Artists & Illustrators - 2011-10

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Artists &
I L L U S T R A T O R S
Turn to page 76
chance to win
Derwent
for your
a great
drawing set fr
om
WELCOME!
As an artist, it is easy to fi nd
a subject and style you are
comfortable with and stick to
it so this month’s issue is all
about encouraging you to try
new things!
Our cover star, Michael
James Smith, explains why he
decided to try a new subject
matter, Siân Dudley offers up
a host of new ways of making
marks and Matt Forster even
reveals a very unique and
graphic technique he calls
überpainting! And to celebrate
The Big Draw in October, we’ve
asked a few of the UK’s
leading artists and tutors to
offer inspiring advice to help
you think again about your
approach to drawing – head
to page 50 to fi nd out more.
Steve Pill, Editor FEATURES PRACTICALS REGULARS
14 CHANGING BRITAIN 45 FOR YOUR STUDIO 5 PERSPECTIVES
Our cover star Michael James Great ideas for the new term Your guide to what’s on this month
Smith makes a risky switch 46 TALKING TECHNIQUES 12 COLUMNIST
18 SISTER ACT Matt Forster explains his unique With David Paskett RWS
FEATURED A joint show by four artistic siblings watercolour method – überpainting 27 READING ROOM
CONTRIBUTOR 21 ESTELLE JOURD’S

NORTH KENT COAST
50 25 EXPERT DRAWING TIPS
Get inspired for The Big Draw with
Featuring a great new book about
artistic gardens through the ages
Dramatic abstract landscapes advice from Maggi Hambling, 28 PORTFOLIO
24 RICHARD BAWDEN Chris Orr, Gerald Scarfe and more A selection of the best artworks
At home with the veteran painter 56 DANCING WITH DEGAS submitted by our readers
33 ON COMMISSION Learn how the French master 66 SUBSCRIPTIONS
A new public work in development painted his elegant figures 74 LETTERS
35 MY STUDIO 61 WINNING WAYS 76 CROSSWORD
With Nicolas Granger-Taylor Our new series looks at techniques Plus the chance to win life drawing
PAT HARVEY 36 CHARACTER STUDY of award-winning paintings classes and a Derwent pencil set
A watercolourist and journalist,
Author Isabel Wolff gets under the 62 MASTERCLASS 82 LIFE DRAWING
Pat has written a great feature
skin of characters for her new A great mixed media step-by-step With Fiona Scott
on the work of Edgar Degas on
novel about portrait painters 67 CLASSIC IN CLOSE UP
page 56. She is also a member
of the Society of Graphic Fine 39 BACK TO BASICS Explore the methods of Constable
Art, which holds its annual Drawing at West Dean College 68 LANDSCAPES IN DETAIL
show at London’s Menier 42 GETTING ON COURSE Geoff Kersey tackles trees
Gallery from 3-15 October. How one struggling artist found 72 WATERCOLOUR ESSENTIALS
her voice – and scooped an award A dictionary of mark making ideas
ISSUE 305 ● WWW.ARTISTSANDILLUSTRATORS.CO.UK ● OCTOBER 2011
Artists & Illustrators 3

Up to 80% off on easels COWLING
& WILCOX
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Perspectives NEWS • VIEWS • EXHIBITIONS • OPPORTUNITIES
Who’s been
framed?
S
ix celebrities have been sensationally framed by an infamous art forger – and
it’s all been caught on camera! But you’ll be relieved to hear that it’s in the
name of Sky Art’s brand new show Fame in the Frame.
The new series launches this month and features Paul O’Grady, Tasmin Greig,
Frank Skinner, Terry Gilliam, Lauren Laverne and Catherine Tate sitting for artist
John Myatt, as he attempts to incorporate
each famous face into a replica artwork. Tamsin Greig channels
The tables turn on the celebrities when
they become the subject of Myatt’s
her inner aristocrat as
questioning, as well as his painting. Sargent’s Lady Agnew
Jovial chat show host Paul O’Grady is
quizzed about his love of art while sitting for Grant Wood’s bleak portrait
American Gothic. Similarly, comedy actress and The Archers star Tasmin Greig
channels her inner aristocrat to pose as John Singer Sargent’s Lady Agnew of
Lochnaw. The new series of Fame In the Frame starts on Tuesday 27 September
at 8.30pm on Sky Arts 1. www.sky.com/arts
IN NEXT MONTH’S ISSUE... PRINTMAKING, DAVID HOCKNEY AND LOTS MORE! ON SALE 14 OCTOBER

perspectives diary
Th e Diary
THINGS TO DO THIS MONTH
● DISCOVER THE BEST PRINTMAKERS
The International Print Biennale gets under
way this month in 15 venues across the North
East of England. See the best work in the 2011
Print Awards display (17 September – 1
October) at Northern Print, Laing and Hatton
galleries. www.internationalprintbiennale.org.uk
● SUBMIT YOUR BEST WORK
The New English Art Club prides itself on
encouraging contemporary figurative artists.
Don’t miss the hand-in days (30 September
and 1 October) for its annual exhibition at
Mall Galleries. www.newenglishartclub.co.uk
● GET TO GRIPS WITH MODERN ART
De La Warr Pavilion will be hosting two new
10-week courses. Artist Sharon Haward is
Checking Out Warhol (26 September), while
UNDISCOVERED JOURNEYS Dr Graham Whitham will be Making Sense

of Modern Art (2 November). www.dlwp.com
Perhaps one of England’s best-kept secrets, artist Mary Webb ● BE A LATE BLOOMER!
creates strikingly bold and vibrant imagery yet has somehow
managed to remain something of a cult concern. That said, Autumn might be a time for leaves falling from
Journeys in Colour, Mary’s largest solo exhibition to date, trees but why not put a spring back into your
might just change all of this. step with the Society of Floral Painters’ new
Taking place at the Sainsbury Centre for Visual Arts, the show (29 September – 9 October)? Some
exhibition will display more than 60 of Mary’s paintings, along with
300 original paintings will be on display at
a collection of screen prints, drawings and collages. The exhibition
will also reveal an eagerly awaited series of paintings that were Stourton Memorial Hall. www.thesfp.org
inspired by her time spent abroad in Utah. ● BUY DIRECT FROM ARTISTS
A pupil of the late Sonia Delaunay, Mary’s works are consistently
square in shape and exist as an arrangement of vivid squares and
At the Islington Contemporary Art & Design
rectangles. The 71-year-old artist admits that “colour is [her] main Fair you can buy direct from artists and across
concern”, which accounts for the vibrancy of her work, but she also four themed weekends. Look out in particular
explains that she strives to for the painting (7-9 October) and illustration
avoid “having a centre, or part
(14-16 October). www.candidarts.com
of the picture that claims
attention more than the rest”. ● CELEBRATE THE ART OF CREATIVITY
While you won’t be able to Early subscribers should make a date for
miss the stunning colours of
A Celebration of Creative Art, the UK Coloured
the artist’s work, encouraging
your eyes to search for a focal Pencil Society’s annual open exhibition
point (or lack of) makes for an (19 September – 1 October) at Westminster’s
engaging viewing experience. Central Hall, sponsored by Faber Castell.
Journeys in Colour runs from www.ukcps.co.uk
27 September to 4 December
at Sainsbury Centre for Visual
Arts, Norwich. www.scva.ac.uk
SIGN UP FOR A FREE ONLINE ART PORTFOLIO AT WWW.ARTISTSANDILLUSTRATORS.CO.UK/PORTFOLIO

perspectives exhibitions
private end is nigh!

John Martin: Apocalypse
View
a selection of the uK’s best art
exhibitions opening this month
(21 September – 15
January 2012) hits
Tate Britain with a
range of doomed, 19th
century landscapes.
www.tate.org.uk
raE oF LighT
richmond hill gallery
continues its excellent
programme with Barbara
Rae (29 september – 23
october), a selection of
the royal academician’s
colourful abstract work.
www.therichmond
hillgallery.com
MarTin: © TaTE; Madox-brown: © yaLE CEnTEr For briTish arT, PauL MELLon Fund; hEMy: PurChasEd wiTh Funding FroM ThE arT Fund and MLa/V&a PurChasE granT Fund.
bordEr waTCh
Falmouth Frameworks
natural wonder
(17 september – 19 november) Explore the work of Victorian
features masterpieces by John painter Ford Madox brown in
singer sargent and Charles Pre-Raphaelite Pioneer (24
napier hemy ra (right) but the
focus is on the rare frames. september – 29 January 2012)
www.falmouthartgallery.com at Manchester art gallery.
www.manchestergalleries.org
Believe the hyper

London’s Plus One Gallery
returns with Exactitude IV
(16 September –
8 October), a 10th
anniversary exhibition
of ‘hyperreal’ art with
works by Pedro Campos
(pictured) and Craig Wylie.
www.plusonegallery.com
TELL us abouT your nExT arT ExhibiTion! sEnd dETaiLs To inFo@arTisTsandiLLusTraTors.Co.uK
8 Artists & Illustrators

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The Social Caran D’Ache
A round-up of news
from your local art
raise the bar
Swiss art manufacturer Caran D’Ache
groups and societies made a typically colourful statement
this month with the launch of two new
BRISTOL
‘colour bars’ in key London stores.
The Windmill Hill and
If ever you’ve stumbled across
Victoria Park arts trail,
a typically dusty shelf of unmarked
Art on the Hill, returns on
products, unsure as to whether you are
1-2 October with a mix of
buying the right ones, these colour bars
workshops, performances
will prove a revelation. Each range is
and open studio events.
piled high and explained in detail for
BUCKINGHAMSHIRE newcomers, while more experienced
The Buckinghamshire Art artists can build a personal palette by
Society’s Young Artists filling up empty tins with single pencils
Awards will be presented from any of the ranges.
by artist Dennis Syreet on The first colour bar can be found
9 October at the Obsidian on the ground floor of London Graphic
Gallery. The awards coincide Centre’s flagship Covent Garden branch
with the society’s annual (pictured left), while the second takes
autumn exhibition at the pride of place in the Harrods stationery
gallery (6-16 October). department (inset).
EAST ANGLIA Have you visited a Caran D’Ache
The Edmund Gallery in Bury colour bar yet? Was it a useful way
St Edmunds welcomes the to buy art materials or just a neat
Society of East Anglian gimmick? Email us your thoughts to
Watercolourists’ annual info@artistsandillustrators.co.uk
exhibition on 15-20 October.
KENDAL
The Brewery Arts Centre has
been overwhelmed with
more than 400 submissions
October is shaping up to be a great month for marine artists. First comes news
that the National Maritime Museum has launched The Art Club, a new initiative Maritime
for new open competition,
for artists of all levels that promises talks, visits and bi-monthly painting
sessions. The club will hold an open day on 17 October for new members, Museum
launches
Open Up North. The show or for more information, visit www.nmm.ac.uk or call (020) 8312 6678.
begins on 1 October in sites And fans of painting life on the open seas won’t want to miss the Royal Society
across the town.
LINCOLNSHIRE
of Marine Artists’ 66th annual exhibition either. Featuring new work produced in a
range of mediums, the show runs from 11-23 October at London’s Mall Galleries. art club
Early subscribers still have
time to enter work in
Welland Valley Art Society’s
annual autumn exhibition
(3-15 October). Entry forms
must be returned by 24
September. Download them
at www.wvas.co.uk
SHARE YOUR LATEST ARTWORK AND WIN PRIZES AT WWW.FACEBOOK.COM/ARTISTSANDILLUSTRATORS

perspectives columnist
A Splash of Colour With our columnist David Paskett,

President of the Royal Watercolour Society
NOTES
T
he Royal Watercolour Society (RWS)’s Our society is non-prescriptive, embracing the
Autumn Exhibition of new works will be the traditional and the contemporary, and we endeavour to
backdrop for an attractive series of painting convey that message. This year our sole newly-elected
ON A courses and lectures that have been

coming together over the last six months.
associate member, Mark Raggett, takes the limelight but
I expect he will be used to that, given his experience as
SHOW
In order to curate a programme of exhibitions that an art director on stage and film sets. As a painter, Mark
doesn’t conflict with other shows in and around our works in the modern British landscape tradition, owing
home at the Bankside Gallery, you have to be well much to his mentor Graham Sutherland. Both have
coordinated and we often look forward several years. been inspired by the rich geology of the Pembrokeshire
The content and themes of Royal Watercolour Society coastline, along with the contrasting minutiae of details
exhibitions may reflect national found in natural forms along
anniversaries and celebrations Exhibitions need to be the foreshores and harbours.
– for example, next year is the Another RWS member, the
70th anniversary of the George conceived long before late Patrick Procktor, will be the
Cross so our spring exhibition of they are hatched artist featured in our autumn
The RWS Autumn Exhibition work from Malta should prove lecture. Biographer Ian Massey
runs from 7 October to timely, and we will be using the Olympic theme in the will talk about the artist’s colourful life, watercolours
5 November at Bankside summer, too. 2012 is also the centenary of Keith and aquatints. Procktor’s series of Chinese images,
Gallery, London SE1. Ian Vaughan’s birth. As a great colourist, paint handler and resulting from his visit in 1980, six years before I
Massey’s lecture on Patrick composer, he was the consummate ‘artist’s artist’ and arrived in the country, still resonate with me. I recall
Procktor takes place on the RWS spring talk about his gouaches by Gerard his flamboyant personality and sweeping gestures,
19 October at 6.30pm. Hastings promises to be a treat. which were a living embodiment of the fresh strokes in
www.royalwatercolour Our Bankside Gallery team call for images to his paintings. One of his works, though contemporary
society.co.uk publicise future shows months in advance, even though in feel, sat happily among the 19th- and early 20th-
some paintings only reach completion a few days before century paintings in Tate Britain’s Watercolour show.
BELOW David Paskett, Chair the hand-in. We are constantly in need of fresh batches Recently the officers of the RWS were invited to
Partnership, watercolour and of RWS members’ paintings to advertise our shows, exhibit with the Royal Scottish Society of Painters in
ink on paper especially ones that are markedly different from the last. Watercolour (RSW) in Edinburgh and four of their
members will be joining us in our autumn
show next month. All four have distinctive
approaches that deserve attention. John
Inglis, the RSW president, abstracts the
Scottish coastal landscape into vivid
mappings of floating structures while James
Dunbar revels in the patina of elevated
sculptural remnants fronting the shoreline
with heightened realism. Iona Montgomery
unburies archeological footprints,
fragments and fossils, layering them into
hinted mythologies. Jean Martin brings
collage and paint together with glowing
glazes to luxuriate in combinations of
treasured vistas and bric-a-brac.
It is only in preparation for a show that I
realise what a risky business it can be trying
to get across in a nutshell what each painter
does. It is like describing an assortment of
chocolates – in the end, you just have to
taste each one and see for yourself!
SHARE YOUR NEWS AND VIEWS! JOIN OVER 2,000 FOLLOWERS AT TWITTER.COM/AANDIMAGAZINE

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Journeys in Colour
Mary Webb
Sainsbury Centre for Visual Arts
Tuesday 27 September - Sunday 4 December
Discover the work of Mary Webb, an artist with

a passion for colour and landscape. Journeys in
Colour features Webb’s art from 1967 to the
present day and is the largest ever exhibition of
Mary Webb, San Filippo IV (version 2), 2010 © the artist,
her work.
Admission £4, concession £2

Includes entry to The Face of the Artist
Sainsbury Centre for Visual Arts

UEA, Norwich NR4 7TJ
01603 593199 www.scva.ac.uk
Webb artist & Illustrator v2.indd 1 01/09/2011 10:17

michael james smith
changing
landscapes already sell like hotcakes), his wife is on the
verge of giving birth and they are having an extension
put onto their house to boot.
Britain
He’s tired, and yet despite being all but chained to his
easel, it’s clear the Essex-born artist wouldn’t have it any
other way – even if the introduction of a new genre into
his repertoire is proving all consuming. “I am busy
painting landscape after landscape but what I really
want to do is sit down and paint some figurative
pictures. I was asked to do more for the exhibition but I
am just not going to have the time. It takes twice as long
Breaking away from quintessentially British landscapes, for me to do a figurative painting, probably just because
Michael James Smith has found a new way to capture the I’m not used to it.”
While his response to landscape tasks is more
national character – and challenge his working methods automatic, he is enjoying experimenting much more
Words: Martha alexander with the figurative works, which he naturally finds more
M
challenging. He’s pleased and surprised with the results
ichael James Smith is currently in equal measure, admitting that his paintings are better
putting the finishing touches to From than he thought they would be. “It’s like looking at
Country to Contemporary, the show someone else’s work.”
that will mark his progression from So many professional artists consider making a
landscapes being his only genre of change to a successful formula but very few actually
choice. “Another couple of weeks I will be free!” he jokes. make that transition for fear of sacrificing a steady
above The Cotswolds, oil on As well as the solo show at Colomb Art, London, he income. “Making the decision to do it is the biggest
canvas, 102x76cm has another exhibition in California (where his step,” agrees Michael. “Just be brave. It’s one of the

michael james smith
things I was first taught by my father. Even with the first become an architect. “I liked the whole idea of rendering below Michael gets to work
canvas I cut, I remember measuring out the square and and the accuracy required, but with what I do now it’s on his latest landscape
gingerly cutting into the canvas convinced I was going there anyway. It’s that photographic accuracy getting
to make a mistake but you have to give it a try.” everything in the
His father, the landscape painter David Smith, was a right place.”
childhood influence and now the two men paint With that in mind,
together regularly, sitting side by side chatting away,
offering each other constructive criticism. “Obviously
Michael studied at
Southend College of Art
“I am busy paIntIng
spending so much time with Dad’s pictures on the walls, and Technology, which landscapes but what
it was pretty difficult not to take something from that, offered a variety of I really want to do Is
especially in terms of composition. He never showed me
how to paint – he told me how not to do it. He said at the
disciplines including
pattern design for
fIguratIve pIctures”
time ‘I don’t want to force you in any one direction’ but material, but he quickly
as it turns out my work is very similar to his. We both discovered that the only thing that he enjoyed was the
try to paint the most accurate pictures that we can.” painting. “We’d only do an hour a week and it just
That level of precision in his work might be down to wasn’t enough,” he recalls. “I said to Dad, ‘I don’t really
his father, but also may result from his early wishes to want to do it; I want to paint’. He said ‘ok – leave >

michael james smith
artist’s bio
Name
Michael James Smith
Born
Southend-on-Sea, 1976
Trained
Southend College of Art
and Technology
Next exhibition
From Country to Contemporary,
23 September to 8 October,
Colomb Art Gallery, London
More info
www.michaeljamessmith.co.uk

michael james smith
college and I’ll fund you for a year’ and that’s how it Another of his works shows a reclining man on a park
started.” Luckily, he didn’t need that long to prove bench being the recipient of a canine leg-cock.
himself to his father, or the world at large. The first “My friend Steve posed for that picture because
painting he took to a gallery was sold before he had he said he’d like to be in a picture and I’d already
made the journey home. He has worked on landscapes formulated the idea of what I wanted with the dog. It
since that time, but he has always harboured a desire was actually quite apt as that’s the sort of thing that
to paint figures. “I wanted to try something different, would happen to him.”
stretch myself and see what I was capable of,” he says. Michael is clearly
Surprisingly, Michael hasn’t found the switch tough. enjoying the novelty of the michael is enjoying the
His photorealistic approach is present in all of his storytelling element. “It’s a storytelling element of
paintings – he says he doesn’t think he could paint any whole new angle,” he says. the figurative work:
other way – and the patient brushstrokes are also very “I spend hours just day
similar. If anything he has found the figurative work dreaming and not getting “it’s a whole new angle”
easier, despite the fact that it calls for greater accuracy. much done sometimes. I’m
“With landscapes, it’s difficult to see in the distance and excited about it and I do think this is quite different.”
sometimes you have to make it up to a certain extent While it is hard to think of anything as potently
because you don’t know what you are painting,” he British as Michael’s realistic landscape paintings, he
explains. “With figures, it’s more obvious.” believes that his figurative work offers him the chance to
One of the most difficult things about it has been say even more about the UK. “Ultimately I am not just
trying to decide what to paint. “With the landscapes I going to be talking about countryside, I am talking
would spend a couple of weeks every year just travelling, about society as a whole.”
taking photographs and sketching. I’d come back to the Michael hopes that he will soon have a consistency above River Wye, Wales,
studio with a wealth of material but with the figurative of style in the figurative works that will make them oil on canvas, 92x61cm
work I have laid in bed at night wracking my brains recognisably his. Nevertheless, he is keen to keep the opposite page, clockwise
thinking ‘what can I do?’”. different genres he works on separate in every way, even from top left The Decent,
Michael has only completed five figurative works to down to the collectors that buy them. He has decided oil on canvas, 107x132cm;
date and for each he has asked friends and family to the figurative work will not go out to America. “The Unsocial Networking, oil on
pose for him, using their aesthetic form but then casting landscapes have been successful but I always felt I had canvas, 78x102cm; Can’t
them into a totally different role. His wife became a all my eggs in one basket and now I feel like I have got You See I’m Busy, oil on
glum looking socialite wielding a bottle of champagne. another string to my bow.” A&I canvas, 102x76cm

SisterAct
With generous attitudes and a supportive father, four
artistic sisters have nurtured each others’ talents – but
how would they fare with a first joint exhibition?
WORDS: MARTHA ALEXANDER
T
o have any of your offspring become an consultancy in Hampshire, and one of Natalie’s
accomplished artist is plenty enough reason paintings was recently selected for the Royal Academy
to be a proud parent. So imagine having Summer Exhibition.
four grown-up daughters, all of whom have However, it was the dynamic Sir Jack, a former
exceptional talent with a paintbrush and member of the European Parliament and owner of
a joint exhibition planned in the heart of London’s art Dundas Castle in Scotland, who convinced his
scene. It might sound fanciful but this is a reality for the daughters to stage Four Brushes. “I needed persuading
four daughters of Sir Jack Stewart-Clark and his wife because I don’t paint as a living,” says Nadia. “But I came
Lydia, who will be exhibiting their work together for on board because I could not think of anything nicer
the first time next month. than exhibiting with my three sisters, in a show
Four Brushes will feature the work of Daphne organised by my father.”
Stephenson, Zarina Stewart-Clark, Nadia Waterfield It’s touching how kind and generous the sisters are
TOP LEFT Daphne Stephenson and Natalie Stewart-Clark. All four have painted since when discussing each other – there is no sibling rivalry
with her painting Theatre childhood but only two do so professionally: Daphne here. “We try to encourage each other and I like getting
Extravaganza (inset) is a popular naïve artist, while Zarina is a successful advice from my sisters,” says Nadia, who completed her
TOP RIGHT Natalie Stewart landscape painter, working in egg tempera. A-Level in art last year. “Zarina came around in June
Clark and her Loch Sween Nevertheless the other two sisters have a keen and saw me painting on an easel at the table. She said
landscape (below) interest in art, too: Nadia runs the Quiddity Fine Art I should stand and work ‘big’ and gave me decorators

sister act
paint-brushes and it was advice that has really helped Their father deliberately chose a large gallery with
me enormously.”
Despite their lack of professional experience, Nadia a single floor for the first joint show: “I didn’t want
and Natalie still have their fair share of the family’s to have to decide who was going downstairs”
talent. “I call Nadia the secret artist,” explains Daphne.
“She has no confidence in her own abilities but she has
so much talent.” Meanwhile Nadia believes that Natalie The sisters’ love of painting was cultivated in the
is the one to watch and all of the sisters hope that she playroom of their childhood home in Sussex, where
might one day be able to dedicate all her time to each of them would divide their time between drawing
painting. “I am relaxed and feel I am more of a hobby and dancing to their father’s jazz and Stevie Wonder
painter who paints for enjoyment when I have a spare LPs. “They have always painted together,” recalls Sir
moment,” says Natalie, who can’t envisage making a leap Jack. “I remember them having painting competitions
into full-time painting anytime soon. “I do think about and they were fantastic even then.”
art a lot – not only because of [being accepted by] the The girls were always encouraged, with big boxes
Royal Academy, although this gave me a huge boost of Caran d’Ache goodies arriving every Christmas and
of confidence, but also because I enjoy it so much.” birthday. There is undoubtedly a strong creative thread
Four Brushes has been a year in the planning stages running through the family, with many of the four
and the pressure is now on the sisters each producing sisters’ own children now studying art or design, too.
work that they are all happy to show. “I am more relaxed “I am very proud because here we have a situation
now because I have all my pieces put together,” says where four daughters are right in the middle of the art
Zarina, the calmest of the four by all accounts. “I think world,” explains Sir Jack, who deliberately chose The
I am trying not to think about it being too much more Gallery in Cork Street precisely because it was a large
than a great opportunity for all of us. I’d be more enough space on a single floor. “I didn’t want to have
nervous if it was a solo show but because it’s the four a situation where they would have to decide who was
of us, I am trying hard not to get stressed.” going downstairs and who was going up.”
The pride is reciprocated with Daphne speaking for
all of them when she explains how her father’s input has
influenced their hopes for the show. “Our father has
always succeeded at whatever he puts his mind to and
there’s no reason why this should not be a success,” she
says. “Most of all, I hope we are recognised for the
individual styles we have.”
Four Brushes runs from 3-8 October at The Gallery,
Cork Street, London W1. www.galleryincorkstreet.com
ABOVE Blue Trees, painted

by Nadia Waterfield (left)
FAR LEFT Zarina Stewart
Clark with Raasay from Skye
(inset above)

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Techniques. time. time.

Estelle Jourd’s
nOrth kent cOast
Oil painter Estelle Jourd has developed a close affinity with the coastline near her Whitstable home
and an unusual approach to her work has seen her literally leave no stone unturned
words: zena alkayat
E
stelle Jourd’s vast oil breathed it all my life,” says Estelle. abandoned her idea of going to art
paintings instantly betray “When I’m out and about, I’m observing college in order to become a legal
her love of the sea. Intense all the time and forever saying: ‘Look at secretary. It wasn’t until she married,
and immediate in scale and that, look at that’. I put everything into had three children and later divorced
focus, they reveal a a bank in my head and just recall it that she eventually returned to her
sensitive awareness of the sea’s when I’m back in my studio.” original plan and enrolled on a
ever-morphing nature. They also reflect The result is a series of semi-abstract part-time degree in fine art at the Kent
a life lived by the coast. works that capture the essence of time, Institute of Art and Design (now the
Born and bred in Whitstable, Kent, light, weather and, most notably, mood University for the Creative Arts).
the artist’s relationship with her with broad, gestural strokes and deep Jourd was a natural and quickly
surrounding landscape began from a layers of paint, often applied with a began exhibiting and selling her work.
very young age, a fact evident in her palette knife. They’re also She also began to develop a series of
paintings, which are imbued with an extraordinarily skilled considering the contemporary sculptures and
obvious familiarity with the subject. 64-year old artist came to a career in installation pieces, most notably an
“I’ve lived by the sea for so long that I above Shepherds painting relatively late. interactive work called Sorted that took
don’t need to be looking directly at it in Delight, oil on On leaving school and acting on place during the Whitstable Biennale
order to paint it. I’ve swum in it and canvas, 80x60cm the advice of her parents, Estelle in 2006. The installation played out >

directly on the town’s shingle beach,
where Jourd, together with visitors to
the project, spent two weeks sorting
the pebbles on the beach into batches
of different colours. The artist was left
with a lengthy section of the coast that
was neatly arranged into coloured
stripes. “People would come up and
say: ‘Where did you get the coloured
pebbles?’ They were quite shocked
when they heard how it was done. Of
course, the project sounds simple, but
it was very effective and very inclusive.
We had everyone from babes to the
elderly on zimmer frames on the beach
sorting pebbles.”
This clever way of manipulating
material and leaving a transient mark
on the landscape keenly demonstrates
Jourd’s understanding, and perhaps
even affinity, with the natural world.
It also underlines her hands-on
attitude. “My family were practical
rather than artistic,” she explains. “My
huge expanses of sea and sky, which

“There’s something about the flatness of the above Summer
Sea, oil on wood, are changing every minute. I love the
landscape around here… I love the subdued 80x60cm subdued colours that it brings and the
below left Wave light here is wonderful. Everything
colours that it brings” Crest, oil on wood, I love is here.”
140x75cm It seems many artists agree with
father designed and built his own boats she insists Whitstable and the north Jourd’s romantic picture of Kent, and
and my mum literally made everything. Kent coast is her premier inspiration. the county has become a magnet for
Even to this day, if I’m about to buy “I spent the winter in Portugal and those looking to belong to a thriving
something, I can hear her say, ‘don’t I recently went down to Cornwall, artistic community.
buy that, we can make it!’ I think that’s which is also magnificent, with its Support comes in the shape of
where my love of creating comes from.” dramatic scenery and rocks. But I love dozens of independent galleries, larger
These days, Jourd divides her time being back in Kent and seeing the cultural institutions (such as the
between gardening, creating art and marshes again. There’s something newly-opened Turner Contemporary in
walking. She also takes trips to other about the flatness of the landscape Margate) as well as several major art
coastal destinations to paint, though around here that means you get these festivals, annual and otherwise. From
the Folkestone Triennial to Canterbury
Festival (in which Jourd is
participating), Kent has more than it’s
fair share of creative happenings – and
it all makes for a lively and spirited
place to live and work. “It’s an
encouraging development,” says Jourd.
“There are definitely more places to
exhibit, which is great. And the arty
atmosphere, as well as all the
artist’s bio wonderful new shops and

restaurants, bring more people
Name into town. It makes Kent an
Estelle Jourd
even more lovely place,” states
Born
Whitstable, 1946 Jourd. “My father was a
Training merchant sailor and he always
Kent Institute of Art used to say: ‘I’ve been all over
and Design the world and there’s only one
More info place I want to be.’ And I
www.starkgallery.co.uk
totally agree with him.” A&I

Enter the David Shepherd Wildlife Foundation’s annual ART COMPETITION and help save wildlife
Call for entries: www.davidshepherd.org
Detail of image courtesy of Stella Mays
Wildlife Artist of the Year 2012

Seven categories to suit all artistic styles and mediums
Categories: Endangered Wildlife, Wild Places, Wildlife in 3D, Wildlife in Action, Young & Wild, Wild Life and Go Wild
Expert judges include David Shepherd, fellow artists, conservationists and art critics.
Shortlisted work will be exhibited at the Mall Galleries, London.
0
Entry: from now until January 21, 2012.

0 ,00
For full details and rules please see www.davidshepherd.org or call 01483 272323
ay
£1
Tod
er
The David Shepherd Wildlife Foundation is a UK registered charity (1106893) working to save critically endangered mammals in the wild.
N
Ent
David Shepherd Wildlife Foundation, 61 Smithbrook Kilns, Cranleigh, Surrey GU6 8JJ, UK. Tel: 01483 272323 Email: dswf@davidshepherd.org
WI

Comfort in Chaos
Richard Bawden’s wryly-observed watercolours and prints have been charming art lovers
for more than 50 years but his approach to new shows remains as ramshackle as ever
Words: Martha alexander
R
ichard Bawden has a lot on his plate. The Norfolk’s Bircham Gallery, he will have work in the
75-year-old artist is an active member of annual exhibitions of the Royal Watercolour Society
the Royal Watercolour Society, the Royal and the New English Art Club.
Society of Painter-Printmakers and the With over 50 one-man shows under his belt, you
New English Art Club. Being a member of would be forgiven for assuming Richard would approach
a society is about more than just the exhibitions for him exhibitions like a well-oiled machine. Yet despite
and he enjoys the stimulating contact with other decades of practise, his working life in Suffolk is rather
above Still Life with members – on painting trips and events as well. brilliantly chaotic – with his studio every bit a messier
Bananas, watercolour on He recently made work for a display at the Royal and more colourful version of the interiors he captures
paper, 39x50cm Albert Hall and, after a forthcoming solo show at in many of his paintings and prints.

richard bawden
Nevertheless, the artist is ambivalent when asked than a forced motivation. “Most artists have a compulsion below left Bathroom
whether his career has become easier over time. “Yes to draw and I get very irritable if I don’t,” he explains. Gallery, watercolour on
and no,” he says. “I know up to a point what I want to “I find it necessary to draw – you can be spontaneous. paper, 48.3x58.4cm
achieve in painting, drawing, design and prints, but It takes a long time to paint and especially to print.” below right Patterned
there are many facets to these problems which I can see Across his career, Richard has worked on both Chair, watercolour on paper,
and still need to work on.” paintings and prints. He claims to have no preference, 61x46cm
That focus was instilled in Richard from an early age, preferring not to go through spates of working in one
when he already knew that he wanted to create art for a single medium but rather seeing both as an important
living. “I was always drawing and I started making relation to one another. “I like a diet of both,” he says.
linocuts when I was about 11-years-old, using a knife to “I believe a watercolour should be a direct expression.
cut as I had seen my father do.” Prints are a way of taking an idea further, consciously
His father was the war artist Edward Bawden RA, resolving a design – linocut
whose work is widely celebrated and regularly name- is an uncompromising “My father Edward was a superb
checked as an inspiration for printmakers today. medium and etching is
Richard believes being influenced by him and his atmospheric and painterly. draughtsman and very
mother – the potter Charlotte Epton, who he also Painting is more
describes as a “very good artist” – was inevitable. The spontaneous; you might
disciplined naturally. I’m
young Richard studied painting, printmaking and put colour and shape in a different because I live in chaos”
graphic design at Chelsea College of Art, St Martins and certain place without
the Royal College of Art. “I think a lot rubbed off on me thinking. But when you come to do a print you have
from my father. He was a superb draughtsman and very more time to consider it and ask, ‘why did I do that?’”
disciplined naturally. I’m different because I live in Despite using very distinct colours in his work –
chaos and have piles of unanswered letters and things especially his interiors, which can involve rooms draped
lying around, but I was bound to be affected by him.” in great swathes of Cadmiums, Ochres and blues – it’s
The notion of ‘discipline’ crops up frequently, not a priority for Richard. “I am not a ‘colourist’ as such,
particularly when discussing the pros and cons of and sometimes wish I was. Colour is important to me,
working for commission rather than pursuing one’s own but composition, form, shape, design, structure and line
ideas. “A commission, however good, must serve a seem to dominate.”
purpose. That is a discipline. You have to be disciplined. He enjoys sharpness of the lines that the knife creates
You might be asked to do a drawing of something you on cut lino, which was what his father liked so much,
would not normally do or for a particular purpose. If too. His work is linear and graphic then, with an
you don’t do what is required you have failed no matter extraordinary attention to detail, a far cry from his
how good it is. Pleasing oneself can also have problems.” chaotic preparations.
Richard’s brand of discipline seems to be driven by a Richard’s solo exhibition runs until 5 October at
passion, pleasure and compulsion for his trade rather Bircham Gallery, Norfolk. www.birchamgallery.co.uk

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Inspiring ideas from the internet
You can now watch

the previous week’s
Painting & Drawing
Channel programmes
online. Recent shows
include Artists &
Illustrators contributor
Joe Dowden painting
Venice in watercolours.
THE GARDEN IN ART www.thepaintinganddrawingchannel.co.uk
Debra N. Mancoff
If knowing your hollyhocks from your hyacinths has never been a Want to know more
priority, I’d wager you’d still be interested in this book. Following on about how the likes of
from The Dog in Art, publishers Merrell have done it again, creating Dali and Rothko painted
key works? Download
a tome so beautiful and appealing that even if you have no interest
the free Modern Paint
whatsoever in the subject matter, as an artist you will want to own it. Podcasts and listen to
The Garden in Art is not simply enticing because of the pictures – Tate conservators
generously reproduced both in terms of size and clarity – but also examining 10 major
because of how Debra N. Mancoff draws from such a variety of sources, pieces on display.
in order to give a full account of how the garden has been depicted www.tate.org.uk/learning/
learnonline/modernpaints
throughout the history of art. We travel back in time and across the
globe, as readers get introduced to (or reacquainted with) such diverse The Scottish National
topics as The Secret Garden, ancient Egypt and William Morris, each Portrait Gallery is set to
from an artistic perspective. re-open in November
Mancoff writes with depth and enthusiasm on each image in the following a major
book. She discusses the garden in terms of season, as a metaphor, renovation project. In
the meantime, you can
existing for work and play and beauty – the history is relayed
follow the progress in
chronologically, taking us from Botticelli to Monet and beyond. Heads Up, an exclusive
The timeline at the back also helpfully ties up any loose ends. MA behind the scenes blog.
Merrell, £29.95 www.portraitnation.wordpress.com

PORTFOLIO A monthly selection of the most creative artworks made by our readers
 TINA BONE

picture Canoodling in the Loquats,
of the watercolour on paper,

30x40cm
month “In my sister’s garden in
Cortijo Grande, Spain last
May, we were awoken
every morning at dawn
by the distinctive fluting
whistle of Golden Orioles.
As we stumbled inelegantly
and speedily out of bed, we
were lucky to see the birds
feasting on the ripe loquat
fruits. Using my hasty
sketches and photographs,
this picture emerged.”
www.artistsand
illustrators.co.uk/tinabone

portfolio
JACKIE GARNER
Heading Home,
acrylic on canvas,
25x51cm
“Heading Home was
inspired by the
magical experience of
watching rockhopper
penguins coming in
from the sea in the
Falklands. I limited
the palette to five
colours at the
expense of scientific
accuracy, reducing
the red beaks and
pink feet to yellow
ochre for the sake
of harmony.”
www.artistsand
illustrators.co.uk/
jackiegarner
SARA MORMONE
Gary Moore (right),
graphite on acid-free
paper, 29x42cm
www.artistsand
illustrators.co.uk/
saramormone
CAthERINE lylE
Still Life – Vegetables
(centre right),
gouache, 27x32cm
MORENA ARtINA
Sex, Drugs and Rock
& Roll (far right),
acrylic on canvas,
60x50cm
GIll SMIth
Conkering,
watercolour,
18x29cm
“We have a theme to
paint each month at
Rollesby Art Group in
Norfolk. In October
last year, the theme
was “Autumn” and my
painting was chosen
as favourite by our
other members. Fond
memories of my
childhood inspired
me to paint this. What
fun it was to collect
those lovely shiny
horse chestnuts!”
www.artistsand
illustrators.co.uk/
gillsmith

portfolio
tom de ritter
Looking Out to
Sea, oil on canvas,
80x80cm
“I am very keen on
representing dark
and ominous skies
but, in addition to the
threat of the sky in
this painting, I wanted
to create the effect of
the sky reflecting on a
somewhat choppy
and windy seafront.
The painting was
executed using a
pallete knife, as well
as brushes, giving it a
rough-and-smooth
finish.”
www.artistsand
illustrators.co.uk/
thomasderitter
doranne alden
Maltese Tomatoes,
watercolour on paper,
34x21cm
“This piece originally
came about as a
challenge from a
friend – after seeing
my work and other
paintings of round,
perfectly shaped, EU
standard tomatoes,
she claimed that it
would be more
difficult to work on
‘heirloom’ tomatoes.
After setting up, I first
worked the sketch
with a fineliner, then
used a china white
wax crayon to plot out
the reflections on the
fruit. I then proceeded
to use an almost dry
brush method by
using one or two
layers of liquid
watercolour.”
www.artistsand
illustrators.co.uk/
dorannealden

portfolio
riona o’shea
English Woodcock,
watercolour and
ink on paper,
59.4x84.1cm
“This was painted
from life as part of a
collection for a British
restaurant. At first I
wasn’t too excited by
the subject but when
I started creating the
pattern and texture
and layering the
orange and indigo
inks that would go
into creating his coat,
I realised what a
beautiful creature
the woodcock is.
Art makes you see
the world around you
with fresh eyes and
discover how
complicated and
clever nature is.”
www.artistsand
illustrators.co.uk/
rionaoshea
How to submit
your work…
To be considered for
Portfolio, please email
your contact details,
quote and hi-res digital
images of your art to:
info@artistsand
illustrators.co.uk
Alternatively, post a CD
containing the images
and text to:
Portfolio,
Artists & Illustrators,
Suite 19,
15 Lots Road,
London, SW10 0QJ.
For more information,
visit:
www.artistsand
illustrators.co.uk/submit

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WORK
JANE DECIDED THAT THE FINAL
MATERIALS
SHOULD RELATE TO BUILDING
CARVED LIKE WOODCUTS, THE PANELS WERE

INKED UP AND HUNG DIRECTLY ON THE WALL
ON COMMISSION
The inside story on the latest art and illustration projects
Jane Stobart
BRIEF: Create a work for the atrium of a new building at University Centre Harlow
A
“ new university building on the site of scaffolding and the sky. I created four wooden
Harlow College in Essex is nearing panels based upon the many drawings that I
completion and will be packed with had made on site.
students this month. Back in January, I was “The design process was complex due to my
approached by the college and asked to initial idea of making each panel overlap one
submit a proposal for the position of artist-in- other. In the end, the concept of separating
residence, following the various construction the blocks with a gap was based upon the
stages of the build. This post involved an idea of a comic strip or graphic novel. The
educational aspect and also a commission to panels were never printed, as woodcuts
produce an artwork that would be sited in the generally are; instead they were inked up and
college’s new atrium. hung directly onto the wall.
“As I was intending to draw from the building “The college approved of my idea of using
work as it progressed, I decided that the final industrial construction as a metaphor for
artwork should relate to construction higher education, involving ideas of working
materials. I spent some glorious days drawing together, building aspirations and reaching for
on site as the building progressed, looking at the stars. Everyone has been extremely
the action and the shapes that the supportive and backed everything that I put
construction workers made against the before them.”

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my studio
MY STUDIO
Nicolas Granger-Taylor WORDS & PHOTOGRAPHY: STEVE PILL
NOTES ON HIS PINBOARD HELP NICOLAS

TRACK PROGRESS FOR HIS LATEST EXHIBITION
THE COLOURFUL DRAWERS WERE

PAINTED BY HIS GRANDMOTHER
A
renowned figurative and furniture and lighting for each different helped has been walking across the
still life painter for more painting he is currently working on. common to the studio, gathering found
than 20 years, Nicolas As Nicolas prepares for his show, he objects and appreciating nature,” he
Granger-Taylor’s small has set up two pinboards – one with says. “In an essay I wrote recently, I said
studio is deceptive. notes on compositions he has started, that a studio is a safe place. I don’t know
Tucked away in the back room of a flat one with details of completed works. if I used the word ‘sacred’ but
share in South London, it appears to be
a typically cluttered workspace, piled
“I can see where I am, I can see where
I’ve been and I can see where I’ve got to
ARTIST’S BIO it is like that for me.”
After a period of struggling
Name
high with as many references, artworks go. It’s satisfying and comforting in a Nicolas Granger-Taylor to settle at the easel last spring,
and general clutter as one might expect way.” Only the suggested completion Born Nicolas confesses he is taking
from an artist about to stage his first dates detract slightly from the image London, 1963 “a more meditative approach”
solo exhibition in eight years. of model professionalism. “A lot of the Trained to his work now. He still
Look closely though and this dark ones that were there in July are still Kingston Polytechnic; spends hours pottering around
Bristol Polytechnic;
room reveals a feverishly organised and there in August,” he smiles. Royal Academy Schools his studio but it is more
agile mind at work. The classical CDs Nicolas was forced to move out of his Next exhibition purposeful. “I’m then fully
and artist monographs are filed on last studio in 2008, marking the start Recent Work, 28 September present with the painting in
purpose-built shelving, the selection of an unsettling period for the artist – 15 October, Jonathan such a way that it can tell me
of keepsakes are largely set aside as that culminated in losing his mother to Cooper Park Walk Gallery, what I’ve got to fi x to make the
London SW10
potential subject matter and the carpet cancer two years ago. As he came to painting work,” he says. “Taking
More info
is even dotted with masking tape terms with his loss, he sought refuge in www.ngrangertaylor.com a step back helps me see my
marking out positions to re-set his new studio. “One of the things that work with a fresh eye.” A&I

W
hen I plan a
novel, the first
thing I do is to
decide what my
heroine does for
a living, because her choice of career
will already tell me so much about her
– the kind of education she’s had, the
people she’s likely to know, and what
she does on a day-to-day basis.
For this, my ninth book, the idea
of portraiture – the revelation of one
human being by another, inside and
out – began to exercise a powerful
hold. I imagined the intensity of the
encounter between artist and sitter, the
awkwardness of it, the complicity in it,
and the intimacy of it.
What would it be like to be painted?
Would one feel vulnerable and
exposed, a little ridiculous even,
or would one gladly submit to the
painter’s gaze? Would one be anxious
that the finished picture would fail to
flatter? Would one simply be bored,
sitting there staring at the same piece
of wall, or would the time fly in
conversation and if so, how candid
might that conversation be?
I wondered what the portrait process
must be like for the artist, as they
scrutinise the sitter, trying to conjure
on canvas not simply that person’s
skin, sinew and bone, but a part at
least of their very soul?
These were the thoughts that filled
my mind as I began to plan The Very
Picture of You. I decided that it would
be first and foremost a story about the
people who sit for my protagonist, Ella;
I imagined an elderly woman with
a tragic secret, a politician with
a confession to make, and a
Frenchwoman who’s dreading turning
Character
40. Then Ella receives her most testing
commission yet – to paint her sister’s
fiancé, Nate. Ella loathes and distrusts
Nate, but as she starts to paint him she
sees him in a different light and her
study
feelings, dangerously, begin to change.
So with this storyline in my head I
approached five leading portraitists for
help with research. Their insights, both
technical and philosophical, ripple
through the book. From June Mendoza,
I discovered the importance of body
For her latest novel, Isabel Wolff has turned her attentions to language. “I want the person to tell me
portrait painting. Here the bestselling author exclusively reveals who they are,” she explained. “And the
way they sit, stand, lean or move
how she got under the skin of her subject already tells me a lot about them – so
the body language is the composition.”

character study
June added that her sitters do talk, LEFT AND BELOW Anastasia
about their relationships, their religion, puts the finishing touches
their tragedies, even, and so I began to to her portrait of Isabel
imagine the stories that my fictional and (below) the author
sitters might tell. sees it for the first time.
Fanny Rush told me that she All photos: Steve Pill
personally finds chatting a distraction.
“I need to concentrate on looking,” she
told me, adding that the painter’s gaze
is almost like that of a lover, because
they notice every tiny nuance of the
other person’s face. Nick Offer said
that for him it’s not important that the
sitter should talk, as he finds that the
awkwardness inherent in the
encounter can impart a tension and
an energy that adds to
the portrait’s vitality.
Paul Benney prefers “In order to lend my
his sitters to be open: “A novel authenticity,
portrait arises out of a
dialogue,” he told me. I decided to sit for a
Paul went on to say that portrait myself”
a finished painting
could give the sitter a
different perspective on his or her self.
“It’s as though you’d overheard yourself
being described, but with a new
insight. There’s the expected likeness,
but there’s also a revelation.” Jonathan
Yeo admitted that he likes painting
people who he feels are complex. “I
find it more interesting to see that fight
A NOVEL APPROACH
Portrait painter Anastasia Pollard reveals
going on between the conflicting parts her methods for capturing a likeness of Isabel
of a person’s personality.”
These and myriad other thoughts “I prefer to “I use a fairly limited palette of Flake White,
have gone into The Very Picture of You. meet a client Ivory Black, Raw Sienna, Cadmium Lemon,
But in order to lend the book as much first to discuss Cadmium Red, Alizarin Crimson, Cobalt Blue
authenticity as possible, I decided to sit a portrait sitting and Raw Umber. I’m hesitant to say that I use
for a portrait myself. I’d already been and get a feel for what they want before we Flake White – it’s become so taboo now but
very struck by the enigmatic, luminous start anything. I think it creates more beautiful skin tones.
paintings of Anastasia Pollard. We met “After we talk about that, I like to go to a “A lot of people ask how long a painting
and, importantly, liked each other, and sitter’s home, if possible, and see all their takes. Each one is different – some seem to
so once a week for six weeks I went to clothes – it sounds really shallow but I think paint themselves, others are epic struggles.
her small studio near London Bridge very carefully about what people are wearing. It’s like a relationship: you usually know early
and stood looking through her window I like to have a choice of different clothes so on whether it is going to be an easy one or a
onto the old Hop Exchange, while I can try them against different backgrounds. difficult one. Isabel was very easy to paint.
Anastasia painted me. I also want the client to wear something that I found her very easy to click with.”
She doesn’t like her sitters to see the they feel really is them.
pictures in their early stages, so it was “I always start by making a drawing first.
only at the fifth sitting that I first saw Then I’ll make an oil sketch to work out the
my portrait. “Do you like it?” she asked colours. I use it as a way to explore colour –
after a moment. a chance for me to work out the comparative
“I love it,” I replied colour value relationships.
truthfully. “I think “I’ll transfer the drawing to a panel or
that it’s… me.” canvas and make a scrubby underpainting;
The Very Picture of very loose, very muted. I then just completely
You is published in repaint on top of that, because I like to see
paperback by brush marks. It’s a very painful way to get
HarperCollins. an alla prima result.
www.isabelwolff.com

��
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Back to Basics with Mar th a Alexan
d er
Returning to practical classes after a long lay-off, art buff Martha Alexander is trying her hand
at a range of different media and skills. This month, she heads to West Dean College for a tricky
challenge drawing complicated architecture
PHOTOGRAPHY: CHRISTOPHER CORR
B
‘ aptism of fire’ were the starting with a challenge so that the
words which sprang to rest of the day would be a breeze.
mind when Christopher Magnificent Townscapes focuses on
Corr, tutor with the capturing the architecture and sense
Magnificent Townscapes of community within Chichester and
course at West Dean College asked us Arundel. Close enough to West Dean
to get to work sketching the Chichester College to return after a day sketching,
Cross on our very first morning. both locations serve up intriguing
Octagonal in form, with arched examples of British architecture.
entrances and gothic accents that An award-winning illustrator in his
include open-mouthed gargoyles, it own right, Christopher is also a very
is crowned with various Gaudi-esque calm and peaceful course leader. He
lumps and bumps and a collection isn’t bossy and doesn’t believe in giving
of flags and clocks; it is beautiful and step-by-step instructions, preferring us to question it: who were these
absolutely extraordinary to look at. It is personal exploration to structured people? What were they doing? What
also, I realised during my third attempt lessons. He teaches reportage art, are these spaces and structures used
at simply outlining the shape, easily techniques and methods for painting for? Christopher’s own drawings were
the most difficult structure to draw in CLOCKWISE FROM ‘on the street’ and encourages the use a perfect example of how a few lines
the whole of England, if not the world. TOP RIGHT of a variety of mediums. can tell a story. I really enjoyed making
I hoped very much that we were Martha sketching; Christopher does plenty of sketching studies of people in the street. As there
her architectural on the course and it was great to see was no way of telling how long they
drawings; the his work, which captured movement would stay in one place for, it really
studio at West and expression but remained loose and encouraged me to draw with more
Dean College, and free. He was keen on getting us to immediacy and conviction.
the exterior of the appreciate what was going on around For the most part though, the focus
Orangery us in the urban locations and he asked was on the buildings themselves. >
“Three months in, I am certainly becom ing

more confid ent with my drawing again”

tendency to paint what I know to be
true, rather than what my eyes can
actually see.
Christopher’s approach did make me
ABOVE Martha realise that it was ok to tackle a subject
“I tend to paint what I know at Chichester
cathedral and
however I like, and that imagination is
better than perfection. I certainly felt
to be tru e, rath er than what my (inset) her first
sketches
like this when it came to painting –
after looking at so much detailing
eyes can actually see” during the day, I wanted to continue
focusing on that in my paintings.
Christopher’s own style is quite bold
After starting at the Cross, we then drawing again. I am finally accepting and naïve so he had advised to begin
moved on to the cathedral before lunch. that they don’t have to be perfect and by keeping the palette simple: a yellow
There were six students in the class the less I obsess, the better they are. stone for the bricks, a pale turquoise
and all agreed that West Dean itself One thing I am still not mastering is or jade for the coppery roof of the
was reason enough to go on the course. learning to trust my eye again – I have cathedral and a powdery blue for the
An enormous manor house set in acres forgotten how to see exactly what’s in sky. My first few watercolours were
of parkland, it’s an ideal base for front of me and instead keep reverting complete write-offs – the colours and
artists, which must have been what to what I know to be the true size of Have you recently shapes suddenly felt weak compared to
returned to art after
Edward James thought when he a subject. As I sat on the grass outside the drawings and I wanted to toughen
a long lay-off? Or
founded the college. James had the Chichester cathedral looking up at recently taken part in
them up with black ink. In the end I
inherited the estate and was a life-long the steeple, I had a moment of madness an interesting course, thought, why not? I’m still at the stage
patron of painters and supporter of the (or extreme logic, depending on which holiday or workshop? where I need the security of those
arts. Now all sorts of classes take place way you look at it) where I just could Email info@artists black lines, to hold the painting
andillustrators.co.uk
all year round – mainly in the bright not get it into my head that the steeple, together and provide the detail.
and share your
studio set in the college’s Orangery. from this particular angle, was actually experiences – we’ll
Martha studied with West Dean College.
Three months in, I am certainly shorter than the walls of the transepts. publish the best Call (01243) 811301 or visit
becoming more confident with my Like many novice artists, I have a responses www.westdean.org.uk

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Harry Robertson – artist Untitled-26 1 5/8/11 15:14:47
Landscape and portrait oil paintings from North Wales

Christopher Corr
West Dean College, nestling in the rolling South Downs, is the

perfect place to unleash your creative potential.
‘‘
Light in the Valley, Rhug. Oil painting on Panel. Size : W28” x H19” / W71cm x H48cm Over 700 short courses every year in arts, crafts, music, creative
‘‘
writing, food and gardening.
I am an artist, a painter, who lives and works
in North Wales. My intention when painting Full-time MA, and Diplomas in Visual Arts, Creative Writing,
is to honestly depict what I see, Conservation and Making, MFA Fine Art.
with as little artifice as possible.
Summer schools in visual art and craft.
To view my work visit:
www.harryrobertsonpainter.com West Dean, Chichester, West Sussex PO18 0QZ
T: +44 (0)1243 811301 E: bookingsofﬁce@westdean.org.uk
To order cards, prints and canvas prints visit:
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Getting on course
Patricia Farrar was struggling to channel her creativity until a distance-learning course helped
her to find her own artistic voice – and scoop an award for excellence in the process
WORDS: JENNY WHITE
W
hen student BELOW A selection go off and study that and still keep says, is to keep pushing and pushing.
Patricia Farrar of Patricia’s within the structure of the course.” “Try using different mark making or
learnt she had artwork and While the technical aspects have uses of paint – just experiment.”
won the annual sketchbook entries come relatively easily to her, the Her tutor, Emma Drye, encouraged
Richard Robbins for her OCA course biggest challenge has been the quest Patricia to stretch her boundaries.
award for artistic excellence from the for her own artistic identity. “I find it “Emma was very demanding. Even
Open College of the Arts (OCA), she easy to copy and do representational though I could draw reasonably well,
was stunned. “It didn’t occur to me that drawing but to actually find your own she was never satisfied with that and
my work would be at that standard,” voice – your own expressive way of never let me get away with just that.
says the Surrey-based grandmother, doing something – is a huge, exciting She’d always push me to go further
who is currently taking the OCA’s and rewarding challenge.” The key, she with what I could do.
painting course. “I was over the moon.”
She first learnt about the OCA eight
years ago at a social gathering and
immediately realised that the college’s
flexible approach to distance learning
would fit perfectly into her busy
lifestyle. “At the time, I was the
principal of an independent school.
I was finding work quite challenging
“Finding your own voice – your

own expressive way of doing
something – is an exciting and
rewarding challenge”
and time consuming, and I really loved
the thought of picking up a course that
would run alongside my career.”
She enrolled on a drawing course,
and quickly found that it reignited
a long-neglected creative drive. “I’ve
always had that longing for drawing
and painting but I went into teaching
and loved that. To some extent I
channelled my creativity into my job,
but the artist in me was still struggling
to ‘get out’,” she says.
Patricia credits that initial course
with reigniting her creativity and
giving her the solid grounding in
drawing that has allowed her to
progress to a full painting course now
that she is retired. Although she has
more time on her hands now, she still
loves the OCA’s flexible approach to
learning. “I love the fact that I can take
as long as I like with the work; if I
begin to obsess about one area, I can

getting on course
“When I produced a representational in the integrity of real art. “It’s an

drawing which I thought was good honest expression. It’s not just painting
she’d say, ‘Yes but what do you want to sell pictures or to please other
to say? Where do you want to take it? people, it’s what you want to say.”
Where is your voice in this?’ She was She adds that she has learnt as much
always drawing me back to the inner about herself as about drawing and
sense of responding to a subject.” painting. “It’s very much a journey of
The resulting work is strikingly self-understanding. I am discovering RIGHT The OCA’s
successful but Patricia insists she is a what I can express and what’s inside Richard Robbins
long way from being ready to exhibit it. me. That sort of thing doesn’t stop award winner
“I guess I will when I reach a point when you retire – it’s a journey that Patricia Farrar
where I’m happy with it but I didn’t goes on right through life and I think ABOVE AND
start the course in order to exhibit; I the reason I’m so excited about the BELOW LEFT
started it as a personal journey.” course is it gives me that sense of More of Patricia’s
Patricia’s priorities have probably a personal inner journey.” sketchbook entries
helped her to find her own voice, too. Working from a purpose-built studio
The mature student is a great believer in her garden, Patricia focuses on the
natural world around her, particularly

trees. “I always go for the natural; for
the things that are just lying on the
ground or are there in front of me. I’m
not really interested in setting things
up – I’m a pretty down to earth sort of
person and I want to be able to express
the incredible beauty that’s there in the
most ordinary things. I love capturing
beauty in the everyday.”
Bolstered by success, she is keen to
see where the course will take her next.
“I hope it will help me keep pushing
myself because it gives you a fantastic
sense of freedom and understanding of
yourself as an individual. It’s unfolding
in front of me and I don’t think I’ll ever
get to the end of it.”
Patricia is studying with the Open
College of the Arts. www.oca-uk.com

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T
hroughout childhood, ‘back to school’ were
AN AFFORDABLE the dreaded words that marked the end of
ALTERNATIVE TO THE the summer and the beginning of being
HENRY MOORE DESIGN!

cooped up in classrooms until Christmas.
The beauty of being a mature art student is
that this time of year is a good excuse to stock
up on industrial-sized pots of paint and carry
cases to start your new term in style.
BLANK CANVAS BAG

SYSTEM 3 ACRYLICS
£22.50, Tate
At the start of term it is absolutely
worth investing in large quantities of
decent paint – you’ll certainly use it
and it’s best for the budget.
£49.95 for 2.25 litres, Daler-Rowney

INFLUENCES MATERIALS TECHNIQUES
“When I was learning to paint, I enjoyed For most of Matt’s Matt paints standing up, which can have its
interpreting the watercolours of Rowland work, he favours Bockingford 425gsm rough paper physical stresses – particularly bearing in
Hilder,” Matt reveals. “His compositions were which he stretches himself. “I soak the paper for mind that he finishes each painting in
perfectly balanced, and over an hour before leaving it to dry in as cool a one sitting and each composition can
he had a real place as possible for at least 24 hours.” For take up to eight hours to complete. He
understanding and brushes he favours Pro Arte Prolene, and for uses a hairdryer between washes to ensure
control of the medium.” paints, Winsor & Newton from the tube. there is no residual moisture in the paper.

Talking Techniques with
Matt Forster
Self-taught watercolour artist Matt Forster has established his own gallery and an
international reputation thanks to the success of his unique überpainting technique.
“My style is constantly evolving,” he tells Marc Turner. Photos: Mark Pinder
F
rom the moment Matt Forster picked up a brush myself in the North East, but I felt I needed to go below Standing Stones,
at the age of 14, there was certain inevitability to abroad to take my skills to the next level.” Over a watercolour on paper,
him becoming a landscape artist. Growing up in period of two years, from 2001 to 2003, he lived, 35x50cm
the town of Hexham in Northumberland, he was worked and exhibited his paintings as far afield as
spoiled for geographical inspiration, with the Lake Mexico, Southeast Asia, the US and New Zealand.
District to the west, the Cheviots to the north and During this time he pushed his creative boundaries,
the Pennines to the south. experimenting in particular with observational drawing
When he was starting out, he was shown the basic and abstract work.
techniques of watercolour by renowned local artist Matt is now back running his own gallery in Hexham,
Ron Thornton, but the majority of his craft is self- but the experience he gained and the techniques he
taught. By the age of 18, he had already developed his developed on his travels laid the foundation for a
own distinctive style, but it wasn’t until he took an contemporary style of watercolour that he calls
extended trip overseas that his individuality really
began to emerge.
“I’d been running my own gallery for three years by “Überpainting is about reducing an image to its
that time,” Matt says. “I was just starting to establish core elements of line, tone and colour”

talking techniques…
below Western Isles, ‘überpainting’ or over-painting. “An überpainting is an Understanding überpainting

watercolour on paper, exaggerated and simplified version of the subject,” he Matt Forster explains his unique new
50x70cm says. “People see in my work a modern interpretation technique of layering watercolour
of Impressionist landscapes because, like the
Impressionists, I am trying to capture the essence of
a place rather than to make a precise copy of it.”
The easiest way to imagine überpainting is to think
of it like a silkscreen print. Matt applies layers of
different coloured paint on top of one another in set
shapes, with each one being darker than the last. It is
these successive layers that give the compositions
their highly stylised, three-dimensional appearance.
You can see these layers building in the four images
of his signature work, Silver Birch, pictured. The first
stage shows his pencil drawing together with the first
wash comprising Cadmium Yellow and a touch of 1 “I begin with the drawing and then a first wash of
Cadmium Yellow with a touch of Alizarin Crimson.”
Alizarin Crimson. Stage two adds Cobalt Blue, stage
three adds a mix of French Ultramarine and Alizarin
Crimson, before the final stage adds a mix of Cadmium
Yellow, Cadmium Red and French Ultramarine. The
controlled layering of flat, transparent colour allows
different combinations to emerge in progressive layers.
Überpainting employs a wet-on-dry method where
the watercolour mixes on the paper as well as on the
palette. In order for the paint to adhere without
blemishes, Matt has found that each consecutive
layer must be at least 15% darker than the one before.
With such strict percentages, the maximum number of
washes he can apply is five, though most use just four. 2 “Next I add a layer of pure Cobalt Blue, which also
creates the green when laid over the first yellow
layer, so now with two washes we have four tones
With those four washes, it is possible to create only
16 different colours (including the white of the paper). (including blank paper).”
Überpainting is like a silkscreen print –

Matt applies layers of paint in set shapes,
with each being darker than the last
3 “This stage adds a purple mix of French

Ultramarine and Alizarin Crimson, creating a total
of eight possible tone and colour combinations from
just three washes.”
4 “The final stage adds a brown wash, a mixture of

Cadmium Yellow, Cadmium Red and French
Ultramarine, so now there is a total of 16 possible
tones and colours from four flat washes.”

talking techniques…
Some artists might find it difficult to work with so few him to experiment with the über-process. For instance, below Highland, watercolour
colours, but not Matt. “The limited number of colours he has tried grading one of the washes, as opposed to on paper, 35x50cm
is a hallmark of my style. It is only by reducing an having them all flat – a small change, but one that
image to its core elements of colour, line and tone that opens up a range of possibilities. “My style is
the ‘über-ness’ of the subject emerges.” One of his constantly evolving,” he says. “I post all of my
recent compositions, Standing Stones, demonstrates sketches and paintings on my Twitter page, so that’s a
this to eye-catching effect. “It’s a striking image,” he good place to go to see my work developing.”
says. “I’ve painted this scene in a number of different Matt is thinking about expanding the über-concept
palettes, but the stones really suit purple and yellow.” into still life, figurative, and narrative epic work, too.
To the untrained eye Matt’s paintings may appear “As I mentioned before, überpainting is about reducing
simple, but in reality a lot of time goes into working an image to its core elements of line, tone and colour.
them up. “As with all überpaintings, Standing Stones Since all subjects are comprised of these, I see no
will have gone through maybe 30 different designs reason why the method cannot be used for subjects
before I was happy with the result. The work is other than landscapes.”
continually refined to emphasise the most important www.mjforster.com
features of the image by means of
contrast and colour combinations.”
The painting of the final
composition offers challenges
particular to the über-process.
An überpainting is meant to
represent perfection, so there
is no room in the work for
brushstrokes or drying lines.
“With certain pigments, such as
Cerulean Blue, the drying time of
the paint can be measured in
seconds, so you have to work
both quickly and accurately.
Larger compositions are more
difficult to complete than smaller
ones, because the bigger the
image, the faster you must apply
the wash.”
As Matt’s paintings become
more complex, new problems
arise. Take, for example, the
series of vertical lines crossing
the horizontal in Standing Stones.
“Paint that is collecting against a
dry horizontal line is easy to
control, but with a vertical line it
continues to run long after the
wash is applied.”
More complicated compositions
also test Matt’s powers of
memory. “I don’t draw every detail
of an image before I start
painting, so I have to remember
all the different elements that
make up the piece – and these
can number over a hundred.” At
the planning stage, the last few
refinements allow him to practise
the final work, but the execution
of the painting still becomes as
much a feat of memory as it does
of skill.
With experience, Matt’s
paintings have become sharper
and clearer, and this has enabled

25 expert drawing tips
25
expert drawing tips
Throughout October, hundreds of venues up and down the country will be
hosting events for the Campaign for Drawing’s Big Draw. Here we have put
together a host of great tips to help you get started
2. THE IMPORTANCE OF NOTEBOOKS

1. GETTING STARTED Nigel Hall RA, sculptor: “I always carry a
Anne Magill, artist (above): “I find the pristine whiteness of a new notebook with me when I am travelling. They
sheet of drawing paper a bit off-putting to work on, particularly if it’s are full of ideas for drawings and sculptures.
a large piece, so apart from the areas of the page that will be the I also use notebooks for drawing elements
highlights in the drawing, I like to cover the rest of the page in charcoal. of landscape and things I see around me
I then block in the areas that will be darkest with darker charcoal marks that I think are interesting. Notebooks go
so I quickly have an overall tonal impression of the whole drawing that everywhere with me and when I turn around
is already full of texture and then I can really get stuck into working on it. And always in my studio chair, I can see shelves full of
remember: draw what you see, not what you think you see.” them, dating back to 1962. They are vitally
important to me and I am neurotic about

3. DEVELOP YOUR HANDWRITING

Maggi Hambling, artist:
“Drawing is the basis of all my
work – painting, sculpture or
printmaking. I keep a sketchbook
where I draw, usually in graphite,
from life or from the imagination
– it is a visual diary. Drawing is the artist’s most
intimate and direct response to the world. It is
akin to handwriting. Drawing from the figure is
an essential discipline in training the eye and
the hand to work together. Michelangelo,
Rembrandt and Van Gogh number among my
‘greats’ as draughtsmen because every mark
they made was dictated by the subject.”
4. USE A VIEWFINDER 6. KEEP LIGHTING SIMPLE

Make yourself a viewfinder by cutting a Working with a single light source on your
rectangular hole out of a larger piece of card. subject will provide strong contrasts
The viewfinder serves to isolate parts of your between shadows and lighter areas. Setting
view, giving you a clearer idea of what to a subject up like this is a great way of
draw. This will undoubtedly throw up more practising your tonal values and will result
interesting compositions as you begin to in drawings of greater depth and volume.
appreciate the relationship between the
object and how it is placed on the paper. 7. MATERIALS ARE IMPORTANT
Chris Orr RA: “Materials are important.
5. COLLECT REFERENCES They are part of the sensuality of drawing
David Howell, president of the Royal and their use should give you pleasure.
Society of Marine Artists (below): “When Change materials; don’t always stick to
working outside, I always produce an initial the tried and tested. Simple materials are
pencil drawing that determines the sometimes exquisite – they don’t have to
composition complete with light and be expensive to be good. On the other hand,
shadows that becomes a reference as the I did get some absolutely black as black ink
painting progresses. If painting on the spot from China that I would take another trip
isn’t practical, I will produce more detailed there to get again.”
drawings with graphite and coloured pencils
that can be used for paintings back in the 8. KNOW YOUR PENCILS
studio. Drawings have a vibrancy that no Selecting the right pencil will help you get
photographs can ever match and even a the best out of your drawing. The standard
three-minute pencil sketch is a far better grading begins at 9H (the hardest grade of
option than using a camera.” pencil) and runs down the numbers to H.
The Royal Society of Marine Artists’ 66th Annual Then comes the F (fine point) and HB (hard
Exhibition runs 11-23 October at Mall Galleries, black) pencils, which have a medium
London. www.rsma-web.co.uk hardness. Then comes B, 2B and so on up
to 9B, an extremely soft lead. The Bs stand
for blackness and the darker graphite is
recommended for beginners.
ever losing one because they are diaries as
well. Always carry something to jot down ideas 9. CHOOSE THE CORRECT PAPER
in. Not only are they useful at the time but Cheap sketchpads can seem like a good way
also one can refer back to them years later. of saving money but better quality paper will
One always has more ideas than you can always make you feel better about your work.
make in terms of sculpture anyway but when The texture of paper is important too.
you go back, you can pick up threads and Smoother, hot-pressed paper is good for
develop ideas that haven’t gone anywhere.” rendering details, while rough paper
Artists’ Laboratory 03: Nigel Hall RA runs until responds better to harder H pencils (see tip
23 October at the Royal Academy of Arts, number 8) and offers better texture for
London. www.royalacademy.org.uk tonal drawings. >

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objects. The best way to begin is to make

11. CAPTURING CHARACTER free, long, frequent circular motions above
Gerald Scarfe, illustrator your paper and then lower your pencil down
and Big Draw patron: until you begin to make the marks on the
“To get a likeness, I usually page. Remember: an ellipse should be
start with eyes as they are flowing, it should never have points in it.
the most expressive element,
then draw the nose and 14. FOCUS ON NEGATIVE SPACE
mouth to get an overall feeling. I just go By focussing on the space around an object
straight in with pen and ink – I feel you are able to better appreciate the object
sketching dissolves the energy, and I want itself. Shading in the negative space can
my drawing to have energy and life. I like to make your drawing appear more whole or
work from the shoulder and throw myself balanced. By drawing the ‘empty’ spaces
into it physically. I try to take on the persona around the object, the positive form begins
of the person I am drawing. It’s a very to emerge.
strange process. When I am drawing David
Cameron, I might hear his voice in the back 15. TIME YOURSELF
of my mind. He has a tiny little mouth and Next time you draw, try setting yourself a
jowly cheeks and I exaggerate everything. If time limit – say, three or 15 minutes. This will
the nose is big, make it as big as possible.” force you to prioritise the most important
aspects of what is in front of you. There will
be no time to think and agonise about detail.
12. START NATURALLY By working quickly, you learn to identify the
10. EXPERIMENT WITH NEW MEDIA If you are lacking in confidence with your most essential elements of your subject.
Len Massey, drawing tutor at the Royal drawing, start by working on natural forms
College of Art (below): “There are some that aren’t perfectly symmetrical. Objects 16. DEVELOP CONTROL
important points that I feel are good to with recognisable symmetry – bottles or There are various exercises designed for
consider before starting drawing: Why are plates, for example – come with an added artists to get a better sense of control over
you doing this and what do you want out of pressure to replicate that perfection. Early their drawings. Try drawing an object with a
it? Are the materials you have chosen to on, this kind of pressure can be damaging pencil attached to a long stick. Then, draw
work with fit for purpose? Materials behave to your confidence. the same object with the pencil attached to
in different ways – some papers are very a shorter stick. Finally, draw the object with
absorbent but fall apart when they get 13. MASTER ELLIPSES a pencil as usual. You can see how your work
saturated, for example. Learning to draw an ellipse is a useful skill grows in terms of control. Similarly, try
“I recommend that you go for a walk in for a draughtsman, as they can be used to drawing with your non-writing hand. Then
the country or a park and collect some twigs, represent a variety of circular or spherical draw the same object with your natural hand.
bits of dried grass – stuff that looks
interesting. Don’t use material that is
growing, use what has fallen off; autumn is 17. DRAWING FOR PAINTINGS
a good time for this. Try using the items you Maurice Cockrill RA: “Drawing
have collected on your walks. Fantastic ink towards painting is different for
pens can be made from grasses and twigs, every artist and every painting.
or you can wrap some twigs in tinfoil and Some like to map out more or
place them on a small fire to make your own less exactly how the final painting
charcoal. White bread can be squeezed and will look; others will be satisfied
used as an eraser.” with an informative sketch, a free stimulus from
which to generate the resulting painting. Too
much control may result in a tight, inhibited
painting. Some indication of the colour of the
picture would be helpful at the drawing stage.
“The most important way to learn and improve
your own drawing is to study those of other great
artists; study their choice of subject and their
technical treatment. Try Rembrandt, Titian,
Pollock, De Kooning and Asian artists for their
calligraphic qualities. The list is endless.”
Works on Paper from Five Decades runs 27
September to 30 November at the Royal Academy
of Arts, London. www.royalacademy.org.uk >

18. TRY SUBTLE COLOURS

Will Taylor, president of
the Society for Graphic
Fine Art: “For your
sketchbook, try using
only a blue crayon for
sketches: it narrows the
range of tones available, makes the
drawing closer in tone to the paper, and
discourages rubbing out – this can help
practise looser drawing that avoids
unnecessary detail. Also, try using a
grey or mid-toned paper for drawings –
we often unthinkingly start with the
most dramatic and difficult contrast
of black on bright white.”
21. REINVENT PERSPECTIVE turned drawing into an obsession. Most

Chris Orr RA: “Learn the rudiments of importantly, be relaxed.”
perspective and then re-invent the world
around you in the way that you see it. To 25. KEEP TRACK OF YOUR PROGRESS
not understand perspective is foolish; to Never, ever throw away any of your drawings,
use perspective slavishly is to stunt no matter how elementary you might think
your imagination.” they are. Saving your work is an ongoing
exercise in charting your progress. Invest
22. MASTER TONE IN SIMPLE STEPS in a portfolio case and spray your work with
Value scales comprise the spectrum of fixative to prevent smudging.
tones, from light to dark, that provide depth
in drawings. Practice by drawing two parallel
lines about an inch apart. Within these BEEN INSPIRED?
horizontal lines draw nine vertical lines to
create eight squares. The aim is to shade in NOW GET INVOLVED!
each box in equal steps of tone, from light to The Big Draw is the Campaign for
dark. Start by using the full range of pencils, Drawing’s annual month-long festival,
from 9B to 9H, and as you improve, restrict designed to raise the profile of drawing
19. DRAW UPSIDE DOWN the number of pencils you use. as a tool for social and cultural
This is a good warm-up exercise to get you engagement. This year’s festival
to draw what you see rather than what you 23. LOOK AWAY NOW! launches with The Big Draw’s Big
already know about an object. Take another It’s a gimmick but try drawing without looking Splash on 25 September at London’s
drawing, an object or a photograph, turn it at your page – instead focus solely on your Kings Place with illustrator and patron
upside down and draw it. Viewed upside subject. Try to draw at the same pace as Quentin Blake. A programme of free
down, the subject becomes unidentifiable your eyes move across the subject. It can events will run from noon to 5pm, with
and confusing, forcing you to follow lines and be tricky at first but you will begin to forge artists in attendance including Marion
a shape – something all great draughtsmen a better connection between your eye and Deuchars, Nina Chakrabarti and Hervé
should strive to do every time they pick hand by repeating this exercise. Tullet. You can reserve free tickets for
up a pencil. timed events from the box office
24. BE PREPARED TO FAIL directly on (020) 7520 1490 or simply
20. PERFECT THE HAND Russell Cobb, illustrator and former drop by and join in!
Drawing a realistic hand can be the undoing chairman of the Association of Illustrators The Big Draw 2011 runs 1-31
of even the most competent draughtsman, (above): “Drawing is all about learning to October with thousands of individual
which means plenty of practise should be co-ordinate your mind, hand and eye. I’ve events planned in venues around the
dedicated to it. Try drawing your own hand taught myself to pour everything onto paper, country. To find an event in your area,
under a light so the shadows created by the observations, ideas, inventions, memories visit www.thebigdraw.org or share
dips between your knuckles are more and dreams – the list goes on. Be prepared details of your own events on our
pronounced. First, draw hands with the to fail and free yourself of the shackles of Facebook page at www.facebook.com/
fingers together. Spread your fingers only direct representation. Turn your work into a ArtistsAndIllustrators
when you have mastered a closed hand. personal diary – that did the trick for me and

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Art Inspired by the Natural World

Dancing
with Degas
Impressionistic and expressive, Edgar Degas captured figures in
movement like no artist before him – or since. On the eve of a new
Royal Academy exhibition, the Society of Graphic Fine Art’s Pat Harvey
explores the techniques behind the French artist’s famous dancers

dancing with degas
© CuLTuRE AnD SPORT GLASGOW (MuSEuMS), InSET: On LOAn FROM THE HOnOuRAbLE EARL I. MACk COLLECTIOn
ention Edgar Degas, and people immediately
think of the ballet. As a founding member of
the Impressionism movement, he shared the
group’s fascination with modern pastimes – the
racetrack, boating and the theatre. However, dance
held a particular attraction for the French artist: he
was haunted by the human figure in movement.
When visiting the elderly Ingres in his studio, Degas
was told, “Draw lines, young man, many lines… It is
in this way that you will become a good artist.” And so
he did, studying the Old Masters, drawing relentlessly
on location and in his studio, and pre-empting, in his
portrayal of movement, the infant technology of
cinema, eventually becoming what Ann Dumas,
curator of the Royal Academy’s forthcoming Degas
and the Ballet exhibition, describes as “one of the
great draughtsmen of all time.”
Gradually, seduced by the charm and brilliance of
pastel, he also developed an explosive, bewitching
palette; anticipating abstraction and turning himself
into one of the few masters of both colour and line.
Seduced by the charm and

brilliance of pastel, Degas
developed a bewitching palette
CREATING A DYNAMIC COMPOSITION

Like many members of his class, Degas was un
abonné (or ‘season-ticket holder’) at the Paris Opera,
which entitled him to go backstage. The result of this
privilege was a celebrated series of paintings of ballet
rehearsal rooms that includes 1874’s The Rehearsal.
In this painting, the artist consciously flew in the face
of the traditional artistic rules of the period to create
a composition that is both satisfying and exciting.
As we all know, almost anything can make a picture.
Whether it works or not depends on a seemingly >

dancing with degas
below Dancer mysterious interplay of shape, colour, line, tone and white tutu of the girl at the back; and the colour, with
(Préparation en dedans), space known as ‘composition’. In The Rehearsal, the gold and pink sashes appearing in both groups.
charcoal with stumping on strong thrust of the spiral staircase draws our eye Now, we can’t all get backstage at a French opera
buff paper, 33.6x22.7cm towards the distant dancers, while the leading girl’s (though you could try phoning the local ballet school!),
previous page, main slender gesture directs it via the dance master to the but try making preliminary studies as Degas did, using
picture The Rehearsal, oil large group on the right. both drawings and photos, enlarging or reducing them
on canvas, 58.4x83.8cm Having two groups divided by a central space could on your computer and making tracings of the results.
inset La Danse Grecque have been disastrous but it works here, partly Experiment with these until you are happy with the
(Dancing Ballerinas), because the delicate floorboard diagonals hold it arrangement before using it as a basis for
pastel on joined paper together and partly because, in the light of his growing your work.
laid down on board, familiarity with photography, Degas decided to
58x49cm abandon conventional framing, cutting off parts DRAWING THE FIGURE
of the subject to create a ‘snapshot’ effect. Walter Sickert described Degas as ‘the greatest living
Other unifying devices include the lighting, which draughtsman’ and many of his other contemporaries
directs our gaze from the window to the illuminated agreed. The French artist’s wonderful sense of line
edges of the group in the foreground and the snowy runs like a thread through his long career, whether in
his admiration for the Florentines, the sensitive
figure drawing of his middle years, or the
experiments he did later in life.
Little matter that he regarded the human
body, especially the female one, as a piece of
machinery best suited to developing his drawing
skills; the endless silky smooth pencil and
charcoal drawings, often on tracing paper, of
young models posed in his studio or ballerinas
behind the scenes would find their way into
his working collection, ready to be used in
a painting.
Degas regarded the figure

as a piece of machinery to
develop his drawing skills
In The Rehearsal, the seated dancer on
the right would have been taken from such a
drawing. Seurat said, “Drawing is the hollowing
out of the paper”, and this simply means that
a figure must have light, shadow and form (or
solidity), as well as an outline. We see how
Degas achieved this in Dancer (Préparation
en dedans) by ‘stumping’ (or smudging)
the charcoal.
For a reference drawing to be successful, it
must also be correctly proportioned and with the
limbs at the right angles (very important in the
case of the girl, whose splayed legs are in a
typical Degas pose). All this can be achieved
with the help of a pencil, as you mimic the main
angles of the body; check their direction and,
arm held at full stretch, slide your thumbnail
up and down to measure and compare the
length of different sections.
CAPTURING MOVEMENT
“They call me the painter of dancers”, said
Degas. “They don’t understand that for me the
dancer is a pretext for painting pretty materials
and rendering movement”. For him the ballet
was first and foremost an engagement with the

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watercolour tutorial
WINNING WAYS
Discover the techniques of award-winning artworks
JOHN’S ADVICE
• Keep the brushwork simple
and the paint flowing fast.
“I think people get a bit lost
JOHN HUNT when they do gimmicky things
A Hill Near Stroud, watercolour on paper, 68x53cm with toothbrushes and
First Prize, RWS/Sunday Times Watercolour Competition 2011 masking fluid.”
I
“ try to paint on location if I can but this was and then when you see it, you manage to do it • John favours a small palette
painted in a house on a hill in Stroud. It had because you’ve put all of that work in to get to of Alizarin Crimson, Burnt
this fantastic view across a valley. I did a that point where you can get it down quickly. Sienna, French Ultramarine,
couple of little sketches first and then set up my “I have a very small palette, maybe seven Cadmium Yellow, Yellow Ochre
easel by the window. I left it there and painted paints at the very most. You can’t make greens and Neutral Tint. “I know what
the scene every morning for the next few days. unless you have a lovely, strong yellow to those colours will do and how
“I started with a drawing and then loosened it balance with the Ultramarine Blue. they mix. If I have a bigger
up with the paint. I’d “For this painting, palette, I often find that
love to paint without “My illustration clients I wasn’t getting the I don’t use it very well.”
drawing first but I greens right though, • Fine detail should be kept
can’t. Sometimes the wanted detail but I don’t like so I used Cobalt Blue to a minimum. John picks out
drawing is quite that in my watercolours” and a deep Cadmium a few select features with a
different so you see Yellow, toning them smaller brush, usually a No.4
pencil marks. I never bother rubbing them out down with a bit of Neutral Tint. or No.5 mixed-hair filbert.
because it is nice to see them coming through. “I was an illustrator for years and with
“That sky just happened. I took hold of the illustration the clients always want detail,
moment and painted the whole thing in about a detail, detail, but I don’t really like that in my
minute. I like the old advice with watercolours of watercolours. I tried to shake it off over the
doing a sky every day. It’s just practice, I think, years but it becomes part of you in a way.”

masterclass
Masterclass: Urban landscape in mixed media

Mixed media elements can add gritty texture to busy urban scenes. Christine Hopkins
shows how to make a bold, graphic image from just basic art materials and scrap paper
Tools
of the
trade
• MOUNTBOARD
Daler-Rowney A2
Studland white
mountboard
• PVA GLUE
Artists’ quality, not
from a DIY store!
• COLLAGE PAPER
Acid-free tissue, old
sheet music,
newspapers, etc
• WAX CRAYONS
Venetian Red,
Cinnamon, White and
Salmon: all Caran
D’Ache Neocolor II
artists’ wax crayons
• INKS
I
was delighted when I was accepted as a member of I am particularly fascinated by small-scale domestic Burnt Umber, White,
the Society of Graphic Fine Art – a group of people architecture – especially the backs of buildings, which Indian Yellow, Sepia,
passionate about drawing in all its forms. Drawing is have much more personality than the tidy, respectable Red Earth, Crimson,
really important to me, from large expressive gestures fronts! It gives me enormous pleasure if a viewer sees Turquoise and Black:
like the early marks here, to much more refined echoes from their own life experience in one of my all Daler-Rowney FW
detailing in the later stages of my work. finished pieces but my work is much more about the Acrylic Artists’ ink
For this masterclass, I decided to experiment with memory of many places, rather than being a realistic • ACRYLICS
painting and drawing on collage. The term mixed representation of an actual location. I create stylised Burnt Sienna and
media is really just convenient shorthand to describe worlds to produce a new version of reality, based White: both Daler-
any work that combines several different mediums in entirely on wishful thinking – a rather ideal world that Rowney System 3
this way. One of the joys of collage is being able to has some resonance for everyone.
• PENS
hide little references within a composition, such as The Society of Graphic Fine Art’s 90th Annual Open
Artline Drawing System
appropriate newspaper cuttings, fragments from Exhibition runs 3-15 October at Menier Gallery,
pigment pens
clothing catalogues, sheet music and so on. London SE1. www.sgfa.org.uk

masterclass
1. Choosing a Colour sCheme

The idea for a mixed media composition usually comes from my
imagination but I will often base the painting on sketches I have
2. PreParing a grid
To prepare an initial drawing grid, I began by selecting a
half-sheet of Studland Mountboard and taping it down to a drawing
done on the spot in various locations. board, in order to prevent it curling up. Using Venetian Red and
For ease of reference, I like to begin by using paint sample cards Cinnamon crayons, I made bold linear marks, vertically and
from my local DIY store to select colours that I think will work well horizontally, across my support. This gives me a grid that I subdivided
together. I will then choose similar shades to use in my drawing from into smaller areas, until I had a pleasing layout that was suggestive
a range of water-soluble wax crayons. of buildings and a roofline.
3. Painting the sky

I took the Turquoise ink and mixed it with some white acrylic
paint, modifying it further with a few drops of Burnt Umber and Black
4. outlining the drawing
After the sky was painted, I could see the structure of
rooflines more clearly. I began to outline everything using a scrap of
ink to give me a sky colour that was close to the paint sample card I mountboard dipped into the Burnt Umber ink – this gives a pleasingly
had selected. I mix paints and inks together in an old aluminium food rigid set of lines, very different to a regular brushstroke. Occasionally
dish like the one pictured – this one has a large flat bottom so it is the ink will run into the creases of the mountboard scrap, but this
ideal for mixing large quantities of colour. The aluminium is also a adds more interest to the lines and makes them look less
good, neutral grey so it is perfect for judging colour mixes. mechanical. When the end of the card gets too soggy, just cut it off
and start again with a fresh piece. And of course the card can be
trimmed down to make short lines. >

masterclass
5. ADD COLLAGE ELEMENTS

Now is the time to select collage papers – I opted for a mix of
old newspapers, used encyclopaedia pages, unwanted sheet music
6. INTRODUCE MORE COLOUR
Here I painted a wash of diluted Burnt Umber ink over the roof
areas and some of the house fronts. As acrylic ink is permanent
and even a menu from my local takeaway curry restaurant. These are once dry, some really pleasing effects can be achieved by layering up
cut to size and pasted down with a diluted artist’s quality PVA glue. I several transparent colours – for this painting, I used Crimson, Sepia,
will also glue torn tissue paper over some areas of the mountboard Red Earth and Indian Yellow.
to vary the texture. Artists’ PVA is thick and very sticky, so it works
much better if I dilute it 50/50 with tap water (and don’t throw it
away after this stage, you will use more later!).
TOP TIP
Ar tists’
qua
be ver y lity PVA glue ca
thic n
dilute it k and sticky –
50/50 w
water fo ith ta
r a more p
manage
able mix
7. CREATE TEXTURE AND DETAIL

Using more mountboard scraps dipped in a mix of Burnt
Umber and Black ink, I added window shapes and other details. The
8. PICK OUT HIGHLIGHTS
Using white ink and dip pens, ruling pens and scraps of card,
add window frames to the buildings. The white ink from Daler-
mountboard scrap can be dipped and dragged across the surface of Rowney’s FW range is almost completely opaque, provided that you
the painting to give a scumbled appearance to the ink, too. This can remember to thoroughly shake the bottle before you begin, as the
be used to look like weathered surfaces or reflections in glass, and heavy pigment can settle at the bottom of the bottle. This ink would
by dragging the card downward, the ink is laid in a graduated wash, be my ‘desert island’ product as I can’t be without it!
darker at the start and lighter as the ink runs out.

masterclass
9. Draw in Details
At this stage, areas of colour can be laid down onto the surface using the
Neocolor II crayons and more details can be drawn in. The crayons give a smooth,
10. BuilD up the collage
More collage elements can now be added to
make curtains at some of the windows; scraps of
opaque finish, but it’s still possible to move the pigment around with a wet brush or paper torn from magazines or mail order catalogues
even a fingertip dipped in water because they are water-soluble. If you peel off the are ideal for this. And by tearing them and laying them
paper covering of the crayons and lay them on their side, you can achieve dragged onto the painting before you stick them down, you can
effects that look especially good on a textured surface, too. ensure that harmonious colours are chosen. The same
diluted PVA glue mix that you prepared for the original
collaging can also be used for this.
11. Bring in Finer Details

Using pencils, pens and other drawing tools,
the final tiny details can be added, including the
12. Finishing touches
By applying acrylic paint to textured wallpaper, linear marks can be block
printed onto the rooftops. For the final touch, I marked in the cast shadows
brickwork around the windows, cracks in the plaster underneath the eaves, windowsills and other protruding elements to give the
and other wear-and-tear marks. Note how, having suggestion of depth. Remember that even parts of the curtains will be in shadow.
started with bolder marks, I gradually reduced the My last action is always to think of a title – in this case, The Artist’s House. I don’t
scale of these marks throughout the drawing process live in a small white house near the centre of a town, but in my imagination it would
until I am now finishing off with the smallest details. be a snug place to live and paint!
Pigment pens are good for crisping up details and
correcting any mistakes.

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Classic in close up
• John Constable’s The Leaping Horse, 1825, oil on canvas, 142x187.3cm
To celebrate its bicentenary year in 2011, Dulwich Picture Gallery has borrowed a masterpiece a
month from major international institutions. This month, guest lecturer Rosalind Whyte and
Steve Pill get to grips with a glorious English landscape from a master of the genre
ROSALIND: “FOR
CONSTABLE, THE SKY
REPRESENTED ‘THE CHIEF
ORGAN OF SENTIMENT’
AND HE WAS ONE OF THE
FIRST ARTISTS TO REALLY
STUDY METEOROLOGICAL
CONDITIONS AND PATTERNS
OF WEATHER AND LIGHT.
HERE HE CREATES A
TURBULENT SKY THAT
ECHOES THE DRAMATIC
FEEL OF THE PAINTING.”
WHERE TO FIND IT…

Masterpiece A Month,
4–30 October,
Dulwich Picture Gallery,
Gallery Road, London SE21.
www.dulwichpicturegallery.org.uk
THE INCLUSION OF A
UNIQUE TECHNIQUES
One of John Constable’s surviving palettes reveals
STARTLED MOORHEN ADDS
that the artist used a combination of commercial and
self-mixed pigments, including Vermilion, Emerald
TO THE DRAMA OF THE
Green, Chrome Yellow and Cobalt Blue. He also
favoured poppy oil, a slow-drying medium. LEAPING HORSE
“The brushwork is very varied and textured,”
ROSALIND: “THE HORS
Rosalind says of The Leaping Horse. “Constable found E IS LEAPING OVER O
SMALL BARRIERS EREC NE OF THE
it difficult to combine the size of painting that would
TED ON THE RIVERBAN
get him noticed at the Royal Academy’s annual CATTLE STRAYING. IN K TO STOP
TERESTINGLY, THIS PA
exhibition with the fashionable smoothness of finish.”
BARRIER ALSO FORM RTICULAR
In order to get around this, the artist developed the S THE BARRIER BETW
unusual technique of painting giant oil sketches first. AND SUFFOLK, SO THAT EEN ESSEX
THE HORSE IS SYMBO
LEAPING TOWARDS CO LICA
NSTABLE’S BELOVED SU LLY
Comparing these sketches to the artist’s finished
canvases provides great insight into his thoughts: on
THE COUNTRYSIDE OF FFOLK,
The Leaping Horse, for example, Constable moved the WHICH HE’D SAID IS W
willow tree out of the path of the horse to maintain its MADE HIM WANT TO BE HAT HAD
momentum and strengthen the composition. COME AN ARTIST.”
landscapes in detail
LANDSCAPES IN DETAIL
4. Trees and woodlands

Do you ﬁnd forests tricky to depict without getting caught up in details? In the fourth part
of our series, watercolour tutor Geoff Kersey helps you to see the wood from the trees!
TO TACKLE THE FOLIAGE, I

MIXED A RANGE OF WASHES
AND APPLIED THEM WITH A
LARGE OVAL WASH BRUSH
TO THE WET PAPER,
ALLOWING THE COLOURS
TO BLEND, WET INTO WET
WHEN THESE
IN
HAD DRIED, I ITIAL WASHES
BUILD UP THE STARTED TO
TRUNKS AND DETAILS OF THE
BRA
WORKING FRNCH-WORK,
BACKGROUN OM THE
D FORWARDS
I
n my opinion, no other landscape subject reflects
the changes in the seasons quite as much as trees
THE RED LIFEBELT BO and woodlands. Much of the type of subject matter
ALSO CONTRASTS WITH X shown here in this article is very accessible to many of
BRIGHT GREEN LEAVESTHE us in the UK, from a tree-lined lane to a path through a
TO wooded area; even a stroll through the local park, if
HELP INCREASE THE the conditions are right, can yield a wealth of exciting
VIBRANCY painting material.
Take for instance this painting of Hall Leys Park in
Matlock, Derbyshire. I had the idea to paint this early
one Sunday morning in October last year. I always CREATING DEPTH
spend some time out and about in the early autumn, Once the tree trunks and branches had dried, I
looking for subjects. It’s a magical but quite short created some opaque colour by mixing a variety of the
season crying out to be painted, when parks and oranges and yellows with some white gouache. These
woodlands are filled with the warm, bright glow of opaque colours were then applied in small dashes on
reds, oranges and yellows. top of the darks of the trunks and branches, using a
no. 2 fine brush. This gives the impression that our
view of the trees is slightly obscured by the autumn
I HAVE INTROD foliage, thus increasing the feeling of light and depth.
BLUISH-PURPLE IN UCED A TOUCH OF It’s worth noting that although this is an autumn scene
TO CONTRAST WIT TO THE BACKGROUND it still has some shades of green, which helps to
H THE M
YELLOW COLOUR AIN ORANGE-
balance the colours and avoid it becoming
SCHEME overwhelmed by all the oranges and yellows.

COLOUR BALANCE
Autumn on Cromford Canal is a painting of
a typical scene that many of us wouldn’t
have to go too far to find. However, it is the
handling of light and colour that can turn
such a scene into a strong painting.
I kept the sky very simple with a thin wash
of Rose Madder into which I brushed
another thin wash of Cobalt Blue at the top.
While the sky was still wet, I brushed in a
thin wash of the same two colours to
suggest the slightly misty shapes of distant
trees. When it came to the main indications
of autumn foliage, I brushed in yellows,
oranges and greens into the still-wet
background. It is important when working
wet-into-wet with multiple colours that you
progress from the thinner washes through
to the thicker ones. Thick washes over thin
can create the ugly cauliflower shapes that
I am sure you have experienced.
ONCE THE INITIAL WASHES HAD DRIED

THE FOLIAGE EFFECT WITH DRY BRUSH, I ENHANCED
WORK USING
A FILBERT BRUSH ON ITS SIDE
ED
T PAINT ONTO THE RAIS
LET THE BRUSH DEPOSI (THIS EFFECT IS EASIER TO
R
“TOOTH” OF THE PAPE ROUGH PAPER)
ACHIEVE ON
LEADING THE FOCUS REVEALS,

AS THE PHOTO MAJOR
This painting, Boats at Matlock Bath, contains I DIDN’T MAKE THE
the same warm autumnal colours as the CHANGES TO UST
J
painting of Hall Leys Park, but rather than the
COMPOSITION, S TO
SUBTLE TWEAK OCUS
trees being the main subject of the painting, I
F
ENHANCE THE
have used them to frame and contain the real
subject: the boats and reflections in the river.
This is another good example of how you can
increase the impact of a painting by selecting
contrasting colours – in this instance, the
orange-yellow with the blue.
I used Cerulean Blue for the boats and
French Ultramarine for the water. This was
important, as I wanted the boats to stand out,
not blend in. I also felt it was vital to
distinguish the natural blue of the water with
its reflection of the sky, and the man-made
paint colour of the boats. The subject couldn’t
have been more ready-made, as even the red/
brown varnish round the top of the hulls and
on the seats (Burnt Sienna) contrasted
perfectly with the Cerulean Blue.

LIMITING PALETTES
In this example, Trees in the New Forest, you
can see that again I have used a limited palette
to produce cool blue-green shades in the I TRIED TO SUGGEST A LIGHT AR
distance, gradually introducing brighter and THE LOWER PART OF THE TREE EA BEHIND
bolder yellows and greens in the foliage canopy TRUNK SHAPES THAT GRADUA S, WITH PALER
LLY NARR
to suggest the strong sunlight breaking through
– this is emphasized by the bright light on the
WE GO INTO THE DISTANCE OW AS
Viridian & Cobalt Violet ground around the dark bases of the trees.
The swatches opposite show some of the
main colours I have employed in this scene.
I have used Viridian, which can appear a bit
bright when used straight from the tube, but
Viridian & less Cobalt Violet it calms down very effectively with the addition
of Cobalt Violet, creating a huge variety of cool
grey-greens. To give that sense of vivid
brightness at the top of the scene, I have used
a few touches of Cadmium Lemon and Nickel
Cadmium Lemon Titanate Yellow, which is similar to the
Cadmium Lemon but a touch less acidic. I think
the final touch to this scene that really gave it
some punch was the tree trunk just to the left
of centre, to which I added a thin wash of
Nickel Titanate Yellow Aureolin and Burnt Sienna to add warmth.
Aureolin & Burnt Sienna

TRUNKS AREN’T
ALWAYS BROWN!
It is important not to see tree trunks BOTH CADMIUM LEMON AND NIC
as just various shades of brown. TITANATE YELLOW ARE OPAQ KEL
UE
Look at the variety of colours in
THEY CAN BE USED TO INTRODU, SO
HIGHLIGHTS TO A DARKER AR CE
the bark and observe how these
colours are affected by light and EA
shadow. In this example, I mixed a
variety of colours, including Indian GLOWING LIGHT
Yellow, Cerulean Blue, Naples Yellow For this footbridge scene, also from the New
and a mixture of Burnt Sienna, Forest, I have used the same colour scheme
French Ultramarine, Raw Sienna and as the painting opposite. Note how I have
Burnt Sienna. Once these mixes used Cadmium Lemon to create a bright glow
were prepared, I wet the whole trunk in the centre of the scene, which contrasts
area with clean water and dropped with the cooler, quieter grey-greens that
them in, allowing them to mix and surround it. For contrast, warmer colours
merge on the paper, concentrating were added to the two main tree trunks
the darker colours towards the and also to the bridge and riverbanks.
shaded side of the trunk. Do not
over-work this; it is better to let the
colours soften and blend on their TO GIVE THE EFFECT OF SOME BRIGHTLY
own, which creates new, interesting LIT FOLIAGE, I HAVE USED SOME NEAT
shades and helps suggest the
NICKEL TITANATE YELLOW AND DRY-
cylindrical shape of the trunk.
BRUSHED IT ON TOP
Next month: Geoff reveals great techniques for working from photographs back in your studio. www.geoffkersey.co.uk

watercolour essentials
Watercolour essentials
A Dictionary of Marks
In the second part of our new five-part series about getting the most from your
watercolour painting sessions, Siân Dudley presents an A-to-Z of mark making possibilities
W
hen we learn to write, we begin by The act of simply colouring in shapes with for applying or manipulating the paint.
learning to shape letters. We then washes doesn’t allow opportunity for the One important point to consider is how you
join these together to form words, medium itself to be fully exploited. Controlled might use each new mark in a painting. What
then words form sentences, sentences form washes are essential but watercolour is an might it represent? How might it be read in
paragraphs and paragraphs form stories. exciting medium, which, with a little the context of the painting? Once you have
After all, we wouldn’t dream of expecting experimentation, can be made to work for found a range of marks that could represent
someone learning a new language to start by you. By developing the painterly equivalent leaves, for example, you will no longer find
writing a novel! of those ‘letter shapes’, you will find an yourself wondering how you can paint a leaf
Yet when we are learning to paint we want enormous alphabet of exciting marks that but will instead be asking which mark is
to start by painting a picture. Beginners are you can use to create your own vocabulary. appropriate.
often inspired by the subject matter, which Below I have given some suggestions of Just as when we read a novel we don’t
they often ‘draw up’ on to watercolour paper, ways you might make certain marks. These focus on each word, your viewer will see
and set about studiously ‘colouring in’ the are only a starting point. Be inventive and these marks as a whole, enjoying the
shapes with washes. Unsurprisingly, resourceful – don’t be afraid to give anything painting’s lively and interesting qualities.
disappointment often follows. a go. In addition to brushes, try other tools www.moortoseaarts.co.uk
Applying direct
Palette knives aren’t just for oils and
Dip-and-rolling
Dip a cocktail stick into a
acrylics. Try scraping watercolour reasonably thick paint mix
and printing with the edge or flat and roll across the page.
surface of the knife. Suggested uses: fence posts,
Suggested uses: bricks, flower silver birch tree trunks, masonry
petals, stems, masts of boats
Burnishing
Draw into wet paint with a Edging
burnishing tool or any other Place masking tape across your
object with a firm, sharp tip. painting to define a straight edge.
Suggested uses: Anywhere you Two or more edges can be
want a fine line in a darker tone; overlapped.
e.g. window frames, wire fencing Suggested uses: horizon lines,
in a landscape the edge of the picture
Clingfilm prints
Apply a splodge of a quite thick paint Graining
mix, wrinkle up the cling film and Drop grains of salt on to
press into the paint. You can mix semi-dry paint and leave to dry
different colours before applying the thoroughly. Try using different
cling film, or lift the edge and drop size grains. This works best
paint into the creases. Watch it on mid- to dark tones.
run along the folds. Suggested uses: texture in
Suggested uses: rocks, clothing, rocks, fabrics, walls, frost
foliage, hillsides

watercolour essentials
Injecting Ribbing
Roll a pop bottle top through paint,
Fill a plastic syringe with paint, then roll it across your page.
aim at the paper and squirt! Suggested uses: texture on brick
Suggested uses: abstract work, work, cuff of a jumper
unpredictable foliage shapes
Soaking up
Kitchen roll is an excellent tool
for ‘painting’ clouds. Why not
Knife scraping
Use a palette knife to scrape into
gently press it into damp paint
to take advantage of its pattern?
Try folding it first, too.
wet paint. You can move paint within Suggested uses: fabric texture,
the wet area or drag it out across net curtains, fishing nets
the page.
Suggested uses: rocks, tree trunks,
clothing textures
Toothbrush spattering
Using a toothbrush (the cheaper
the better!), dip the bristles into
your paint. Holding the head
towards the paper, bristles face
Lid printing
Dip the end of a pen lid or one of
down, run your finger from front
to back to produce a delicate
spray of paint. Alter the angles
those plastic tubes that are used to for different marks.
protect brush bristles into your paint Suggested uses: pollen, flower
and use it to print irregular circles. centres, fine gravel, textured
Suggested uses: decorative shadows
patterns, suggesting flowers
in a garden landscape.
Vegetation printing
Press leaves of a small fern or
other plant into a puddle of fairly
Masking
Cut or tear masking tape to shape,
thick paint, place on your paper
and run your finger carefully over
the back of the leaf to print.
according to your subject matter. Suggested uses: leaves,
Place this on your work to protect fabric patterns, fern tips
an area while you paint around it. make great fir trees
Suggested uses: distant sails on a
yacht, windows, horizons
Paper dragging Wax resist

Using a candle or a wax crayon,
Using a piece of stiff paper or card, draw the lines you want and
cut to the appropriate length for your paint freely over them. Caution
subject, dip in paint and print. Try here, once applied the wax
using different thicknesses of paper. cannot be removed, so be careful
For a different effect, drag the paper to place it in the right place.
across your work. Suggested uses: sparkle on
Suggested uses: masts, grasses, water, bark on trees
reeds, tree branches, stripes

Your Letters…
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the writer of the After reading the article about returning to art after a long lay off, I had to write
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ey have most enjoy Illustrators, I have discovered the fantastic street
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to see in the mag is an article on his painting
Probably the mos WITH THANKS TO
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ACROSS DOWN
6 Quietly, it broadcasts, no one’s 1 Leonardo’s work is modelled on a coal dig (2,8)
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15 Soon identifies a mystery artist (4) avant-garde artist (4,3)
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20 Rossetti 23 Waldmuller 26 Adam 27 Allan 28 Antoine Please tick this box if you are a subscriber to Artists & Illustrators
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TEXTILES beginners or the more advanced. Non-painting
Waterperry House
For course
Waterperrydetails:
Waterperry
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House
House www.artinaction.org.uk partners welcome. Relaxed atmosphere. Excellent
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Oxfordshire For free brochure telephone Vikki on:
2012 Brochure now available:
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Bookings: artcourses@artinaction.org.uk To advertise in the artists & illustrators

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For course
course details:
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we have come up with - hope it is okay, if you can manage to get
Art in Action Art Courses on the same alignment that would be great. or visit us at www.artistsandillustrators.co.uk
Here is the artwork which we have come up with - hope it is okay, if you can manage to get
lease contact us on courtney.art@zen.co.uk or 01844 281 366 if you need to speak with
Art in Action Art Courses on the same alignment that would be great. To advertise here please call 020 7349 3163
us about it at all.
leaseiscontact
Here the us onwhich
courtney.art@zen.co.uk or- hope
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Tutors include: Joe Dowden, Charles Evans, SCOTLAND
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01255 820466 Tutors: Alvaro Castagnet, Frances Hatch, Bettina Schroeder, David Tress and John Hoar
Further details can be found on our website.
Email: allison@watershedstudio.co.uk Brochure: Gillian Pattinson, Brynaport, Strathcarron, IV54 8XB. Tel 01520 733227
www.watershedstudio.co.uk Website: www.nwhighlandsart.co.uk Email Gillian Pattinson: gillian@nwhighlandsart.co.uk or Nicola Macaulay-Smith: nic.pol@live.co.uk
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Fiona Scott
Life Drawing
In our series focusing on self-portraits, Yorkshire-born Fiona
discusses blank canvases, rabbit fanciers and her famous sister
This self-portrait is how I see myself, now My husband suggested that I paint a self- was finished I wished I’d asked him for it, but
that I’m middle aged. I’m wearing a portrait. My last self portrait was sold at an I was too shy. You can’t go back.
leopard-skin print coat, which was always a RP exhibition and it’s now in Australia! He has
favourite when I was younger. I tied my hair always regretted that I sold it, as it depicted After graduating, I returned to my native
back, as I felt I shouldn’t hide behind it. The me at a certain time in my life that has passed. Yorkshire. I opened a studio in the market
coffee cup is there as I’m very rarely without town of Helmsley. I had a huge response to my
a cuppa! My first memories of art were at infant work and received many commissions. It gave
school, aged 4. me the confidence to stage a one-woman show
I won first prize in an in London.
art competition and
received a medal and My proudest commission was to paint my
a certificate from neighbour, Jeffrey Taylor. He was a typical
Guide Dogs for the Yorkshire man; a keen rabbit fancier, flat cap
Blind. I’ve still got the an’ all. I portrayed him holding one of his
medal, but not the champion rabbits. He was so proud. It was my
picture. first painting to be selected for the BP Portrait
Award. I was over the moon and Jeffrey was
My dad was a shot to stardom – hanging in the National
very talented Portrait Gallery with his rabbits.
draughtsman and
cabinet maker. He It isn’t necessary to have a strong
could turn his hand emotional connection with a subject, but
to anything creative. it helps. When you are close to the sitter there
My mum and her is no need to try to analyse their personality,
family were all as you know straight away how you wish to
journalists, my sister portray them.
Selina is a TV
presenter and my The last work of art that really moved me
other two sisters are was a painting in this year’s BP Portrait
very artistic: one is a Award exhibition. It was a painting of a little
textile artist and the girl, just waking. The painting reminded me
other a talented of my children – the softness and gentleness
musician. Somehow of a little child brought a tear to my eye.
in this mix, I became
a painter. Aside from art, my greatest talent is
juggling! I have to juggle my painting with
I studied under looking after four children and being a
Alberto Morrocco farmer’s wife, all to the best of my ability.
in Dundee. He truly
inspired me with the Looking at a blank canvas is always
use of colour. His daunting. Even after the initial drawing and
paintings were so painting, I often feel unsure as to whether the
vibrant. painting will work and how I’m going to
achieve it. But somehow it clicks, usually
The most important about three-quarters of the way through.
lesson I learnt was
“to seize the What’s my ambition? To continue painting
moment”. He asked interesting subjects and to receive recognition
me to sit for a portrait for my work before it’s too late!
and after the painting www.fionascott.net

Discover your inner artist
Study art, printmaking, graphic design and
illustration courses. Do an open learning art
degree with the Open College of the Arts
by OCA Creative Arts degree student Jocelyn Bridge
Open College of the Arts Learn from home

In your own time
www.oca-uk.com Start when you want
0800 731 2116 Student finance may be available
Lay it on thick. Spread it on thin.
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A Splash of Colour With our columnist David Paskett,

ON A courses and lectures that have been

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Discover the work of Mary Webb, an artist with

Admission £4, concession £2

Sainsbury Centre for Visual Arts

Webb artist & Illustrator v2.indd 1 01/09/2011 10:17

14 Artists & Illustrators

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ABOVE Blue Trees, painted

Artists & Illustrators 19

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Oxford Giclée Limited www.oxfordgiclee.co.uk 01865 772800

Services Why Choose Us Order Prints Online

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Artists & Illustrators 21

huge expanses of sea and sky, which

artist’s bio wonderful new shops and

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Detail of image courtesy of Stella Mays

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Entry: from now until January 21, 2012.

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First Prize: £25,000

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 TINA BONE

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30 Artists & Illustrators

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■ Colours from the past

Artists & Illustrators - 2011-10

Artists & Illustrators - 2011-10

"

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