flash

Lead-in Light flash

Serpentine
lead-in

t
Step 2 Perspective and composition
1 To begin, consider the horizon or eye level also became smaller as it went into the that draws you into the painting. The wall
in this painting. Whilst sketching I sat up on distance. Making preliminary working line on the right-hand side, the open gate and
a bank looking at the farm and outbuildings drawings are the best way to work this out, the barn roof beams all lead you into the
side on. The foreground dropped away but keep looking and measuring and, as view as well as the strong flashes of light
before coming up to meet my eye level time goes on, it becomes more obvious to along the back of the painting. All the main
again. I needed to draw the wall on the which way your lines need to go. interest in the painting, including the main
left-hand side progressively smaller as it 2 From a compositional point of view focal point – where the path leads to – sits
went away from me. The main farm building I used a serpentine lead-in with the track within the centre third of the painting.

Step 3 Preparation
t

1 Using my watercolour sketch


as inspiration, I began with a
rough scribbled sketch on canvas
then applied the modelling paste
quite heavily in places, such as
the trees in the background, the
buildings’ walls, the foreground,
and the walls and track leading
in. I also ran the end of my
brush through the trees to create
trunk and branch shapes.
2 I applied a light wash of
Venetian rose flesh as a base
or underpainting with the
intention of enhancing and
complementing the many greens
that would be applied later.
Then I left it to dry.
t

www.painters-online.co.uk JULY 2017 59


LP07 56-57 Holland_new_Layout 1 05/05/2017 15:54 Page 60

Oils

Lemon Cadmium Cadmium Raw Naples Step 4 Mixing greens

t
yellow yellow yellow deep sienna yellow You can generally mix all the greens you need from
five yellows and five blues, with a little extra help from
alizarin crimson and buff titanium. The chart shows
the mixes from indigo, French ultramarine, cobalt blue,
cerulean and Sansepolcro blue mixed with lemon
yellow, cadmium yellow, cadmium yellow deep, Naples
Indigo yellow and raw sienna. If you want a darker or more
olive green, add a tiny amount of alizarin. If you’re
looking for a creamy green, add buff titanium rather
than white, as this can make your greens look chalky.
French
ultramarine
Step 5 The mid-tones
1 Begin by painting the sky using a mix of Sansepolcro
Cobalt blue, cobalt blue and buff titanium. Add the distant hills
blue with greens made from Naples yellow (or raw sienna)
with French ultramarine to produce the aerial
perspective you need.
Cerulean 2 When the sky and distance is dry, block in the buildings
and walls with a mix of burnt sienna, raw sienna and
French ultramarine to make a dark stone colour.
3 Block in the trees and the mid-ground and foreground
Sansepolcro grass in darker green mixes of indigo and French
blue ultramarine with both cadmium yellows and a tiny
amount of alizarin.

t Step 6 The highlights across the centre of painting can be Buildings Mix buff titanium with raw
Trees Use a wide range of the lighter greens left with the mid tones, but the darkness sienna, burnt sienna and cadmium red
on your colour chart, most having a little of this shadow area will make the lighter along with Venetian rose flesh to give
buff titanium added to give the colours greens around it stand out more. you the sunlit areas, while maintaining
a softer feel. For the distant trees, aim to Foreground Use your stronger light the mid-tones for the shaded areas.
use more Naples yellow and raw sienna greens, such a lemon and cadmium Accents Strong dashes or wafts of the
with cobalt and French ultramarine mix to yellow with cerulean, cobalt blue and brighter greens help to give the painting
create a more blue-grey green for distance. French ultramarine, to bring looseness and impact as well as drawing
Shadow Much of the shadow that falls the foreground forward. the eye into the painting.

TIP Apply almost


neat paint at the
final stage, but let
your brush waft the
colour on so you
don’t obliterate the
colours from the
previous layers.

Richard
Holland
Richard will be
demonstrating
landscape painting on
his stand at Patchings
Art, Craft and
Photography Festival
this July (see page 71
for details). For further
information go to
richardholland
landscapeartist.co.uk
or email ricardo2244
@yahoo.co.uk

t
The finished painting Hill Top Farm, oil on canvas board, 12x16in. (30.5x41cm)

60 JULY 2017 www.painters-online.co.uk


LP07 61-63 Joyce_Layout 1 05/05/2017 16:00 Page 61

t
Stacks at Souter, watercolour, 10x14in. (25.5x35.5cm). I loved the play of light on the rocks and beautiful colours in the sea.

Sunlight and shadow


Join Colin Joyce as he paints an atmospheric scene with an emphasis
on tone, using wet-in-wet and dry-brush techniques in watercolour
For this demonstration I worked from
LEARNING OBJECTIVES my reference material after I looked
n Build colour-mixing confidence through a variety of photographs and
sketches to find images where the
n Practise watercolour techniques sunlight had transformed the scene.
n Learn the painting process with Being on a hillside, just moving a few
watercolour steps – left or right, up or down –
changed the look of this cottage in
its surroundings. I found a couple of

P ainting the effects of sunlight


is one of the delights of using
watercolour and I just love to
get out in the open with my painting
kit to capture those transient
thumbnail sketches (right) to decide
on the angle I preferred for the
painting. I liked the slightly higher
standpoint, which brought more of the
loch and background hills into view.
moments nature offers. Living in Using my favourite watercolour
Fife, you might immediately assume paper, Saunders Waterford Rough
I don’t go out much to paint due to 300gsm, I used masking tape to fasten
the weather. However, Fife is one of it to a plywood board. Anything larger
the driest and sunniest climates in the than this and I would stretch the
whole of the UK – a bit of a well-kept paper first to avoid cockling when
secret. I have a wealth of subject wet or would use heavier paper.
matter on my doorstep and I’m not I hope you enjoy following the
far from the hills and mountains of demonstration as you practise
the Highlands either. Sometimes I can important watercolour techniques. LP
only take photos or make a quick
sketch, which gives me material to Thumbnail sketches of the scene used in
t

the demonstration painting over the page


t

work up in the studio.

www.painters-online.co.uk JULY 2017 61


LP07 61-63 Joyce_Layout 1 05/05/2017 16:00 Page 62

Watercolour

Demonstration Sunlit Morning, Loch Shieldaig

You will need


n Surface n Brushes n Watercolour
l Saunders l Escoda Ultimo Cadmium yellow light,
Waterford l Round Mops, Indian yellow,
Rough 300gsm l Nos. 18, 14 & 10 quinacridone gold,
watercolour l Escoda Perla Round burnt sienna, cadmium
paper, Pointed, Nos. 16, 12, orange, cadmium red
11x15in. 10 & 8 light, madder lake deep,
(xxxxxxcm) l Pro Arte Swordliner manganese blue hue,
medium cobalt blue, ultramarine
l Pro Arte Rigger No. 2 blue, cobalt green and
cobalt turquoise light

t
Step 1
Draw the scene using a 2B pencil. Mix pools of
well-diluted quinacridone gold and manganese
blue hue. Apply the yellow wash to the lower
part of the sky, continuing down over the hills,
the foreground grass and rocky outcrop behind
the cottage. Add the blue for the rest of the
sky and the loch. Leave to blend and dry.

Step 2

t
1 Add a touch of cobalt blue to the
remainder of the manganese blue hue
and strengthen the upper part of the sky.
2 Mix light green using cadmium yellow pale
and cobalt blue to add strength and variation
to the grass area.
3 Mix a darker green-blue for the background
hills using Indian yellow, ultramarine blue
and a touch of burnt sienna. Weaken the
wash with water as you move down towards
the loch. Whilst still damp apply more blue
to the mix to add shape to the hills and
allow this to blend. Also add this mix to
the bushes near the road.

t Step 3
1 Make a strong mix of the hill colour to the illusion of aerial perspective. Throw in left while still damp and allow to blend. Leave
create the layers of hills, using a second a touch of green for the distant fields. Add to dry before adding the final layer of hills
brush just dampened with water to create burnt sienna and violet to the hill on the down to the loch. Mix a dark with ultramarine
blue and burnt sienna to paint the dark tidal
lines of all the lochside hills, leaving just a
hint of the lighter tones here and there.
2 Once dry mix a darker blue using what you
have left from earlier, with more cobalt blue
and the slightest hint of burnt sienna. Use the
dry-brush technique to give the effect of water
disturbed by the wind, moving swiftly from left
to right and barely touching the surface.
Strengthen areas where needed. Using a smaller
Round brush, add detail to the patterns in the
water in the distance.
3 With a dilute grey mix add tone to the rocks
and poles, and paint the road, except where the
sun cuts across. Apply burnt sienna with a little
dark from the palette to the rocks behind the
cottage and allow to blend.
4 Apply cadmium red light to the roofline then
water down, pulling it towards the bottom. Add
touches of madder lake deep for variation.
5 Add Indian yellow to the areas where the
sunlight hits the grasses. Apply the same yellow
and cobalt blue around the rocks and more
liberally elsewhere. Before this dries put some
more blue and burnt sienna here and there
to give variation.

62 JULY 2017 www.painters-online.co.uk


LP07 61-63 Joyce_Layout 1 05/05/2017 16:01 Page 63

Step 4
t
1 The way to create the effect of light is to be
bold with the darks. Using more pigment than
water mix ultramarine blue, burnt sienna and
a touch of cobalt green to achieve a nice juicy
dark. Using the side of a large dry Round
brush, scrub around the area of the trees.
This gives a dry-brush effect and implies
leaves and branches.
2 Before it has a chance to dry, add Indian
yellow at the top to warm it up, and use
a Rigger and the dark mix to add a few
branches. Don’t overdo this; it’s easy to get
carried away. Can you see now why I left the
area behind the trees unpainted earlier?
3 Continue with the same dark mix and work
on the verge beneath the tree, adding a few
warm yellows and browns into the mix, right
up to the edge of the shaft of sunlight. Use
Indian yellow and cobalt blue mixed on the
paper to add the sunlit grass verge.
Strengthen the greens on the main grass
area either side of the sunlit area.
5 Mixing grey with a hint of violet now tackle t Step 5
the shaded areas of the road, coming back 1 Using a blue-grey mix, add shadow to Colin Joyce
into it with more of the mix as it dries to the side of the cottage, chimneys and Colin lives in Dunfermline, Fife and
imply tyre wear on the single-track road. window. Add more of the blue-grey to the paints in and teaches both oils and
6 By painting around a few areas create edges of the cottage to make it stand out. watercolours. He demonstrates for
dappled light on the road. Dilute this mix a 2 Using manganese blue hue add detail art groups and organises painting
touch to add shadows on parts of the grass to the electricity pole, deepening the blue holidays. Meet him at Patchings Art,
and behind rocks, and the shaded sides of with grey for the shadows. Add a dark grey Crafts & Photography Festival (see
the rocks themselves. Notice how I broke to the shadow side of the poles. page 71 for details). To find out
the plane of the grass against the Loch with 3 If you’re feeling brave, place power more, visit www.colinjoyceart.com
the big boulder. lines with a Rigger.

t
The finished painting Sunlit Morning, Loch Shieldaig, watercolour, 11x15in. (28x38cm)

www.painters-online.co.uk JULY 2017 63


LP July 2017 Art Clubs p64-65_News 1st 08/05/2017 09:47 Page 2

CLUB EXHIBITIONS

Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Boughton Art Group
Annual exhibition at Edwinstowe Craft
Centre, Nottinghamshire on Saturday 29
July from 10am to 5pm and Sunday 30
July, 10am to 4pm.
n Denbighshire Art Society
EXHIBITIONS AND ACTIVITIES Summer exhibition at The Studio, 10
Penrhos Road, Colwyn Bay LL28 4DB from
1 to 16 July, 10am to 5pm daily.
n Fleet Art Society
Annual exhibition at The Church on the
Heath, Elvetham Heath, Fleet GU51 1HA
on Thursday 15 June, 1.30 to 5pm; Friday
16 June, 10am to 5.30pm and Saturday
17 June, 10am to 5pm. Visit
www.fleetart.org.uk
n Great Yarmouth Guild of
Artist and Craftsmen
Annual exhibition at Great Yarmouth
Library from 29 June until 7 July. Open
daily, 10am to 4pm.
n Lindley Art Association
Exhibition at Tetney Village Hall,
Humberston Road, Tetney, Grimsby,
North East Lincolnshire DN36 5NG on
Friday 23 June, 1 to 6pm; Saturday 24
June, 10am to 6pm; and Sunday 25 June
from 10am to 4pm. Enquiries to 01507
610604.
n Milford Art Group
Exhibition at All Saints Church Hall,
Church Hill, Milford SO41 0SQ from 29
July until 12 August. Open daily, 10am to
5.30pm; from 11am until 5.30pm on
Sundays and closing at 4pm on final day.
n Nettleham Art Group
13th annual exhibition at the Old School
(near the church), Nettleham, Lincoln LN2
2PE on Friday 7 July, 2 to 4pm and 6.30 to
8pm; Saturday 8 July from 10am to
4.30pm; and Sunday 9 July from 11am
until 3.30pm Enquiries to Ian Straw
01522 753558.
n North Lincs Art Society
Annual exhibition at Grimsby Minster
from 2 to 26 June. Open daily between
10am and 4pm, excluding Sundays when
services are held. Enquiries to Anne Harris
01507 610604 or visit www.nlasart.co.uk
n Royal Tunbridge Wells
t
Ron Etherington Rudbeckia, oil on board, 133⁄4x101⁄2in. (35x27cm) on show in the annual
Art Society
exhibition of the Saddleworth Group of Artists Summer exhibition at 61 The Pantiles,
Tunbridge Wells, Kent from 1 to 16 July.
Highlights Visit www.rtwas.org
Saddleworth Group of Artists n Sherborne Art Club
The annual summer exhibition of the Saddleworth Group of Artists will take Annual open exhibition at the Digby Hall,
place at the Saddleworth Museum, High Street, Uppermill OL3 6HS from 17 June Hound Street, Sherborne, Dorset DT9 3AA
from 22 to 30 July. Open 10am to 5.30pm
to 16 July. The exhibition will include up to 50 works, with most paintings daily; closing at 1pm on final day. Visit
offered for sale. The group, which was founded in 1950 by watercolourist, www.sherborneartclub.com
Ellis Shaw and friends, currently has around 60 enthusiastic members, some
n Stotfold Mill
full-time professionals, but all committed to their work. The museum is open
Summer art exhibition at Stotfold Mill,
daily from 1 to 4pm. For more information about the group visit Bedfordshire SG5 4NU from 7 to 9 July,
www.saddleworthartists.co.uk 12.30 to 5pm daily. Visit
www.stotfoldmill.com

64 JULY 2017 www.painters-online.co.uk


LP July 2017 Art Clubs p64-65_News 1st 08/05/2017 09:47 Page 3

n Tewkesbury Art Society Highlights


Summer exhibition at the Methodist Association of Marine Artists
Church Hall, By The Cross, Barton Street, Open-air exhibitions take place on
Tewkesbury, Gloucestershire from 22 to 29 the East Pier, Dublin Bay throughout
July, 10am to 4pm. For more details visit
www.t-a-s.info the summer months. The next
exhibitions will run from 3 to 5 June,
n Wokingham Art Society and 8 and 9 July. If you are interested in
62nd annual summer exhibition at St.
exhibiting go to www.dlharbour.ie and
Paul’s Parish Rooms, Reading Road,
Wokingham RG41 1EH from 22 July until search ‘exhibitions’ for a downloadable
5 August. Open daily, 10am to 5.30pm; entry form.
until 8pm on Thursdays. Visit Benson Art Group
www.wokinghamartsociety.org.uk The annual exhibition of the Benson
n West Dartmoor Art Group Art Group takes place at the
Annual exhibition at Peter Tavy Village Hall Millstream Day Centre, Benson,
(near Tavistock) from 15 to 23 July, 10am to Oxfordshire on Friday 7 July from 7
6pm daily; closing at 4pm on final day. to 9pm with drinks and light
t
Annie Mills Spaniel, acrylic on canvas,
Enquiries to Barry Martin 01822 615619. refreshments and Saturday 8 July 10x113⁄4in. (25x30cm) on show at the summer
exhibition of the Uckfield Art Group
from 10am to 12 noon for coffee, tea
Demonstrations & and biscuits. For details telephone Trisha plenty of parking and refreshments will
Scott on 01491 834734 or email her at
Classes trisha.watercress@hotmail.co.uk
be available. The group of around 15
Bedford Art Society members meet on alternate Wednesday
Experienced botanical artist and
Cononley Art Group afternoons at East Huntspill Village Hall,
The Cononley Art Group will hold its and enjoy experimenting in all media,
president of the Society of Botanical
late spring exhibition at the with a cupboard of paints and materials
Artists, Sandra Wall Armitage, will give a
Cononley Village Institute, Main for all to try. The group also does all its
talk to the Bedford Art Society about her
Street, Cononley BD20 8NT from 27 own mounting and framing. For more
work on 7 July (7.15 for a 7.30pm start)
to 29 May, 10am to 4pm daily. Entry information contact Kay on 01278 789678 or
at Putnoe Heights Church, Bedford MK41
is free and refreshments will be email kathsouthview@sky.com
8EB. Entry is free for members; £5 for
available, as well as paintings, cards Leicester Society of Artists
visitors. Contact Jean Paterson on 01234
to buy and demonstrations by Work by members of Leicester Society of
307210 for more information or visit
members throughout the event. Artists will feature in Little Selves: an
www.bedsartsociety.co.uk
Brighouse Art Circle East Huntspill Art Group exhibition of 141 miniature portraits at
The East Huntspill Art Group will Leicester New Walk Museum and Art
Artist, Jane Austin, will give a
hold its annual exhibition at the Gallery, until 24 June. The exhibition
demonstration to the Brighouse Art Circle
Methodist Church, East Huntspill on will also feature works from the
on Bringing Light to Watercolour on 20
Friday and Saturday 2 and 3 June museum’s own collection, local students
July at Waring Green Community Centre,
from 10am to 5pm and on Sunday 4 and guest artists.
Brighouse at 7.30pm Non-members
June between 1 and 4pm. There is The Lymington Palette Club
welcome. Telephone Geoff on 01484 712947
or visit www.brighouseartcircle@yahoo.co.uk The Lymington Palette Club’s annual
t Peter Almond Granddaughter, oil on
Halifax Art Society exhibition takes place the Masonic Hall,
canvas, 15x12in. (38x31cm). Peter has been a
On Friday 16 June, Matthew Evans will member of the East Huntspill Art Group for High Street, Lymington, Hampshire from
give a demonstration on painting Flowers several years 23 to 30 June., 10am to 5pm daily. Free
in Pastel to the Halifax Art Society at All parking is available and there is also
Saints Parish Hall, Godfrey Road, Skircoat disabled access. The exhibition includes
Green, Halifax from 10.30am until 1pm. contemporary work at affordable prices
For more information visit and will feature the work of guest artist,
www.halifaxartsociety.com Will Rochford.
Hipperholme & Lightcliffe Uckfield Art Group
Art Society The Uckfield Art Group’s summer
Jeremy Taylor will lead a workshop on exhibition takes place on Saturday 3
painting Boats in Watercolour for the June at the Luxford Centre, Library Way,
Hipperholme & Lightcliffe Art Society on Uckfield, East Sussex TN22 1AR, from
Tuesday 4 July at the Brighouse Rest 10am until 4pm. Homemade
Centre, Brighouse from 7.30 to 9.30pm. refreshments will be served throughout
For more information visit www.handlas.co.uk the day and original paintings,
Virginia Water Art Society drawings, greetings cards and hand-
Stephen Cheeseman will give an oil crafted items will be on sale. Admission
pastel demonstration on Horse Racing to is free and there’s plenty of free parking.
For more information contact Annie at 01825
the Virginia Water Art Society on
765021 or visit www.uckfieldartgroup.com
Wednesday 5 July. For more information visit
www.virginiawaterartsociety.blogspot.com

www.painters-online.co.uk JULY 2017 65


LP Marketplace
Summer 16 HoM_Layout 1 26/05/2016 16:27 Page 3

To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses
LEARN AT HOME. Watercolour
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classes. Very good accommodation. Bassenhwaite, various dates.
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special offers and customers' comments
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• Excellent and other
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Call Allison Bond for details: 01255 820466
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We have an extensive range of high quality,
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OF COURSES IN 2017
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t
• Free transport 18-22 Jun Embellish Your Fantasy Paintings
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studio one of her Paint ‘N Canvas holidays
• Highly professional tutors
Keiko Tanabe, Paul Weaver & many more
• Friendly house-party atmosphere
28 Jun-3 Jul Summer Sketchbooks
11-14 Jul Sketchbooks - Where to Draw the Line?! Framing

A
• Delicious food and wine 15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
• All accommodation en-suite 1-4 Aug
rtist and holiday organiser, Linda Matthews is passionate
Sketching is an Art in Itself!
• No single supplement
• Stunning locations - easy walking
5-8 Aug
12-15 Aug
about painting from life, en plein air, and in fact was the
Cliff Top Painting - Look East and West
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founder of the first four-day plein air
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Somerset, Exmoor
painting festival – National Park,
Ashcraft Framing Artists Frames
• All abilities and non-painting A Brush with the Broads – in 2014. Her schedule
21-24 Aug Loosening up with Watercolour North Devon is a busyCoast,
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partners welcome
• Well equipped studio
6-11 Sep The Four Stages of Watercolour
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• Small numbers to ensure
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15-20 Sep
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Seascapes and Harbours
Painting Dorset Skies- acrylics or Valley, Provence, France & The
all have in common is her dedication to getting out there and - Inlay frame specialist
- Large, standard and bespoke sizes
becoming aware of what is around you. Western “WhereverAlgarve,
you look Portugal
watersoluble oils
20-23 Oct Watercolour - the Basics and Beyond
studio based
there is something to paint,” she says. “You can never be bored Exclusive - St Ives/Nicholson style
Painting by David Webb

And much, much more!!


with a pencil and a sketchbook.” frames available on-line
WINTER WARMERS Her tuition style is warm and encouraging, making her holidays
Call 01427 787318 or visit
Two full days’ tuition in our cosy studio from 10am to 5pm,
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with toall-inclusive holidays
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SUPER P all for only £155 Whybrave painting
not pamper outside
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and add Friday

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are her usual weekly classes ovelymorning
held on a Thursday ainting
at her oliday dventure
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01934 733877
special painters’ rate of £55 per night? Most people do!
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DO L SAVSUFFOLK Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
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is generous withBH5 her1HRteaching experience and is happy to

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LONDON!
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tailor courses to meet the needs of individuals - whether it’s one-
MOROCCO! to-one tuition that’s needed or special courses for groups. Look
66 JULY 2017 on the website for full details of all the courses and options on www.painters-online.co.uk
offer. You’ll even find some step-by-step tutorials to follow.
Suppliers of the finest
lp CLA July_NEW.indd 66 art materials 05/05/2017 13:53:03
Jul 17 Holiday of the Month_Layout 1 27/04/2017 13:38 Page 3

Holidays & Courses

Art Holidays in stunning Devon


Enjoy the wonder of painting within Devon’s
dramatic landscape. Full board for 5 days or a
weekend with expert tuition by landscape artist
Deborah Last.
En-plein air & studio painting for all levels &
abilities from £300. For more information call
Debs on 07887 87889 6
or email dlast@btinternet.com

www.deborahlast.co.uk

Watershed Studio
Teaching art has been David’s
Holiday of the month Celebrating our 16th year
passion for over 15 years,
passing on his knowledge PEGASUS ART • Proven reputation for quality courses
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and tips from over 50 years of • Excellent local accommodation
painting and helping students • High profile, popular tutors
learn, improve and achieve. Fraser Scarfe, Tim Fisher
Jeremy Ford, Charles Evans,
Watercolours • oils • pastels Diana Seidl and many more…
Call Allison Bond for details:
Saturday workshops and holidays
01255 820466
www.watercolourartist.net Email: allison@watershedstudio.co.uk
Tel: 01246 826311 www.watershedstudio.co.uk
St Clere’s Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX

www.learntopaintinfrance.co.uk
With Mike Hall Des RCA.
Award Winning Art t
Managing director Jane Fisher leads a demonstration
Regular contributor to ‘The Artist’ Join popular artist

S
magazine and popular tutor. ince 2005, professional artist, Jane Fisher, has led a and experienced
Painting Holidays 2017! tutor Mike for
passionate team of artists at Griffin Mill – home to Pegasus
Higham Hall, Lake District a long weekend
Rydal Hall, Lake District Art, comprising a shop and vibrant artists’ studios based in a
Cober Hill, Scarborough converted Victorian Mill in the Cotswold Valleys. The shop stocks or a week’s all
HF Holidays – Malham, Whitby an impressive range of artists’ materials, with a fast and efficient inclusive painting
Dalvaro Art, Spain holiday in France.
Paint Andalucia, Spain mail order service run by knowledgeable staff, all of whom are
Sandpiper Studio, South Wirral practising artists. There are six artists’ studios at the mill as well as Small painting groups in Limousin.
Watershed Studio, Essex Studio One – a teaching studio that hosts demonstrations and
Norfolk Creative Arts, Norfolk All levels welcome.
workshops for artists of all levels, including children.
Workshops available nationally. See the website for details
www.rdcreative.co.uk Regular art classes are held mornings, afternoons and some
evenings each week, and include watercolour classes with Richard or call Mike on
for further details or contact
Callingham; acrylic classes with Alexandra Darbyshire, mixed- 01256 850167 or 07774 616361
0113 2252481 or email
rdcreative@ntlworld.com
bscshep@aol.com
media classes with Alison Vickery (who also runs an after-school
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LEARN AT HOME. Watercolour and drawing.
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Painter 1-16 courses run for six or seven weeks, but students can join at any
Easy,advert.indd 1
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Details: 10:11

Jenny Trotman NDD. Tel: 01305 264568


time if there’s space available.
www.catswhiskersart.co.uk
In addition to the regular classes, there are also workshops and
masterclasses, led by experienced visiting tutors. Leaflets for both
regular classes and workshops can be downloaded from the
Framing website, but here are just a few classes to look out for: Painting in Pegasus Art Shop
Shop Online for Fine Art Materials
Watercolour En Plein Air with Richard Callingham on 10 June and Workshops & Masterclasses
AshcraftArtists
FramingFrames
5 August at the nearby Museum in the Park; Unravelling the
Enigma of Oils with Max Hale from 22 to 24 August; Revealing
www.pegasusart.co.uk
info@pegasusart.co.uk
- Save money on framing Rothko – a colour-mixing workshop with Susanna Bailey on 1 01453 886560
- Complete or self-assembly July; a holiday kids club for three mornings in August; a charcoal
- Plain wood or painted workshop led by Nick Grellier on 19 August; and a canvas-making
- Inlay frame specialist workshop with professional artist, Chris Bingle in September.
- Large, standard and bespoke sizes
Exclusive - St Ives/Nicholson style Contact Pegasus Art, Griffin Mill Trading Estate, London Road,
frames available on-line Thrupp, Stroud, Gloucestershire GL5 2AZ. Telephone 01453
Call 01427 787318 or visit 886560; email info@pegasusart.co.uk; www.pegasusart.co.uk
www.ashcraftframing.co.uk/store

www.painters-online.co.uk JULY 2017 67

lp CLA July_NEW.indd 67 05/05/2017 13:53:12


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ane, Whittlesford,
CB22 4YS
Art Holidays in Dorset
Hope you like our page!
The Old School Studio
Comprehensive selection
29 May-1 Jun Sandy Bays and Muddy Estuaries
2 - 5 Jun
of Fully
13-16 Jun
Flowers in Line and Wash
Tutored
Drawing Painting
and Painting With Watercolour
01934 733877 Plus: Spain
& Portugal
Painting by David Webb

based Working Art Studio Workshops with Professional Pencils Artists


for Beginners mostly studio based
active Victorian School House. 17-20 Jun Watercolour Workshop
e & two day fully tutored workshops.Drop-in & Paint day every Monday, Thursday & Friday
All Art
partly studio based
New 3 day Summer School
20 - 24 inJunAugust
Finding Beauty in Fantasy studio based  David Bellamy
n Allis, Jamel Akib, Vic Bearcroft, Melanie Cambridge, 6 - 11 Jul Exciting Sketchbooks - Seize Your World!  Joe Francis Dowden
chel Haynes, Prue van der Hoorn,Chris Lockwood,
Williams SBA, Thomas Plunkett PRWS, Sue Williams
Close to Duxford IWM & the historic City
14-17 Jul
Excellent road, rail 26-31
& air Jul
of Cambridge
Buildings Without a Care
links People and Places in Line and Wash
 Tim Fisher Materials
 Jeremy Ford
every Thursday & Friday
N STUDIOS IN JULY
Private car park, plus good local4-7accommodation
Aug
8-11 Aug
& food
Experimental Drawing
Experimental Painting  Noel Gregory Included
Email: P E R
info@theoldschoolstudio.co.uk
U www.theoldschoolstudio.co.uk
S Barry Herniman
Abroad
ids Painting Activities in August 20-24 Aug Exploring Summer Flowers - 
UBLECallUP Poppies to Sunflowers, Petals to Dewdrops
oards etc, and benefits from a large mezzanine floor with a
D O Val Pettifer: 01223 833064  Steve Hall
R 9 - 12 Sep Late Summer Outside
SUPEE UP AVE
attractive garden and courtyard, whilst enjoying a cuppa!
DEAL S 13 - 16 Sep Mix It up with Mixed Media  John Hoar  Non painters welcome & catered for
L
£145
U B
016 brochure Email: info@theoldschoolstudio.co.uk
O SAVE and lots, lots more!
 Terry Harrison  Organisers always on location with group
STDDEIVES
www.theoldschoolstudio.co.uk
AL WORKSHOPSForWITH JANEcontact
BETTERIDGE
£145
brochure please Christine or John  Roy Lang  All Abilities Welcome & Small Groups (Max 12)
www.boscombespahotel.co.uk 01202 393234  Fiona Peart
2 day workshops in the thriving artists’ paradise of
info@boscombespahotel.co.uk.  Joanne Boon Thomas  Studio & Location based courses in all media
St Ives Cornwall by renownedArtwatercolourist and
Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road, LP Binder ad 2_Layout 1 28/08/2013 14:48 Page 1
For brochure
And many more
author of please contact Christine
Watercolours or John 01202
Unleashed 393234.
, Jane Art Holidays
Betteridge in Dorset,
Boscombe Manor, Nr Bournemouth BH5 1HR
The Studio, Boscombe Spa Hotel, 4 Glen Road, Boscombe Manor, Bournemouth BH5 1HR

www.boscombespahotel.co.uk
30/31st October and 2/3rd November 2017
r breaks
Art
rt r aks
bre
re k in Exmoor
ks E moor
Ex
See website for details - janebetteridge.com
or tel 07925826937
Shorland Old Farm
Create contemporary, coastal related pieces of work
Wide
‘with a twist’, using watercolours, inks, grounds,
and texture making mediums.
range of courses for all abilities
collage
17C farmhouse in beautiful location
Light, well-equipped studio
binders
TARN AREA, SW FRANCE. Painting holidays.
art holidays
Good food, friendly in atmosphere
cornwall
Protect your copies of and
Excellent food and accommodation, superb
Non-painting partners welcome build up your own art study library at home
landscape, forestry, mediaeval villages,
binders take a complete
studio, large swimming pool. Professional www.shorlandoldfarm.co.uk
www.shorlandoldfa f rm.co.uk
fa volume of 13 issues and have no loose clips
tuition by Ken Ray BA, WSCAD,
or rods. In a matter of seconds you can
Diana Golledge, Cora Martin. Details: insert or extract a copy – just slide it on or
‘a great deal more than just a painting holiday...’
Bob and Carla Schaap, Chateau de Pourpry, Ready-made off the sprung cord. The binders are robust
81220 Damiatte, Tarn, France. Small Groups
groups also
Stunning Locations and attractively covered in a mulberry
Tel: 0033 563 707 176 welcome
4 Star Accommodation leather finish with gold-lettered spines.
Email: bobencarla@aol.com Call Sandy or Mark 01598 763505
All Abilities
Tel 01579 383491 Prices (including VAT and p&p)
enquiries@shorlandoldfa
Email: enquiries@shorlandoldfarm.co.uk
www.callingtonartschool.com f rm.co.uk
fa UK £7.95 or two for £15.00
Art Groups Europe £14.00
Rest of world £16.00
Friendly Art Group
Benington Art Group meet every THE SKY’S
THE LIMIT
Monday 10am-2pm at
Benington Village Hall, near Stevenage.
Friendly, well established group, keen to
Only
welcome new members of all abilities.
Our aim is to enjoy what we do. A tutor
£7.95
inc VAT &
attends on alternate weeks covering WHEN IT COMES TO
a variety of subjects and mediums.
p&p
ADVERTISING WITH
Refreshments provided, free parking.
Join us for free ‘taster’ session contact
LEISURE PAINTER
Rosalind on 01992 892588.
Call Anna-Marie to discover the
opportunities available to you.
Order online at www.painters-online.co.uk/store or send your name
T: 01778 392048 and address, with a cheque payable to TAPC, to: LP Binders, 63-65
E: annamarieb@ High Street, Tenterden, Kent TN30 6BD. To pay by credit card telephone
warnersgroup.co.uk +44 (0) 1580 763673. Alternatively, email liza@tapc.co.uk

64
68 APRIL2017
JULY 2015 www.painters-online.co.uk

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LP04_IndiaSoan_v2_Layout 1 30/01/2017 14:48 Page 38

Reader holiday

Paint in Rajasthan,
India with Hazel Soan October
16 to 31,
2017

Join popular art tutor, Hazel Soan, on the ultimate painting holiday
in India and return with an impressive portfolio of work
l Paint the grandeur of the Udaipur, known as the ‘city of sunrise’ Painting programme & tutor
Mughal Empire in the Royal is a glistening oasis in the Rajasthan desert. Hazel Soan is a versatile and
It is one of the most serene, romantic and
lakeside city of Udaipur paintable places in India. Apart from the
talented artist, and an excellent

l Experience Diwali –
teacher with a natural gift of
special light, its ornate white-marbled drawing out the best in
palaces and lakeside location are most
the Festival of Lights appealing. Women washing their clothes
students. She will illustrate a

l Capture the fervour of the


wide range of the topics with
on the shores of Lake Pichola, people bathing talks and demonstrations.
annual Pushkar Camel Fair at the ghats, colourful saris and impressive There will also be an
turbans and moustaches will add wonderful opportunity for you to paint a
in the Rajasthan desert content to your paintings. You’ll be in model. This tutorial painting
l Portray the serenity of a Udaipur during Diwali, which is one of holiday is ideal for intermediate students,
the most celebrated Hindu festivals and but more experienced students are welcome to
Brahma Temple pilgrimage known as the Festival of Lights. work independently. Hazel Soan will be working
l Extend your stay to in watercolour, but all media are welcome.
Pushkar is a holy Hindu town in the As well as your own travel escort, there will be
enjoy the sublime beauty heart of the Rajasthan desert and every
a local Indian guide with you, helping you find
of the Taj Mahal under October there is a Brahma Temple
the most suitable places to paint and provide
a full moon Pilgrimage on the shores of Pushkar Lake.
an explanation of the various ceremonies.
The annual Pushkar Camel Fair also takes
place in October, when thousands of local
villagers gather to trade their cattle, horses
and camels. Both are colourful and
atmospheric spectacles, and not to be missed.
Hazel Soan will be extending her stay
in India to paint the Taj Mahal under a full
moon and invites you to join her. This most
iconic monument is a must for anyone who
has not already seen it.
l Number of students: 8 to 12 l Price per
person in a twin room: £7,995 l Single
supplement: £600 l Taj Mahal extension
October 31 – November 3: from £850
Includes: flights, hotels, all meals, local
guide, art tutor and travel escort.

01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com


The Artist and Leisure Painter magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471 Other holidays in 2017 include the Gardens of Belgium & Holland with Pamela Kay NEAC, RBA, RWS,
Antibes and the Côte d’Azure with Lachlan Goudie ROI, Amsterdam with Ken Howard OBE, RA and Vietnam with Peter Brown NEAC, ROI.
LP July 2017 Online Gallery p70_News 1st 08/05/2017 09:50 Page 66

Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK

B oats are notoriously difficult to paint. Their complex shape and reflections result
in numerous perspective problems to overcome. Gerry Jensen’s striking painting,
below, caught my eye immediately, with the boat taking up as much room as the
Feeling the atmosphere
Born in Tunbridge Wells, Gerry Jensen
emigrated to Australia with her parents
reflected image. Here, Gerry tells us a little bit about her approach to painting with in 1950. She now lives on the north west
pastels and how she set about this particular subject. If you would like to see more of coast of Tasmania where, she says, she
her work, post a comment or have a go yourself and upload your own images to our “commits to the discipline of painting
free online gallery, visit www.painters-online.co.uk every day. I don’t mind what the subject
is. At the moment I love painting boats,
figures and still life, but I paint any
subject that catches my eye. I work in a
variety of media. Pastel is top of the list,
although I enjoy watercolour and oil as
well. My style is traditional with an
impressionistic twist. It’s fascinating to
pick up a pastel stick, brush or pencil and
watch as the idea unfolds. Sometimes a
bit of magic happens. It’s the process
that makes the journey so exciting. As I
get older I want to simplify my work,
becoming more impressionistic and
seeing where it takes me. Each painting is
a learning experience and every stroke of
pastel, oil or pencil teaches me
something. I love drawing and think it is
a very important part of an artist’s
vocabulary.
“Moored was inspired by the wonderful
reflections of the boats in the still water
of Strahan Harbour in Tasmania. I drew
the subject with pastel pencil on black
MiTeintes paper, making sure it was
reasonably accurate. It doesn’t have to be
an exact representation – it’s more about
the feel and atmosphere. I started with
the larger shapes, refining anything that
jumped out and leaving some of the
black paper showing through the water
and sky. You don’t need to cover the
whole surface! I painted the jetty using
negative shapes, allowing it to blend in
with the positive shapes. I worked
intuitively through the painting, making
changes as needed. I used soft and hard
pastels and because this paper is
smoother than a sanded surface, I
blended more than usual to get the soft
reflections, relying on the black of the
paper to give the impression of texture in
other parts of the painting.”

Gerry Jensen Moored, pastel, 4714⁄ x3312⁄ in.


t

(120x85cm)

70 JULY 2017 www.painters-online.co.uk


Patchings single page ad_Layout 1 06/04/2017 10:08 Page 1

PatchingsFestival 2017
ART, CRAFT & PHOTOGRAPHY JULY 13 TO 16, 10AM TO 5PM DAILY
Supported by The Artist and Leisure Painter magazines

NEW
FOR 2017
Don’tmissthisopportunitytomeetover250 Resident Festival Artists
artists,photographers,craftmakersand Angus McFadyne, silversmith;
designersdemonstratingtheirskillsatoneof Laura Boswell, printmaker;
Southern Stone, stonemasons;
theUK’sfinestcreativeevents,setin60acres Stephen Ashurst,
ofpicturesqueNottinghamshirecountryside portrait painter; E+M Glass,
furnace glass-blowing
FREE DAILY DEMONSTRATIONS BE demonstrations
The Artist andLeisure Painter marqueewillincludefree30-minute
demonstrationsfivetimesadaycoveringavarietyofsubjects,mediaand
INSPIRED!
techniques,presentedbyLeisure Painter contributorsFiona Peart Come and enjoy viewing the
(Thursday to Saturday, July 13 to 15) and Tim Fisher (Sunday, July 16), 140 selected works in two
sponsored by Daler-Rowney. Manyotherfreedemonstrationswillbe separate exhibitions from this
providedbyCaran D’Ache, Derwent, Pebeo, Premium Art Brands, year’s The Artist and Leisure
Search Press, UK Coloured Pencil Society andWinsor & Newton Painter Open Art
Competition and view the
finalists in this year’s Art Club
of the Year competition,
sponsored
by Jackson’s

MEET AND TALK TO OUR GUEST ARTISTS


ThuRsdAY, JulY 13 John Sprakes, Pollyana Pickering
Enjoy a great day out!
FRidAY, JulY 14 Bruce Mulcahy, Colin Allbrook
sATuRdAY, JulY 15 David Curtis, Ann Blockley BOOK YOUR TICKETS TODAY!
suNdAY, JulY 16 David Allen, Peter Barker
Ticketsareonsalenowatjust£9 Standard,
Concession £8 inadvancewithadditionalgroup
TEST AND BUY ART MATERIALS bookingdiscountsavailable.
Try and purchase the latest art and craft materials from Special Weekend Offer: enjoyatwo-dayticketfor
top manufacturers including Canson, Caran d’Ache, SaturdayandSundayforonly£10whenpurchased
Daler-Rowney, Daniel Smith, Derwent, Hahnemühle, inadvance.
Pebeo, Pro Arte, Rosemary & Co, Royal Talens, St • FREE CAR PARKING • COACHES WELCOME
Cuthberts Mill, Winsor & Newton and many more • REFRESHMENTS AVAILABLE
Allticketsavailableonlinebyvisiting
FESTIVAL WATERCOLOUR DEMONSTRATIONS
Enjoy watercolour demonstrations sponsored by St Cuthberts Mill
www.patchingsartcentre.co.uk or
ThuRsdAY, JulY 13 David Bellamy, Ann Blockley, Soraya French by telephone on 0115 9653 479
FRidAY, JulY 14 Ann Blockley, Soraya French, David Bellamy
Nobookingfeeforonlineticketsales.Thestandardone-dayticketprice
sATuRdAY, JulY 15 David Bellamy, Carne Griffiths, Ken Howard OBE, RA onthedayis£10.TicketpriceincludesVATandthefestivalguide.
suNdAY, JulY 16 Carne Griffiths, Robert Brindley Patchings Art Centre, Oxton Road Calverton, Nottingham. NG14
A limited number of tickets (£2.75) will be available for purchase for these 6NU Telephone 0115 9653 479 festival@patchingsartcentre.co.uk
watercolour demonstrations with advanced tickets
COLOURS MADE IN SWITZERLAND

Neocolor II water-soluble wax pastels

For addional informaon and stockists please contact:


Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com

p72_lpjuly17.indd 1 05/05/2017 11:00:08


Jakar_Create_Neocolor_A4_EN.indd 1 06.03.17 12:18