The Artist

TA06_p01_fc_TA12 Front cover 06/04/2017 11:06 Page 1
www.painters-online.co.uk June 2017 £4.20
artist
T H E P R AC T I C A L MAG A Z I N E F O R A R T I S TS BY A R T I S TS – S I N C E 1 9 3 1
Swing into action

with bold colour and brushmarks
DEVELOP YOUR SKILLS
l Tips & exercises for simplifying
the figure
l Hazel Soan on mastering the
proportions of the face
l Glazing techniques for oils
l Colours for successful shadows
Philip Sutton RA reveals the

secrets of his success
ACRYLICS WATERCOLOUR MIXED MEDIA !
Be inspired by O’Keeffe Be creative & enjoy Capture a cat’s
& recreate the magic of the freedom of an character & the
a single flower head abstract composition texture of fur

Paul Talbot-Greaves workshops ad.qxp_News 1st 05/04/2017 15:02 Page 1
& WORKSHOPS Includes

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Landscapes with Paul Talbot-Greaves

at Patchings Art, Craft & Photography Festival in Nottinghamshire, Thursday, July 13, 2017
Organised by The Artist

and Leisure Painter
in association with
Daler-Rowney, who will
provide each student with
over £60(rrp) of materials
for each session
YOUR TUTOR
Acrylic dries fast, which can
lead to many unwanted
hard edges in your pictures.
Professional artist, tutor
and contributor to The Artist,
Paul Talbot-Greaves will
show you how to blend and fuse colour to
create evocative soft edges that will transform
your landscape painting. These can be
contrasted with harder edges and thicker, t
Autumn Light, acrylic painting by Paul Talbot-Greaves
opaque applications later on in the painting. Using FW Artists’ Acrylic Inks
to create flow, you will be shown techniques first to generate softly blended
colours, before progressing on to applications of thicker colour using System
3 Acrylics. These will sharpen up your painting, add opacity and involve YOUR MATERIALS
sculptural, expressive brushmarks. The morning session will run from Daler-Rowney will provide each student with a System 3 Original
10am to 1pm and the afternoon session from 2pm to 5pm. Introduction Set; a set of six FW Acrylic Inks and two System 3 Short
Flat Brushes, worth in total over £60(rrp). System 3 Original is a
high-quality, water-based, medium-bodied acrylic designed to offer
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The event showcases some of the best professional artists and craft makers, along resistant ink which can be diluted to achieve subtle tones. Washes
with paintings, textiles, jewellery, glasswork, photography, ceramics, woodwork and dry to a water-resistant film and successive layers of colour can be
sculpture. There will also be art and craft materials for testing and purchase, guest built up. System 3 Brushes are resilient and durable. The single
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Patchings Art Centre in Calverton, Nottinghamshire, runs from Thursday to Sunday,
spring. For more details about Daler-Rowney products please visit
July 13 to 16, 10am to 5pm daily. For further information telephone 0115 965 3479 or
www.daler-rowney.com. Students will be advised of the
visit the website at www.patchingsartcentre.co.uk
additional materials necessary when booking.
Great value – book your place today!

The cost of each three-hour session is just £55(inc VAT) per person and
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materials worth over £60(rrp) PLUS free entry to Patchings
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For more information and to book your place please visit

www.painters-online.co.uk/courses-holidays/reader-workshops
If you don’t have internet access please telephone Liza or Nicci on 01580 763673
TA06p3_5Contents_TA04p3_4_Contents 04/04/2017 15:08 Page 5
WELCOME
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol 132 No. 6
ISSUE 1042
Publishing Editor:
Sally Bulgin PhD Hon VPRBSA
Deputy Editor:
from the editor
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Advertising sales: Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
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I
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would be interested to know readers’ thoughts on the recent BBC1 Big Painting Challenge
Sue Woodgates: 01778 392062 because I for one was amazed by the difficulty of the challenges set for the amateur painter
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contestants throughout the series (broadcast on Sunday evenings from 6-7pm, February 12
Online Editor:
Dawn Farley to March 19). Then, just when the first of the final challenges, to paint a portrait of a family
Design: member, seemed to generate a collective sigh of relief amongst the four finalists, the second
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01580 763673/01580 763315 inherent difficulties of sketching on board ship in his masterclass on pages 12 to 15, so I really
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learning new approaches and develop as artists, and to be mindful of the work of the old
Subscription orders
should be sent to: The Artist, Circulation masters from whom artists have always learned so much. I enjoyed Lachlan Goudie’s
Dept, Caxton House, 63/65 High Street,
Tenterden, Kent TN30 6BD. Tel: 01580
enthusiastic analysis in each of the programmes of the work of past masters such as Canaletto,
763673 an obvious inspiration for the final challenge to paint The Royal Naval College. Glyn Macey takes
Rates are: a similar view in his current series Inspired by…in which this month (pages 21 to 23) he
UK – £39.99 (includes Northern Ireland);
EC member countries – €67; encourages us to slow down, take the time to observe properly and see the magic in the
USA – $80 (air freight); Canada – $92 (air
freight). All other countries £50 (air freight).
smallest detail by painting a daffodil head, taking lessons learnt from his observations of
Payments by credit card are taken in sterling Georgia O’Keeffe’s work.
at £50. Foreign currency prices include bank
charges. Periodicals postage paid at Rahway, How to simplify what you see and break down a complex subject were other key themes of
NJ. US subscribers only: Send address the BBC1 series, and to which the mentors kept returning, as well as the importance of your
corrections to The Artist, c/o Mercury
Airfreight International Ltd, 365 Blair Road, mark making. Phil Tyler offers his tips on how to simplify drawing and painting the figure by use
Avenel, NJ 07001
of the notan and grisaille methods on pages 28 to 30, whilst to encourage more experimental
News-trade distribution by:
Warners Group Publications plc. Tel: 01778 mark making, Marie Antoniou encourages us to play with shapes, patterns, colour and
391000 All material copyrighted; brushmarks in her demonstration of an orangutan in acrylics on pages 31 to 33.
reproduction forbidden without permission.
Publication of an article or inclusion of an Getting the proportions right, particularly in figure and portrait painting, was another
advertisement does not necessarily imply
that TAPC is in agreement with the views
challenge for the BBC1 contestants. Hazel Soan addresses this issue in the second of her
expressed, or represents endorsement of excellent three-part series on portraits, focusing on how to get the proportions correct for the
products, materials or techniques. TAPC
does not accept responsibility for errors, details of the face such as the eyes, nose and mouth in her article on pages 34 to 37. Hazel’s
omissions or images received in good faith. examples are predominantly painted in watercolour, which brings me to what I felt was missing
artist is printed by Warners Midlands from the BBC1 series: a focus on the beauty of the watercolour medium, historically the
PLC, The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH and published every medium of choice of the amateur painter. Hazel Lale takes up this theme in her demonstration
four weeks by THE ARTISTS’ PUBLISHING
COMPANY LTD on pages 38 to 41 in which she shows how watercolour can be used to create abstract
compositions which can free us to use pattern and vibrant colour without the constraints of
artist Caxton House, 63/65 High
Street, Tenterden, Kent TN30 6BD Telephone
trying to create the illusion of the three-dimensional world on a flat, two-dimensional surface.
01580 763673 Fax 01580 765411 She, as well as the other artists in this issue, also highlight how painting can and should be fun.
Advertising 01778 392048 For me it was the fun element behind amateur painting that also seemed to be missing in The
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Big Painting Challenge, buried by the angst created by the overly demanding challenges that
I’m pretty certain many professional artists would have balked at too!
Best wishes
THIS MONTH’S COVER
Sally Bulgin Publishing Editor
Marie Antoniou Swinging Baby

(Orangutan), acrylic, 20⫻27in Let us know what you think at • theartistletters@tapc.co.uk • www.painters-online.co.uk/forum
(51⫻69cm). See page 31 • www.facebook.com/paintersonline • twitter.com/artpublishing
artist June 2017 3

12 16
CONTENTS
FEATURES PRACTICALS
12 Sketching aboard Sea 21 Inspired by…Georgia
Cloud O’Keeffe
MASTERCLASS Geoff Hunt reveals This month Glyn Macey challenges
how he successfully completed you to try your hand at an acrylic
watercolour sketches during a painting inspired by Georgia
recent Mediterranean cruise, despite O’Keeffe’s giant flowers
a few unexpected challenges
24 A change of plan
Phil Hobbs shows how he
simplifies complex subjects in
watercolour, especially when they
day doesn’t go as planned
45
28 Mastering tone 42 Glazing
In the third of his six-part series Martin Kinnear continues his series
Phil Tyler demonstrates in a variety on oil painting with a detailed look
of media as he explains how to at glazing, with advice on where and
master tone when drawing the when to use this technique
figure
45 The end
31 Vibrant wildlife Practical solutions for those
24 Marie Antoniou demonstrates how

to capture the energy of wildlife in
a colourful acrylic painting of a
playful baby orangutan
paintings that just don’t work, even
when they’re supposed to be
finished, from Charles Williams
16 Journey of discovery
IN CONVERSATION Philip Sutton 34 Facial features
RA reveals his approach to his In the second of her three-part
playful and sometimes quirky series, Hazel Soan explains how to
interpretations of his subject to tackle eyes, noses and lips in
Caroline Saunders watercolour – and get the
proportions right
19 Charles Williams’ musings:
summer schools 38 Lively abstracts
Get creative and discover how to
70 Adebanji Alade’s
motivational tips
Work at it!
paint an abstract composition with
colour and pattern by following this
demonstration by Hazel Lale
34
4 artist June 2017 www.painters-online.co.uk
NEXT MONTH
IN
FEATURES
49
49 What to paint in watercolour
Jake Winkle looks at a variety of subjects and advises
on the best approach and techniques for lively yet p MASTERCLASS
simplified paintings David Gould reveals how he successfully combines
digital techniques with traditional painting methods
53 Light versus dark
Paul Talbot-Greaves
focuses on the
importance of contrasts
in watercolour in his
new series. This month
he examines values, and
invites you to submit a PRACTICALS
painting for appraisal
u Jo Quigley
56 Purr-fect cats demonstrates
Yael Maimon advises on colours and texture as she ways to create
reveals her approach to capturing the character of cats eye-catching
in mixed media
compositions
61 A–Z of colour
S is for shadows, by Julie Collins
l Capture the effects of moving water in watercolour
with Paul Riley
PLUS 6 Your views 9 The Art World
62 Art shop directory 63 Artbox
l Follow Rob Wareing and use pastels to paint a
lively figure
64 Exhibitions 67 Opportunities l Learn Paul Talbot-Greaves’ tips and techniques for
hard and soft edges and their importance for your
EDITORIAL CONSULTANTS watercolours
l Martin Kinnear advises on how to choose and use
the best colours for your oil paintings
l Be inspired by Andy Warhol and create a
contemporary mixed-media image with Glyn Macey
Ken Howard OBE, RA Jason Bowyer NEAC, Bernard Dunstan RA David Curtis ROI, PLUS
studied at Hornsey RP, PS studied at Byam Shaw RSMA
School of Art and the studied at Camberwell School of Art and the has won many awards
l The A to Z of colour by Julie Collins: T is for
Royal College of Art. He School of Art and the Slade School. He taught at for his en plein air and transparent watercolours
is a member of the Royal Academy Schools. the Camberwell and Byam figurative paintings in
NEAC, ROI, RWS, RWA He is the founder of the Shaw Schools of Art both oils and l Charles Williams’ musings: a professional artist’s
and RBA. He exhibits NEAC Drawing School among others. He exhibits watercolours. He has had take on the Royal Academy Summer Exhibition
extensively and has and exhibits his work widely including in the several books published
won numerous awards. widely. annual exhibitions of the on his work as well as
NEAC, of which he is a
member, and RA.
DVD films, and exhibits
his work extensively.
And much more! Don’t miss out: our
July issue is on sale from May 19
artist June 2017 5
June Letters_Layout 1 06/04/2017 11:52 Page 1
YOUR Email theartistletters@tapc.co.uk or write to The Editor,

VIEWS Letters, emails and comments The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD
X STAR LETTER of power. If you make a fuss, they may

not take your work again. The owner of
Important values
one gallery, with whom I had a positive
Martin Kinnear’s article on value and chiaroscuro (The Artist, May 2017) was brilliantly relationship because he took a large
informative and has served as an important reminder to me of just how vital tonal number of my paintings over the years,
values really are. If you don’t get these issues right your paintings will not only lack is renowned for delaying payment. The
impact but look flat. owner in question has now retired, and
There are, as Martin pointed out, some good gadgets on the market for keeping an the gallery closed, so I am worried I may
eye on these values, the best of which is the tried and tested Claude mirror. If you never receive payment. Seven months
don’t have one of these to hand the half-squinted eye method is a useful alternative on, requests for payment are met with
to fall back on. the response ‘I am in the process of
Rowland Hilder was a great advocate of the importance of tonal values. He often doing my accounts’. I am still waiting!
started his watercolours by plunging straight in with a loaded brush of black Indian It is difficult for artists to make
ink, thereby firmly establishing his low-value tones and then working back from demands for a specific amount owed.
these to establish his mid- and high values, often using neutral tint to achieve this Galleries sometimes discount paintings,
aim. I was very fortunate to be able to attend one of Hilder’s masterclasses in August and commission or VAT has to be taken
1985 at the College of Art, Blackheath, London, where he was into account, and one does not wish to
a part-time lecturer. Then in his 80s he worked tirelessly resort to litigation.
over a couple of days, demonstrating many of his I suppose in some ways I should be
This month’s
wonderful techniques, which included how to use star letter writer will grateful because I haven’t been as
tonal values in a painting or even in a simple and receive a selection from unfortunate as an artist friend who told
rapid plein-air sketch. These demonstrations our lucky dip bag, which me he lost at least 12 paintings when
proved so very helpful and instilled into me the could include art
materials, books and one of the galleries he worked with
importance of tonal values, but it’s often the went bust. The owners did a moonlight
DVDs worth
simple disciplines that we tend to forget. approximately flit, and his paintings were seized by the
Alan Bickley, by email £50. creditors, never to be seen again.
Ann-Monique F. Stellinga, West Midlands
Remember to have fun

Delayed payment galleries don’t bother to inform you that I enjoy reading the letters page every
Imagine the pleasure of selling your work! your work has been sold, and you only month. Many correspondents advise
It is a boost to creativity and a vote of find out by accident if you make the long that ‘braving the elements en plain air is
confidence. When I first began exhibiting I journey to the gallery or keep phoning, the way forward’ or ‘copying is not
did not realise the problems that artists and get a reputation for being a nuisance. creative’. We seem to be in danger of
face when dealing with galleries or A gallery in North Wales lost two of my losing sight of the fact that the word
venues. My local art group used to exhibit paintings and scratched the frame of a FUN should also be attached to our
in a well-respected amateur theatre but third by stacking it incorrectly after I had activities. Without pleasure and
the administrator kept us hanging on for carefully unpacked it. A café/gallery owed relaxation, what is the point, for most of
our money for up to six months. Many me money for picture sales but when I us, of any essentially leisure-time
phone calls were made and letters sent called in for payment the owner said she pursuit? Skill can be acquired to a
before payment arrived. Eventually the didn’t have a cheque book with her; certain extent but talent and creativity
man left under a cloud, leaving us all electronic payment was promised, but I tend to be attributes that most of us are
jaded by the experience. had to make several phone calls before blessed with in smaller amounts. So
Most artists are used to late payment for the money arrived. Her excuse was that please, let us continue to welcome
paintings, but it is still galling. This does she was ‘inclined to be vague’. This newcomers to our pastime by saying
not usually apply to the art institutions insouciance and unprofessionalism is enjoy yourselves, and have fun, while
that run national open competitions or, in particularly galling. trying to extend your abilities as far as
my experience, to small local art shows, Undoubtedly, some gallery owners you want to.
but it can be the case with galleries. Some exploit the fact that they are in a position Dennis Swainston, by email
Subscribe at www.painters-online.co.uk or telephone 01580 763673

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p08_tajune17.indd 8 05/04/2017 11:58:01

June TAW back from Brenda again_Layout 1 06/04/2017 10:44 Page 9
THE ART WORLD

NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
compiled by Deborah Wanstall
p Wyndham Lewis The Crowd, 1915, oil on canvas, 8⫻61⁄4in (20⫻15.5cm)
The largest UK retrospective of Wyndham Lewis’ (1882–1957) Wyndham Lewis: Life, Art, War is at the
work at the Imperial War Museum North marks 100 years since Imperial War Museum North, The Quays,
Lewis was commissioned as an official war artist in 1917 and Trafford Wharf Road, Manchester M17
the IWM’s centenary. The exhibition comprises more than 160 1TZ from June 23 to January 1, 2018.
artworks, books, journals and pamphlets from major public and Admission is £8, concessions £6.
private, national and international collections. www.iwm.org.uk
www.painters-online.co.uk artist June 2017 9

l North Lincs Art Society is once

again holding its main exhibition of
the year in Grimsby Minster, St
James’s Square, Grimsby DN31 1EP,
from June 2 to 16. The exhibition is
open between 10am and 4pm from
Monday to Saturday. For more
details telephone Anne Harris on
01507 610604; www.nlasart.co.uk
Three members of the society, Anne
Harris, Pat Merriwether and Mick
Craven, have a joint exhibition
entitled ‘Different Strokes’, also at
Grimsby Minster, from June 1 to 8
(except Sunday). The artists will be
on hand to chat to visitors. For
more information, contact Mick
p John Palmer Under Wraps, watercolour, 61⁄4⫻8in (16⫻20cm), on show at the RWA Craven on 01472 883438 or email
mickcravenart@gmail.com
DRAWN TO THE RWA l Artists Around Wetherby is an Open

Studios event that takes place over the
One of the three drawing exhibitions at the Royal West of England Academy this
weekends of May 20 and 21, and May 27
spring is Beyond the Sketchbook: Drawings from the RWA Collection. With works
to 29. Download a brochure from
selected from the 20th and 21st centuries, the show explores various forms of
www.artistsaroundwetherby.com
drawing, from pen and ink to loose watercolours.
l Torfaen Art Factory is a group of 20
Beyond the Sketchbook: Drawings from the RWA Collection is at the Royal West of
artists and photographers who will once
England Academy, Queen’s Road, Bristol BS8 1PX until June 4. Admission is free.
again be exhibiting as part of
Telephone 0117 973 5129 www.rwa.org.uk
Crickhowell Open Studios at Clarence
Hall (Studio 2), Crickhowell, Powys, from
l Paul Bartlett, a past contributor to The Artist, is exhibiting works from his series of
May 27 to 29.
lay figures with the Birmingham & Midland Pastel Society. The exhibition is at the l Norfolk & Norwich Open Studios
Jam Factory, 27 Park End Street, Oxford OX1 1HU from June 1 to July 29. For more takes place between May 27 and June
details, see www.bmpastelsociety.co.uk or telephone the secretary on 0121 444 5241. 11. For more information see
www.nnopenstudios.org.uk
‘n
EDITOR’S GALLERY CHOICE
This month’s editor’s choice from our website gallery is by
David Wilkes, who comments:
‘The rugged and vibrant coastal scenery of this area of south

Cornwall always inspires me, even after world travels in my
merchant seaman days. It is a magical place. Here I tried to
capture the emotion I felt and the drama before me, the
exercise taking less than one hour. I primed the canvas with a
wash of burnt sienna and Payne’s grey, then applied broad
random strokes of colour with a 25mm flat synthetic sable to
determine the areas of cliffs, headland, rocks and sky with a
palette of raw umber, burnt sienna, cerulean blue, Naples
yellow and sap green, leaving areas of the underpainting
showing through. Then, using a 12mm flat brush, the loose
detail was overlaid with burnt sienna, sky blue and various
tints of white and dashes of flesh tint, followed by a little dry
brushing of some of the colours. I hope I have expressed the p
David Wilkes Coastal Cliffs, Zennor, Cornwall, acrylic on stretched
moment and the dramatic and magic scenery of this very canvas, 12⫻16in (30.5⫻40.5cm). On show in our online gallery at
secluded but special part of Britain.’ www.painters-online.co.uk
To upload images of your own work and receive

valuable feedback, go to our website and click
on the link to the gallery. This is a free service.

p David Cobley Marvellous Mr Hockney, oil on panel, 71⁄2⫻9in (19⫻23cm)
NEW ENGLISH SUMMER

The New English Art Club is a group of around 90 artists who paint from The New English Art Club Annual Exhibition is at
direct observation. Their annual exhibition, which includes entries from the Mall Galleries, The Mall, London SW1, from June
open selection, provides aspiring artists with an opportunity to be shown 16 to 25. Admission is £4, concessions £2.50.
alongside some of today’s best figurative painters. Telephone 020 7930 6844; www.mallgalleries.org.uk
l Christchurch Arts Guild are

exhibiting at Sammy Miller If you are planning a trip to Europe in the near future and
Motorcycle Museum, Bashley Cross
Roads, New Milton, Hampshire BH25
fancy taking in an exhibition, here’s a taster of what’s on:
5SZ from May 20 to June 4. The
l There are three major Picasso Path to Guernica, until September 4,
museum is open daily from 10 am to
4.30pm. http://christchurcharts exhibitions in Rouen, at the Musée des which looks at Picasso’s depiction of
guild.co.uk Beaux-Arts, Musée de la Céramique modern warfare. www.museore
and the Musée Le Secq des Tournelles, inasofia.es /en/exhibitions
l Dean Prior Life Drawing Group‘s
l Pissarro in Eragny: Nature Regained is
running until September 11. Discover
summer exhibition is at Birdwood many masterpieces: paintings, drawings,
House Gallery, High Street, Totnes, at the Musée de Luxembourg until July
sculptures and ceramics. 9 and focuses on the last 20 years of
Devon TQ9 5SQ from June 18 to 25. http://mbarouen.fr/en/actualites/three
The gallery is open from 10am to Camille Pissarro’s artistic career.
-major-picasso-exhibitions-in-rouen http://en.museeduluxembourg.fr/exhibi
4.45pm. For more details telephone
07767 11142 or see http://deanprior l At the Museo Picasso Málaga, Bacon tions/pissarro-eragny
lifegroup.blogspot.co.uk Freud and the School of London, from l The Albertina in Vienna has a
l Open for Art is an open studio
April 26 to September 17, includes work comprehensive exhibition of artworks by
by Frank Auerbach, David Bomberg, Egon Schiele, until June 18.
event featuring 80 artists in 42 Paula Rego and Euan Uglow.
venues in the Dorchester, Weymouth http://www.albertina.at
www.museopicassomalaga.org/en
and Portland areas of Dorset l And lastly, if you’re going to Venice,
between May 20 and June 7. More l Also in Spain, the Museo Reina Sofía don’t forget the 57th Venice Biennale,
details at in Madrid has Pity and Terror: Picasso’s which runs from May 13 to November 26.
www.artwey.co.uk/open-for-art

TA06p12_15_Masterclass_Layout 1 03/04/2017 09:46 Page 12
MASTERCLASS
Sketching aboard
Sea Cloud
Geoff Hunt, past president of the Royal Society of
Marine Artists, reveals his approach to sketching in watercolour
on a recent Mediterranean voyage
ast year I was fortunate enough
L to be invited back for another

voyage aboard Sea Cloud, a
stunningly beautiful four-masted
square-rigged barque originally built in
the 1930s as a private yacht for a very
wealthy owner, but which now sails the
seas as a fairly exclusive cruise ship. In
my 'marine artist' identity I had
voyaged aboard this ship before, giving
talks about painting Nelson's Navy, but
this was the first time I had done so
since I switched to watercolour for plein-
air painting, some of which I wanted to
do during the six days or so of Sea
Cloud's cruise in the western
Mediterranean.
Painting kit
I thought most of my painting would be
done on trips ashore rather than
aboard ship so I gave a lot of
consideration to the portability of the
painting kit, which had to fit in a
smallish day bag along with other
things I needed. In the end I took a
number of different papers, all sized to
about 9⫻13in (23⫻33cm), with a
corresponding piece of board and a roll
of gumstrip; a middle-sized paintbox
plus refill tubes; and a brush tube of
five or six brushes. As well as this I took
my 'minimum' sketchbook kit, but no
easel, as I couldn't fit one into my bag.
Change of plan
The ship had been due to sail from
Barcelona, voyaging by way of Minorca,
Collioure, Marseilles and St Tropez to
Calvi in Corsica before returning to the
mainland at Nice. All excellent painting
locations but as with all good and
proper sailing ships this plan was
dependent upon weather, and that
week produced a force 9 mistral in the
Gulf of Lions. The voyage plan changed
accordingly, so we actually sailed from
Barcelona to Minorca, across to Corsica,
then up to Portofino and so back to St
Tropez and Nice. The other unexpected
p Calvi Citadel, watercolour on Fabriano Not, 12⫻9in (30.5⫻23cm) aspect of the weather was that it was

p Late Afternoon on the Foc'sl, Sea Cloud, watercolour on Arches Rough,

9⫻12in (23⫻30.5cm).
This was another 'you can't paint aboard a sailing ship' painting. Well, you
can, but it certainly presents difficulties. The difficulty on this tranquil
afternoon was that the ship was indeed under sail, but there was no wind.
Not being in any hurry (there was an interesting lecture in progress) they
just let the ship drift, and she sailed herself very slowly around a circle,
taking about an hour and a half to do so and arrive back on the same
heading where she, and I, started work. I just had to be patient and work at
what I could until the direction of light was more or less the same. Then I
had to hurry because it was time for a sundowner, of course; can't be late
for that!
p Sketchbook pages, 6⫻13in (15⫻33cm).

p Crewman at Work, sketchbook page, 6⫻6in (15⫻15cm). At sea, the following morning it was cold, grey, rainy. I so often tell people
The long sea-passage from Mahon to Corsica gave another that you can't work on board a ship at sea yet I always like to attempt
opportunity to work on board ship and it was the little exactly that. This sketchbook colour note was just a general attempt to
sketchbook that came in handy here capture the atmosphere; it did not take more than ten or fifteen minutes

MASTERCLASS
t San Martino Church, Portofino,
watercolour on Fabriano Not, 12⫻9in
(30.5⫻23cm).
Ah, the Mediterranean. I was looking forward
to the unscheduled stop at Portofino, which I
had never visited before, and I can imagine
this little town being wonderful when the sun
is out – almost as good as Cornwall – but the
sun did not oblige. The sky was grey and the
lighting flat. Still, the architecture was
definitely Mediterranean, and the hill above
the church of San Martino provided me with
this view
p Mahon Stairway, watercolour on Arches

Rough, 12⫻9in (30.5⫻23cm).
The sun did show itself in Mahon, Minorca.
Thinking things over first thing that morning I
decided that I would very much like to have an
easel after all, so I bought one in the town,
which immediately made me feel better about
everything (I didn't bring this easel home, I
gave it to the ship at the end of the week). So
there I was, set up with my new easel on the
long stair that runs up from the quay to the
town, and a nice bit of Arches – what could go
wrong? Well, this was when I realised that, for
‘The weather was mostly cold and frequently once, Arches just wasn't going to behave. It
was like working on blotting paper. A rogue
grey (this was the last week of April)’ batch, maybe, or the sea air
mostly cold and frequently grey (this

was the last week of April), so not your
typical Mediterranean cruise. And
another unexpected thing was the
trouble I had with the watercolour
paper. Most of what I had was my
usually very reliable regular, Arches
Rough, but very fortunately I also took
some sheets of Fabriano Not, plus one
or two other papers. I say fortunately
because for some reason the Arches
behaved terribly. Maybe it didn't like
the salt sea air; anyway, I was very glad
I had the Fabriano, which I came to
depend on. TA p St Tropez Cove, sketchbook pages, 6⫻13in (15⫻33cm)

u Barcelona Doorway, watercolour on

Fabriano Not, 12⫻9in (30.5⫻23cm).
On arriving in Barcelona in the afternoon the
weather was splendid, lots of bright sunshine
followed by a fine sunset. Like a fool I
assumed it would be the same the next day
so I relaxed a bit, looked over a choice of
places to paint in the early morning, and took
the minimum sketchbook for a stroll. Of
course, next morning it had clouded right
over and the subjects I'd looked at were
nothing like so appealing. I also spent a long
time walking around, so all I could do in the
end was this study of a doorway before it was
time to go aboard ship
p Street Awnings, Calvi, sketchbook pages, 13⫻6in (33⫻15cm).

The sun was out in Calvi, albeit with a strong and fairly cold wind. I walked up to the
citadel and tried out a piece of Fabriano, which worked delightfully well – I was really
pleased. On the way back down the hill I was very taken with this view along the main
street, but had no time for a full-scale painting, so out with the small sketchbook again
Geoff Hunt
is a past president of the Royal Society
of Marine Artists (RSMA) and a member
of the Wapping Group. His work can be
seen in the RSMA annual exhibition at
the Mall Galleries, London, from
October 5 to 14. Geoff’s marine art
prints are available at
www.artmarine.co.uk and
www.marineartists.co.uk
Photo: Roger Phillips
p Placa del Portal de la Pau, Barcelona, sketchbook pages, 6⫻13in (15⫻33cm)

TA06p16_18_In conversation_Layout 1 04/04/2017 13:38 Page 16
p Pembrokeshire, oil on canvas, 61⫻743⁄4in (155⫻190cm)
Journey of discovery
Best known for his quirky execution of large-scale landscapes, portraits,
nudes, still life and woodcuts, Royal Academician Philip Sutton shares his
thoughts on his playful, colourful interpretations with Caroline Saunders
S
o many aspects of the world time allowed Philip to meet a variety of student I couldn’t see how their
fascinate Philip Sutton. ‘The task people who had an impact on his particular world of the Renaissance
of studying structures and how development: playwrights, poets, fitted with my experience of the
they work is so difficult; there is musicians and creatives. He describes suburbs of London. I could not relate to
no room for your ego’, he says. ‘There the interest and encouragement from what Goya, the Impressionists and
are so many terrific things to challenge his tutor and English realist painter, Sir other painters of the 19th century were
your mind and brain. The key to this is William Menzies Coldstream, CBE, as doing or what was out there in the
seeing and being aware of what you are ‘like drinking whisky’. His tutors museums at the time.’ Although Philip
seeing in the world around you. It might introduced him to the art dealers admired the work of his contemporaries
be the formation of clouds, looking at Roland, Browse and Delbanco, who Craigie Aitchison, Michael Andrews and
the chocolate swirl on top of a sold his first painting to Benjamin Euan Uglow, he was quite unlike any of
cappuccino, shadows of leaves on trees Britten and Peter Pears, and who them. ‘They were wonderful in their
and so forth.’ continued to exhibit his work in own way but my difficulty was I couldn’t
London’s Cork Street for the next 28 relate to any of them.’
Encouragement years.
Philip attributes luck as a dominant Even after studying at the Slade, Chance find
reason for his success, alongside the Philip felt unable to access the world Lost and frustrated, Philip had the
support of his wife Heather, whom he going on around him. ‘Although the Old distinct need to discover something
met in the etching room at the Slade. Masters were wonderful I had to write that belonged to himself that he could
Being in the right place at the right them off as being any use to me. As a actually work on. ‘How do you find that?

‘Looking
through several
years of scribbles
of irrelevant
sketches of
scenes made
while talking on
the telephone,
I found
something that
was there’
t Park Farm, Pembrokeshire,

oil on canvas, 41⫻41in
(104⫻104cm)
q All Things that Are,

oil on canvas, 16⫻16in
(40.5⫻40.5cm)
I didn’t know.’ His eureka moment was

found by chance in a scribble. ‘I came
across things I had actually done
without any reference to anything.
Looking through several years of
scribbles of irrelevant sketches of
scenes made while talking on the
telephone, I found something that was
there. It was there because I hadn’t
consciously done them – they were
unconscious things. This was something
that didn’t belong to me, it was outside
myself but it was actually more real. It
was different to what I was faced with in
other people’s work. Students began to
buy my work, which utterly amazed me.
When I understood I could focus on all
these things outside myself it made for
a type a freedom, an escape from the
idea that I actually had to invent
something. I didn’t need to invent
anything at all.’
Scholarships in Spain, France and
Italy gave Philip the stimulation of
travel and a chance to spend time on
developing his artwork. In the early
1960s he set off for a year in Fiji with
his wife and four children, a trip funded
by the sales of his paintings. Boarding a
boat for Sydney, a journey that took six
and a half weeks, would have daunted
most but Philip remained unphased.
He returned with a full exhibition of
t
tropical paintings, which sold well.

I N C O N V E R S AT I O N
Philip Sutton
studied at the Slade School of Fine
Art, where he subsequently taught
etching and lithography part-time, and
also joined Stanley William Hayter, who
ran the famous Atelier 17 printmaking
studio. He has received a variety of
commissions, including designing the
rose logo for the Labour party, stamps
for Royal Mail, a poster for the London
Underground and painted ceramics. In
1988 he was elected a Royal
Academician. Philip is exhibiting at
Slade Yard in Bridport, Dorset from
April 22 until June 18;
https://sladersyard.wordpress.com.
www.philipsuttonra.com
p Every Eye is Bright!, oil on canvas, 311⁄2⫻361⁄2in (80⫻93cm)
Landscapes and woodcuts seen these. He took some tiny wax- stream might turn into a river and you
A major breakthrough for Philip came coated copper etching plates to St Ives might envisage 200 herons on it. You
when Benjamin Britton and Peter Pears and made studies of his children cannot only focus on reality, but on the
rescued him and his wife from living in digging and making sandcastles. These things that are not there, such as the
one room in Kew with their first son, by were then put in acid while he was stars and the galaxies or religion. They
offering them the use of the teaching at the Slade. can be very real to you but not in front
appropriately named Joy Cottage in of you. It is how you perceive it.’
Snape, Suffolk. After an art critic Observations
commented on his lack of landscapes Philip unconsciously applies his bank Use of colour
Philip became truly inspired by the of experiences in his work. ‘I go for a Oils are Philip’s preferred medium. He
wonderful unspoilt marshlands and tall walk every morning in the park in normally opts to use them pure,
grasses between Snape and The Bridport and a man with his head without diluting. With no particular
Maltings, and produced some bright buried in his jacket walks past me; I preference for a brand he uses whatever
and refreshingly exuberant work. ‘To be know he will never say good morning. It is available. Using colour intuitively, he
offered this opportunity was like is all about having awareness. I recently lets his imagination guide the way.
something from a fairytale. The cottage spotted a white heron on the stream. It ‘Habit inevitably creeps in with colour
was very ordinary; we had no car and had long black legs and little yellow and this becomes the enemy of
no toilet, but it was wonderful and fun.’ shoes. It was very white against the looking.’ Philip cannot create a picture
Sutton mastered woodcutting dark water and the trees. This was a without observing something in front of
techniques by observing Stanley complete surprise – it’s a question of him as this gives him the stimulus and
William Hayter from the Atelier 17 being able to observe. The skill is then the excitement. ‘You don’t have to
printmaking studio. Selling the wonder to translate what you are observing with invent, it’s all around and about. It’s
of this technique, he describes it as the medium available and expressive everywhere.’ On occasions he has
terribly simple. ‘All you need is plywood language. This can be completely enjoyed painting variations on others’
from the wood yard, rice paper and a arbitrary – a pencil or charcoal – but its work such as Manet’s The Fifer. He once
bit of printing ink. Roll it on your block treatment is incredibly complex.’ became very interested in the victory
and press a spoon on the back. There is Philip cites an example of looking at a of the Battle of Agincourt and produced
no need even for a printing press boiled egg. ‘When looking at it many variations inspired by Uccello.
unless you produce editions.’ Philip properly, it does not match the ‘The problem of self-identity has never
used pure bright colours, which preconceived idea. It is not what is really gone away. I still have to focus on
attracted many to his woodcuts. As well expected but it is always something things, otherwise I sink.’ Zen in the Art of
as his famous woodcuts, he has else. Then there is another side to the Archery by Eugen Herrigel is the most
produced many etchings, a series of actuality of observing things, your influential book Philip has ever read,
which included his children playing on imagination, the art of how we turn and and one that he recommends, and has
the beach in Cornwall. Nobody has ever twist things in different ways. The given to every student he has taught. TA

TA06p19_Charles musingsONELINESHORTER_Layout 1 03/04/2017 15:47 Page 19
Charles Williams’ musings: SUMMER SCHOOLS
S
ummer schools are a feature of the he fell over and lay motionless in the drizzle. ‘Should I have insisted?’ I asked the others
art business. If you enjoy painting I packed up my stuff. We were both as our train moved off. Katalin said yes.
and want to pursue your interest, it conscious of the fact that in a few days I Some of the others said no, she wouldn’t
makes sense to devote a more would be leading a group of, in some cases have let you anyway. Then one said maybe
sustained period of time to it, and you may quite elderly, ladies around a city of whose you should. So I got off at the next station
find it pays great dividends. Some of language I was entirely ignorant. and headed back to Szentendre. The longer
students I currently teach at degree level it took the more worried I got. She is in her
came to Canterbury Christ Church University When it all seemed to go 80s, I thought. She knows not a single word
via a summer school that I run here, and wrong of Hungarian. I doubt she even knows
they often reach the decision to further their By the time Anna took her flight home and where the hotel is. What have I done?
studies during that course. The extra mental I went to meet the new arrivals with Katalin, I marched up and down the streets of the
space they give themselves to explore their I had a full-blown cold. It will be fine, I said. little town in a panic. So picturesque. So
visual ideas makes them realise how much I just need a little rest. My voice completely empty of my 80-something year-old
they could get out of further, deeper study. disappeared about half-an-hour into the first responsibility. I thought of her husband’s
Summer schools are also good for us day, up on the Gellert Hill. I was full of voice. I felt like crying. Later, back in
'professionals'. If you are a freelance, painkillers and cough sweets, and I Budapest, I phoned the hotel where the
teaching seasonally or making a living demonstrated my painting methods while students were staying again and again. No
selling your paintings, the chance to earn a I croaked out encouraging noises. It was OK, sign of her. How would she get back to the
few quid over the summer – always a dry though. The party was interested, excited by hotel? What if she just never turns up?
time in terms of sales anyway – can't be the new place and, I hope, the teaching. We I really had no idea what to do. We were
turned down. It can be fun, too. The did loads, now I think of it. We organised a considering calling the police when the
students are on holiday, and enjoying night at the opera, visited the National Art hotel called to say she’d been in her room
themselves, and that makes an easy social Academy, went to the Szecheny Baths, and for some time, and was absolutely fine. After
situation. The more committed ones seem one day we had an excursion to Szentendre, that, for some reason, she would insist on
to discover new depths to the activity, and a town outside Budapest that had been an referring to me as ‘that numpty’. I have no
that is thrilling for the tutor. All of a sudden artists’ colony. idea why. We had a wonderful last meal
you change from being the person who You get to Szentendre by train. The whole together and they all flew home satisfied, if
leads to being the person who is lead, as the group went. On the way back, after we had the letters they sent me are anything to go
student starts to explore areas you might stopped at the fourth station on the way to by. One of them seems to be painting more
not have considered before, and you have to Budapest, the lady whose husband had or less constantly now, if her Facebook page
follow, giving what help you can. been so concerned about her safety rose is anything to go by. It was good fun.
A few years ago I put on a summer school from her seat. I think I will go back, she said. Summer schools often are. TA
called ‘Budapest in Watercolour’. My brother- I’d really like to finish some of the drawings I
in-law lives there and his then-wife Katalin, a was doing. I offered to go with her, but she
native of the city, was my ‘fixer’, organising wasn’t having any of it. I’ll be fine, she said, Charles Williams NEAC RWS Cert.RAS is a
meals, getting a good deal at an apart-hotel, and got off the train. painter, writer and lecturer.
finding a taxi-driver, and doing the
translating.
I advertised through the Royal Watercolour
Society, and I got a small group of takers. It
was an all-female party, and I made it clear
that they would have to be quite intrepid.
They all agreed to the terms; it was not one
of those highly-organised, professional
tours, just me and Katalin and that wonderful
city. The husband of one of my party called
me one evening. He was quite anxious, as his
wife was in her 80s. I promised to look after
her, and reassured him that Katalin was well
versed in the ways of the city, and between
us we would make sure she was fine. I
arranged to meet them or have a taxi ready
for them at the airport. It was all on!
My wife Anna and I spent the week in
Hungary before the summer school started.
One day we went to one of my favourite
spots and as I got my watercolour stuff out,
I noticed that there were quite a few
drunken folk hanging around. I started to
paint, swiftly laying down watery tones. One
of the drunken folk walked over and stood
looking at me, then started to shout. ‘What p Szentendre, watercolour study, 103⁄4⫻38in (15⫻27cm).
do you think he is saying?’, Anna asked. Then As I painted this, I had no idea of the horror that would later unfold....

June sub ad_Layout 1 06/04/2017 14:27 Page 1
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PERSPECTIVE
DEMONSTRATION South Bank, A View from Above
Swing into action ‘Whatever the subj

add a new dim ect matter, taking an alternati
PRA CTICAL
with bold colour and brushmarks ension to even
most familiar of
ve viewpoint can
scenes or objects’
DEVELOP YOUR SKILLS

Tips & exercises for simplifying
the figure
Hazel Soan on mastering the
Glazing techniques for oils STAGE ONE STAGE TWO
Using a mid-tone, I roughly sketched out the composition. I Having established the linear perspective, I concentrated on atmospheric
Colours for successful shadows chose to position the horizon above the third line at the top of
the picture plane, cropping out most of the sky. The black lines
perspective. Using cobalt blue, burnt sienna and white, the main values were
added, making sure to reduce tonal contrast and cool colours the nearer they
show how the main perspective lines converge to a single are to the horizon. Painting the shadows of the trees helped to indicate the
Philip Sutton RA reveals the point on the horizon position of the light source
ONLY

£2.92 STAGE THREE

Having placed my horizon high in the picture plane I had
plenty of space to include the main subject – the figures and
the stories they tell. The people were scaled in accordance with
STAGE FOUR
Details were added to all areas including trees and buildings, railings and
lampposts. As further figures and shadows were added, I looked to balance
shapes and create patterns to emphasise an abstract feel
an issue
their surroundings and each other; I made sure to foreshorten
those in the foreground
FINISHED PAINTI
26 artist May 2017 www.painters-online.co.ukSouth Bank, A View NG
From Above, acrylic
I revisited all areas, on canvas, 30⫻30in
adding warm tones (76⫻76cm).
couple of pigeons. to the foregrou
The painting was nd trees whilst
complete when cooling and fading
I felt there was shadows, finishing
nothing I could with a few more
add or take away figures and a
that would significa
ntly improve things
www.painters-online.c
o.uk
artist May 2017

27
artist The Artist digital edition

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TA06p21_23_Glynn_Layout 1 03/04/2017 15:48 Page 21
INSPIRED BY.........
Georgia O’Keeffe
Follow Glyn Macey as he treads in the
footsteps of Georgia O’Keeffe and
paint a daffodil inspired by her giant
flower paintings
Glyn Macey
studied graphic design and marketing at Falmouth School of Art.
He is the author of several books, including Acrylics Unleashed
and Glyn Macey’s World of Acrylics, both available from our online
bookstore*, and has made several films.
Glyn has completed commissions for many clients, including
high street retailers, Greenpeace, the RNLI and UNICEF; he is
currently working on a series of documentaries entitled Vanishing
Britain. His paintings can be seen in a number of galleries around
the UK. Glyn’s acrylics workshop is a package of home tutorials –
for full details of this, his other products and more examples of
his work, view: www.glynmaceystudio.com
and www.glynmacey.co.uk
*www.painters-online.co.uk/store
and click on the link to books.
I
n 2014 I made a painting trip across scorching desert landscape. And finally, form, colour and about life. ‘Nobody
the USA from New York to Los after falling in love with the sees a flower really, it is so small it
Angeles. It was an inspiring journey, otherworldly atmosphere of New takes time, we haven't time, and to see
and one that gave me a real boost Mexico she settled just outside of takes time, like to have a friend takes
creatively. I painted New York City Santa Fe in Rio Arriba County. I, too, time.’
skyscrapers, mid-west farmland, the was entranced by the landscape and This insight inspired part of my own
Palo Duro canyon in Texas and Santa painted over 30 works of the deserts, working practice: to take time, to slow
Fe, New Mexico. I met many artist mountains and mesas of New Mexico. down and to observe properly. There is
friends along the way and visited Once settled in her new home, magic in the smallest detail. Often I
countless exhibitions. But it wasn't until Georgia O'Keeffe turned her attention love to work in a frenzy, to bypass the
I made a stop at Ghost Ranch, the to the paintings that made her name by over-thinking process, to work quickly
home of Georgia O'Keeffe and now an painting the abundant richly coloured and with vigour. But I have also
education centre that I realised that I and statuesque flowers and plants that discovered that we all need balance, a
had been travelling in her very surrounded her. ‘I decided that if I little time out, time to slow down and
footsteps, albeit 80 odd years later. could paint a flower in a huge scale, work methodically. Georgia O'Keeffe
Georgia O'Keeffe had lived in New you could not ignore its beauty’, taught me this, and it's a lesson worth
York during the 1920s and ‘30s, during O'Keeffe once said, along with ‘I hate adhering to: ‘I often painted fragments
the construction of New York’s iconic flowers – I paint them because they're of things because it seemed to make
skyscrapers including the Chrysler cheaper than models and they don't my statement as well as or better than
Building of 1928 and the Empire State move!’ And it is these flower paintings the whole could.’ TA
of 1930. She painted incredible Art that ultimately became her most
Deco-styled canvases of the famous and enduring subjects. So, let’s gather our materials and
monumental buildings and cityscape. Super-sized and saturated with colour create an O’Keeffe-inspired painting.
While living in New York, O'Keeffe these paintings allowed Georgia We’d love to see your paintings so
became intrigued by the western O'Keeffe to create mysterious worlds email your results to us (no larger
desert landscape and travelled to within the folded, origami-shaped than 2MB) to dawn@tapc.co.uk, with
Texas, making a series of paintings of leaves. Her close-up depictions of GM4 in the subject line, by May 31.
the Palo Duro canyon, all ochres and stamens and petals make you look Each month I’ll comment on your
rich reds, perfect evocations of the closer, to wonder about nature, about paintings on PaintersOnline.

DEMONSTRATION Daffodil
MATERIALS
l Acrylic paper 20⫻16in
l 4b pencil
l Acrylic paints: titanium white, Prussian blue, burnt
sienna, cadmium yellow light, cadmium yellow
medium, cadmium yellow deep, burnt umber
l Brushes: No. 4 flat, No. 2 round, old decorator’s brush
STAGE ONE
I started with a
piece of acrylic
paper but you
could just as easily
use board, watercolour paper or a canvas. I spent a little time drawing a fairly
accurate composition of my daffodil, paying attention to the curve of the
petals. Looking for the palest areas of the flower, I began to block in the shapes
using a mid-sized brush loaded with the palest of our yellows, cadmium yellow
light, straight from the tube, without any water added
p STAGE TWO t STAGE THREE

Using the same process I built up the mid- A little burnt sienna added a
tones, modelling the daffodil with cadmium deep richness to the darkest-
yellow medium. Notice how the pencil work toned areas. Try adding a little
shows through the yellow paint at this stage. water if necessary to create a
The richest and darkest yellow was used to variance of tone from light to
add shadowed areas to our flower. At this dark. This is where a good-
stage I decided to begin softening the edges quality translucent burnt sienna
and blending the yellows to create a more really comes into its own by
naturalistic feel allowing the underlying yellows
to glow
p STAGE FIVE
Adding the dark background to the flower was a really interesting
p STAGE FOUR stage. I mixed a dark colour using burnt sienna and Prussian blue to
Mixing a touch of burnt sienna with cadmium yellow deep made yet make a rich dark that is full of interest, instead of a flat black. This
another rich tone, which I used to blend the dark and light areas subtly dark mix is very opaque, so I was able to use a process of negative
together. A touch of water can help with this process, creating a painting, that is, I painted the area behind the flower, correcting its
translucent glaze. Neat burnt sienna straight from the tube (with no outline where necessary. Notice that I ran the dark mix over the
water added), was used to darken shadow areas, including inside the shadowed area of the stem also. The highlighted area of the stem
daffodil trumpet. The sienna was also used to begin painting the was brushed in with a weak mix of cadmium yellow light with the
flower stem tiniest touch of Prussian blue added

PRACTICAL
t STAGE SIX
Another glaze of burnt sienna was added to
the flower shadows. This was a process of
constant re-evaluation, checking tones
against each other and darkening or
lightening as needed. This glaze was made
with water to a skimmed milk consistency;
note the wet reflection in the centre of the
flower
q FINISHED PAINTING
Daffodil, acrylic, 141⁄4⫻19in (36⫻48cm).
Finally, as part of my re-evaluating process,
I decided to add highlights. I used a simple
mix of neat titanium white with the tiniest
touch of cadmium yellow light, just enough
to give a pale lemon glow to the white. I used
the smaller of my two brushes to add
highlights to the petals and flower trumpet.
Because they contain titanium white, which is
a very opaque paint, these highlights sit
happily on top of darker colours and help to
'throw' our subject forward from the rich dark
background

TA06p24_27_Philshorter_Layout 1 03/04/2017 15:51 Page 24
A change of plan
What do you do when a day’s painting doesn’t go to plan?
Phil Hobbs explains how he turns the situation to his advantage and
demonstrates a simplified scene in watercolour
S
p Blow Ins, Thwaite Barn, Troutbeck, etting out each day with some tone and colour to subdue or amplify
watercolour, 73⁄4⫻121⁄2in (19.5⫻32cm). sort of plan or goal is a must for the different aspects of our story.
The interior of this barn, unbeknown to me, any artist. We need that initial
held far more promise than the exterior, impetus to get the creative Working with the light
which I had long wanted to paint. The title of juices flowing, but with too rigid a plan I tend to favour the light of early
this piece refers not only to the dusty heaps the energy can drain away if events fail morning or late afternoon over the
of last year’s leaves and the curious old hen, to unfold as expected. To avoid that flatter light of midday. While either end
but it is also the term the locals often use for situation, although I have an ultimate of the day may differ radically in terms
people newly moved to the area – say goal I also try to be prepared – indeed of colour temperature, both provide
anywhere in the last 125 years actively seek – to be diverted. It may longer more defining shadows on sunny
not be something new entirely, perhaps days and a more pronounced degree of
just a different perspective, a better aerial perspective on misty or showery
way of telling the story I had in mind, or days. When I am working on location for
it may be a sequence of events that an extended period of time in areas
send me off in a completely different that have a fairly predictable weather
direction. pattern, I usually split the day between
I am constantly reminding myself of a morning location and an afternoon
the freedoms I enjoy as an artist: what I location, not only for the simple reason
return to the studio with, and what I do that it is very difficult to continue
with it, is entirely up to me. But I try to working when the light has moved from
Phil Hobbs make sure that a little of whatever it one side of the subject to the other, but
has lived and worked in the English was that made an impact on me finds also because emotionally and
Lake District for over 40 years and has its way into the finished piece in such a atmospherically the one is awakening
exhibited widely, at home and abroad. way that the viewer is able to react to and the other is preparing to rest.
He is a past president and honorary life it. Compositionally and allegorically this
member of the Lake Artists Society. To It is important to recognise what it was can create a completely different
see more of Phil’s work and for details that caught our attention, then to hang dynamic.
of his workshops in Bath and Italy, see on to, unpick, refine, define and align I try to reserve the middle of the day,
www.plhobbs.co.uk those thoughts through our chosen and any flat grey cloudy days, for
media, to use the tools of composition, drawing, gathering information or

PRACTICAL
simply laying the bones of a particular dimension on rainy days when the completely different compositional
piece, thereby saving time when myriad reflective surfaces scatter the dynamic to what could otherwise
painting on site. This practice also light, softening and echoing the have been a very ordinary subject.
allows me to stand back and re-asses otherwise hard architectural shapes. It is worth noting that all the
the subject, and can also prove to be After dark can offer similar conditions described here have one
quite fertile in terms of observing and compositional opportunities, for thing in common: contrasts. What is
recording alternative events that artificial light plunges as much into concealed is as important as what is
could become a story line or sub-plot darkness as it reveals, so that the revealed and each is relative to the
that may provide another dimension same scene in evening dress is other. Shadows exaggerate the light
within the finished work. completely transformed. much as the whisper exaggerates
Most days hold some promise for a The most problematic days, I find, the scream. It is the degree of
successful day’s work in the field, it is can be blustery, windy days, usually contrasts between the different
often just a question of being flexible accompanied by frequent showers. elements of our composition that will
and responding to the subject. Some Even then if the subject, or an determine the success or failure of
subjects actually benefit from what alternative subject, can be reached our attempts to create the effects
could be considered adverse weather by car, such conditions can hold great of weather or indeed the seasons.
conditions. Town and cityscapes, for promise. The shifting light, indeed Tonal relationships and edges are
instance, seem to gain a new the shifting everything, provides a key in this. TA
DEMONSTRATION Birdbox
u STAGE ONE
I carefully sketched out the
subject on a sheet of 300lb
Fabriano Artistico, trying
desperately to hang on to
that first impression as
well as to create an
arrangement of shapes
that would reinforce the
composition. I always try
to leave a good amount of
space between the
drawing and the edge of
p My preparatory sketch the paper, it gives far more latitude when tape. The faint lines indicating the potential
finalising the overall composition, certainly edges of the painting enable me to play with
This was one of those occasions when better than leaving the decision down to the the overall balance of shapes as I move
plan A didn’t even get off the ground. All edge of a pad or four strips of brown parcel forward
my painting gear was loaded into the car,
the weather was set fair and the
temperature was beginning to rise.
Wandering down the drive to open the
gate, I noticed a bird box that had crashed
to earth. All of a sudden what had
appeared initially as an inconvenience
struck me as being incredibly sad. I closed
the gates and grabbed my sketchbook.
MATERIALS
l Winsor & Newton Professional
watercolours: raw sienna, light red,
cerulean blue, cobalt blue, French
ultramarine, burnt sienna, viridian
green
l Brushes, all sable: Winsor & Newton
series 7 Nos. 2, 5; Da Vinci Maestro
series 10 Nos. 6, 8; Pro Arte series 2a
No. 12
l Paper: Fabriano Artistico 300lb
(640gsm) p STAGE TWO
l Pencils HB and B, Staedtler plastic I always use the initial washes to get rid of all the white paper that I don’t need and, at the same
eraser time, isolate and preserve all the areas where I might need it. At this stage I am more interested
in colour temperature than any specific colour. The colours I used were raw sienna, cerulean
t
blue and light red

W AT E R C O L O U R
u STAGE THREE u STAGE SIX

I indicated some of the I was faced with much definition to apply
darkest darks with a mixture to individual leaf areas to create a feeling
of burnt sienna and French of recession and, at the same time, give a
ultramarine. This, along with nod to the presence of very different trees
the white paper, gave me and bushes without overwhelming the
the parameters of my tonal main event. Apart from the initial
range. I was also keen to excitement that can sometimes evaporate
retain the warmth in the once the first washes are laid in, I find
shadow areas closest to the resolving these issues the most fun.
foreground. I spattered a bit Subjects such as this require exactly the
of paint into areas to give an same treatment as broader landscapes in
indication of texture terms of linear and aerial perspective,
although you have to account for the fact
that the space from the foreground to the
distance is measured in inches rather than
miles. I consider subjects such as this a
landscape within a landscape and often
use them as a device in exactly that way
within a broader piece
p STAGE FOUR
Still concentrating on the big shapes, I began to block them in, further isolating the
white areas but still working very much at the lighter end of the tonal range. I was
beginning to look for shapes with supplementary angles that would help to reinforce
linear perspective. Cobalt blue was mixed with light red to begin to define the shadows
p STAGE FIVE
Trying to pull everything along at the same time, I strengthened the initial washes and
introduced a little viridian green into the areas of foliage. I began to create shapes within
shapes, this time seeking to create a variety of edges that, together with more subtle
tonal shifts, would begin to give me the illusion of form and depth

PRACTICAL
q FINISHED PAINTING
Birdbox, watercolour on Fabriano Artistico
300lb, 9⫻131⁄2in (21⫻34cm).
Save for the dead leaves, top right, I decided
to reduce the local colour impact between
the rhododendron leaves on the left and the
beech leaves on the right, relying on a loosely
stated difference in texture of just a few
leaves to describe the different plants. I hope
I haven’t overdone it but I had to be sure
these areas would retreat sufficiently. I
created a little more variety in the shadow
areas, adjusted the overall tonal values and
sought around for those little touches that
would accentuate form, point up relevant
details and reinforce the narrative. I thought
the most useful thing I could do on having
reached this stage, was to put the kettle on

TA06p28_30_Draw 3CHANGED_Layout 1 03/04/2017 15:53 Page 28
D R AW : 3 O F 6
Mastering tone
In his third article on drawing the figure, Phil Tyler explains how to master
tone, and includes exercises to help you progress to full tonal studies
any people see edge you will produce really sensational tonal and experiment with pastel, chalk and
M differences in tones but not

the relative values across the
whole image. If you are
shortsighted, try drawing without your
glasses, as the lack of focus will help you
drawings. Of course, this is not a new
idea, as it is a modern take on the Claude
glass, but it provides an opportunity to
explore tone in a simplified way.
white paint. Use your grey scale and
Claude glass to help you make decisions
about where your highlights are. Record
only these. Allow ten minutes for each
study.
see the tones more clearly. Or you can The notan If you are working from a photograph,
squint to see a more muted image. When looking at tones it helps if the choice turn the image into a grey scale and then
A useful way to judge tone is to take is significantly reduced. Look at the figure manipulate the levels to see it in high
your mobile phone, turn in the opposite in the space; if you can only use black, contrast. You will find that the same
direction, away from the model, and look where is this black? Is the figure light image may yield different notans
at the muted reflection in the black glass. against a dark background or vice versa? depending on these settings. If you are
If you draw the figure from that reflection Make your first studies on black paper working from life, use your greyscale to
decide which tonal value on the figure
becomes white (below and right). Once
you have made a few of these studies, try
using compressed charcoal, black ink and
black paint on white paper. Do not be
tempted to draw around the outline of
the black shape. Instead, try to think
about drawing and painting a black blob,
finding its edges and paying particular
attention to the white space between.
Three- and five-tone studies

After practising this several times,
consider the idea of mid-grey with black
and white. Here you can repeat the same
approach on the grey paper: what is the
white highlight, what is the black
shadow? The ground can then act as a
p Glazed tonal study unifying tone. Is the figure against a dark
Using dilute black acrylic, the tones have been glazed over the top of a linear pencil drawing. space or is it silhouetted against light
Working from the lightest washes down to the darks creates an image of great luminosity (contre jour)? Is there a range of tones
EXERCISE Paint a grey scale

l On reasonable quality A3 cartridge from the previous grey, to make a line of complete, use a scalpel, a cutting mat and
paper, using either acrylic or gouache, tonal patches that touch each other. As your a ruler to cut it out of your paper, so that
paint a panel of grey, about 10⫻15cm tones get darker you might need to increase you have one long strip.
(1⁄4 of the sheet). Try to make the grey half the amount of black in order to create a l Cut two slots above your aperture,
way between white and black. Cut an similar difference. When your grey scale is about the width of your brushmark apart,
aperture about 2mm square from the slightly deeper than the depth of your
middle. strip. Feed this strip into the slots so that
l Using a soft flat brush, mix a puddle of you have a visible tone above your hole.
white and paint a brushmark of white on You can hold this paper up to your subject
some of your left-over white paper. Now and view a small area of tone through the
add a tiny amount of black to your puddle aperture. By isolating the object it is
to mix a pale grey and paint this next to easier to see the tone of it. You can then
your white. Repeat, making sure each new slide the tonal scale along the slot until
grey tone has a similar tonal difference you find a match.

PRACTICAL
EXERCISE The notan study
You will need these materials for the following exercises:
l Black and white acrylic l a brush l willow charcoal
l a rubber l fixative l 220gsm paper l a fine line pen or Biro
t Notan study p Duotone

Using only black acrylic, draw the figure Make a notan study as before.
using a series of blobs. Look at the figure Then look for the mid-grey
with half-closed eyes or the reflection in values. Some phone apps will
your phone: where is the dark value? simplify the image as flat
Paint only that and do not be tempted to tones, which may help with
draw the figure out in pencil. If you make this. Add the mid-grey values
a mistake use white to correct to your study
EXERCISE Ink wash study
p STAGE ONE p STAGE TWO

This direct acrylic ink study starts with the lightest tones. Loosely Using a darker tone, try to find the figure in the grey by looking for
establish the drawing with some broad sweeps of the brush the main direction of the limbs, and the darker areas of the figure
p STAGE THREE
The ink has a tendency to sink into the paper, lightening as it p STAGE FOUR
dries. Add the darker tones gradually, modelling the form but If some of the drawing needs attention, use white to correct mistakes
trying to keep the touch fresh, reaching down to the darker tones

EXERCISE Charcoal study

Willow charcoal can be used broadly on Work into the charcoal with
its side to capture the essence of the your hand and finger,
pose in no more than five marks. You modifying the tone. Pay p STAGE THREE
have to think about the main directions attention to the negative space More tone is added with charcoal, and subtracted in places
of the figure and the width of the around the body to find the with an eraser. As with the notan, you should constantly
charcoal as the dimensions of the body edges of the figure assess the light or dark against the surrounding space
across the figure? If so, you have to make well as erased charcoal and charcoal. One For erased charcoal think about the
those decisions again; you will not be of the common mistakes in painting is studies on mid-grey. Block in a mid-tone
able to record everything that you see, so setting too many problems to solve – of charcoal, rubbing it into the paper with
the trick is to simplify. drawing, composition, scale, tone, colour, kitchen roll, then using charcoal add your
From a three-tone study you can move medium, fracture – at once. Grisaille is a darks before using the rubber to find your
onto a five-tone one, where you consider great way of introducing painting as it lights. Once these are established you can
light and dark greys. As a working simplifies the problem. With grisaille you begin to manipulate the half-tones.
strategy work from mid-grey first, put in work only in black and white, either Remember that compressed charcoal is
the darkest notes, then your lights and varying the opacity of black, or by mixing very black so can be used at the end, but
consider the tones in between. As you greys. Using only black gives you a what is not always realised is that it is
progress you are getting more and more greater luminosity – see the glazed tonal water-soluble, so can also make beautiful
used to drawing in tone and it will study on page 28. Once you have done as washes when combined with water. TA
provide you with a working method for much as you can in monochrome you can
subsequent full tonal studies. glaze into your painting with colour. But Next month: Collage
Tone can be explored through a series with all tonal work, try to keep a simple
of techniques including layering of overview of tone, either by looking at the
washes, hatching and cross-hatching, as reflection in your phone or by squinting.
EXERCISE Hatching and cross hatching

Like the wash
drawing, build up
the tone Philip Tyler’s
gradually, practice involves painting, drawing,
establishing the printmaking, photography, collage,
reserved white digital image and writing. He exhibits
paper and adding widely, including with the Royal Institute
contour hatching, of Oil Painters, ING Discerning Eye, and
which will mould the Lynn Painter-Stainers Prize. His work
its way around the is in public and private collections in the
form. Here the UK and overseas. Philip is represented by
direction of the Northcote Contemporary Art London,
lines follows the The Harbour Gallery Portscatho and
direction of the Zimmer Stewart Gallery Arundel. His first
planes. Through a process of layering, the not be tempted to make these a solid black, book Drawing and Painting the Nude: A
tones can gradually be built up to find the as there will still be some reflected light in course of 50 lessons was published by The
darks, ending with the darkest values. Do the darks Crowood Press in 2015.

TA06p31_33_Marie_Layout 1 03/04/2017 15:55 Page 31
Vibrant wildlife
Marie Antoniou demonstrates how to capture the
energy of wild animals in acrylics, using brushmarks and colours
rather than details to bring the subject to life
W
hen I was younger I would p Pigeons on a Yellow Rooftop, acrylic,
spend one day a week at my 23⫻35in (58⫻89cm).
local zoo, sketching. I wanted to create stronger contrasts
Nowadays I prefer to paint between the colour of the roof and the
and explore the very essence of nature. pigeons, which I did by defining the shapes
I look at shapes, patterns and colours in of the birds as well as using complementary
nature, which create atmosphere, and colours to bring them out.
provides me with an endless source of I feel the colours also help to create a cheery
inspiration. atmosphere as it was Chinese New Year!
Marie Antoniou
teaches drawing and painting, privately Creating atmosphere with I love the versatility you get with
and in adult education classes. She colour acrylics. You can use them watered
exhibits widely, and has been selected Some animals are naturally colourful down for a watercolour effect or you can
for The Society of Wildlife Artists’ and offer the artist something to play use them thick, for a more impasto
annual exhibition, the David Shepherd with straight away. In recent years a lot effect. I like to make strong statements
Wildlife Artist of the Year, the BBC of my wildlife paintings have been in my work, which I achieve through
Wildlife Artist of the Year competition fairly vibrant. Sometimes I'll use lots of strong colour and prominent marks.
and won many awards. Maria colour and other times I might use a
contributed to the acrylics section of limited palette but still keep the Materials
Artist’s Painting Techniques, published colours vibrant and strong. I like the For people just starting out in acrylics I
by Dorling Kindersley, price £20, ISBN way nature can be camouflaged and always recommend Daler-Rowney
9780241229453. For more information other times contrasting – this gives me System 3. There is a wide range of
about Marie’s workshops, and to see ideas on how I can play with colour. colours and they are competitively
more of her work, visit Colour can also be used to create an priced. I always have a light and dark
www.marieantoniou.com atmosphere; bright colours may give version of each of the primary colours
you a sense of excitement, energy and in my palette as I can mix any colour
even heat. Or you can convey a sense from these: cerulean blue and process
of quiet and limit your palette to cooler cyan, alizarin crimson and cadmium
colours to create a solemn mood. red, lemon yellow and cadmium yellow.

ACRYLICS
DEMONSTRATION t STAGE ONE
Using a 2in brush I
Swinging Baby (Orangutan) loosely blocked in the
shape of the orangutan
using a pure mix of
MATERIALS burnt sienna and
process magenta.
l Canvas primed with process magenta
For the fleshy areas and
and white
the strap, I lightly
l Acrylic paints: burnt sienna, process
introduced a mix of
magenta, yellow ochre, phthalo green,
cerulean blue, burnt
deep violet, cerulean blue, cadmium
yellow, cadmium red, white sienna and white
l 1in and 2in brushes
p STAGE THREE
Still using directional brushstrokes with a 2in brush I indicated the lighter
p STAGE TWO areas of the background with burnt sienna, yellow ochre and white.
With the same 2in brush I worked in some of the background I continued to introduce combinations of burnt sienna, cerulean blue and deep
using directional strokes, I mixed burnt sienna, deep violet violet in different strengths to create a layered effect of marks and colour.
and white in different strengths to create subtle tonal A pure mix of deep violet and phthalo green indicated the strap and a pure
variations mix of alizarin crimson and deep violet punched out the darks of the ape
White is also included to create light My mixing tray is rarely cleaned as the
tints. As you grow with confidence you random nature of colours provides a
can experiment further and add other good source of colour matching. Using it
WORKING FROM
colours to your palette. Additional as a swatch, I can see at a glance how
PHOTOGRAPHS
colours I use are process magenta, colours sit next to each other and make The tendency when working from
yellow ochre, sap green, olive green decisions on what colours I might want photographs is to copy everything
and deep violet. to include in the painting. you see, but in the real world our eyes
I use Daler-Rowney Artist quality pre- can't focus on everything at once.
stretched canvases as they can be hung Keep your colours clean Cameras produce fantastic photos, but
up straight away without the additional and vibrant what we as humans have over a
cost of framing. Cheaper makes have l Before you load your brush with camera is imagination and creativity.
the potential to warp or tear easily. I colour, make sure it is just damp. I use photos as a source of reference
normally prep my canvas before I start A soaking wet brush will wash away material for most of my paintings, but
painting with a base colour, not only colour pigment, making it dull and my paintings don’t look photographic.
does this take the edge off a stark lifeless and you may end up with a That's because I am more interested in
white canvas, but if there are areas drippy muddy mess. interpreting a photo rather than
within your painting you want to leave l Be generous – load your brush with replicating it. Working from photos
exposed, it works as an additional pure, neat mixes of colour and apply; also allows you time to consider ideas
colour within the painting. don't play with paint/colours once on shape, colour and composition.
I don't do subtle blends in my applied to the canvas, lay down your If using photographic reference I
painting and marks play an important colour and leave it! recommend using photos you have
role. I started out with normal decorators’ l Don't use too much white as this can taken – you will have memories of
brushes as I struggled to find large make colours appear washed out and what the day was like, how you felt
artist-quality brushes, but there is a chalky. I use white to create tints of when you were there and what struck
greater variety on the market these colour which, placed next to some pure you about the scene; all those things
days. I use Liquitex free-style flat head vibrant mixes, creates contrasts within help the painting process.
brushes, sizes: 4in, 3in, 2in and 1in. the scene. TA

PRACTICAL
u STAGE FOUR
I continued to block in the orangutan shape using burnt sienna,
deep violet and white, still using a 2in brush. With cerulean blue
and phthalo green I created a lighter tint on the strap that
appears down the centre of the body
q FINISHED PAINTING
Swinging Baby (Orangutan), acrylic, 20⫻27in (51⫻69cm).
Using the 2in brush I applied background tints made from mixes
of burnt sienna, cerulean blue, yellow ochre and white; for the
strongest highlights I mixed yellow ochre, phthalo green and
white. I also used this mix to shape around the head with a 1in
brush to give the impression of hair. Still using the 1in brush
I mixed deep violet, burnt sienna, phthalo green and white
creating light tints for the forehead and centre of the face; the
lower area of face has combinations of cadmium yellow,
cadmium red and white. I used plenty of white within these
areas but not so much it washed away the colour. Cadmium red
and cadmium yellow mixed with white were used to lighten the
inside leg area. For the highlights in the eyes I used cerulean
blue with white

TA06p34_37_HazelSORTED_Layout 1 04/04/2017 15:39 Page 34
FA C E T I M E : 2 O F 3
Facial features
Hazel Soan In her second article on portraits Hazel Soan looks
is a well-known watercolourist and
has studios in London and Cape Town; more closely at the eyes, nose and mouth – what
she travels widely for her painting.
Hazel is the author of 14 painting
to look for, what to include and what to leave out
books, has recorded several DVDs and
her work is in private and public
I
hope, if you read part one in last
collections, including the National month’s issue of this series, you THE EYES
Portrait Gallery and a number of have painted some self-portraits The eyes are positioned approximately
embassies. This series of articles already. You will have learned first- halfway down the head and about an
expands the chapter on portraits in her hand that the spaces between the facial eye’s width apart. The sitter’s expression
latest book Learn to Paint People features matter as much as the features will affect the shape of the eye but they
Quickly, published by Batsford, price themselves and that, once they are in usually present a ‘fish’ shape, tilted
£9.99, ISBN 9781849943949. position, you can adjust the shapes of downward to the inner corners. Observe
Readers can save £2 and enjoy free P&P the eyes, mouth and nose to determine the curve of the upper eyelid, the
when they order from our online a closer likeness. Think in terms of the crease behind it and the position of the
bookshop – see page 60 for details. light. iris. The eye is more readily indicated
via the light and shade than by linear
detail. This is good news: you need not
get hung up on the eyelashes, the
corners of the eyes, layered lids, or
multiple lines around the eyes. Just look
for the general light and shadows that
set the eyes in concave sockets under
the brow, but allow the eyes themselves
to appear slightly convex. Having
established the overall form by
suggestion, use the subtler lights and
shades to imply details. Avoid too much
information and overworking, suggestion
is more appealing than avid description.
p Pencil outlines may be useful to q The concave nature of the eye

demarcate upper and lower lids but the means there is usually more shadow
tone of each lid is different – the top lid towards the corner/s, than in the
darker, the bottom lid paler – so just the centre, so the white of the eye may be
top lid is painted with a dark line, and the tinted with shadow, rather than
iris coloured below it, reveals the position remain white. The shading obviously
of the lower lid depends on the direction of the light
p Lit from above, the socket of the eye,

shielded by the bridge of the nose and
protected under the brow, is shaded to some
extent. Within the eye itself, the iris ‘sitting’
on the lower lid, is shaded by the upper lid

PRACTICAL
t From this watercolour

sequence you can see how
quickly a convincing eye
can be painted by paying
attention to the light and
shade. The first tone laid (A)
is the lightest skin colour,
which is deepened with the
next wash (B). When the
blue of the shadow cast by
A the nose is added (C) the
shade on the white of the
eye is also added (D). The
last stage (E) shows the
dried watercolour, and
therefore appears lighter in
tone than the wet stages
above, remember to allow
for this in mixing. I used
yellow ochre, alizarin
crimson, burnt sienna and p Highlights bring life to the eyes, and the brightest
ultramarine blue with highlight reflects the predominant light source. Highlights
brush sizes 8 and 6 are not only seen in the iris but also on the white of the eye.
B You can ignore other reflected lights to avoid confusion
t The eye is
convex so the iris
shows a variation
in tone across its
surface, lighter
on the side
facing towards
C the light, shaded
under the lid
p Highlights in the eyes are not mandatory. The shaded eyes here have no bright
highlights but they still exhibit a variation in tone, caused by shade under the overlap of
E the upper lid

FA C E T I M E : 2 O F 3
THE NOSE
From the profile and three-quarter angles the line of the nose
presents a marvellous linear guide for the brush. From the front,
the bridge and sides of the nose can only be indicated by light
and shade and the most helpful line is the underside of the tip
and the dark accents of the nostrils. To check length, compare
the distance from the bridge to the tip, with something already
drawn or painted, eg the width of the eyes. Find the width
across the nostrils by dropping imaginary lines down from the
corners of the eyes; in other words keep the features in relative
proportion with each other.
p Since only light and shade can define the sides of the
nose it is easier to show the shape under asymmetrical
lighting because it creates a useful shadow down one side
and light on the other
Even under the

shadow of a hat the
tip remains the
lightest part of the
nose. Bluer shadow
under the tip, and
redder shadow
above, uses colour
p The nose is formed along with the eyes as it creates the bridge temperature bias to
between them. The tip, the bridge and the line of the nose often bring the nose
display the lightest tones, and the shadows either side may appear forward (red) and
greenish. I relish this cool colouration, it helps the eye sockets send it back (blue)
recede and brings the bridge of the nose forward
p Sometimes sheen on the nose makes it

difficult to grasp relative tones. Here the
reflected light down the line of the nose
appeared very light as I mapped in the tones
to shape the nose. I left it the unpainted, light- p Since the nose is turning away from the light source, it cannot be almost
toned colour of the background board as light as the lit side, even if it appears bright to my eyes. So I toned down
the brightness of the line and tinted the reflected light with pale blue, thus
ensuring that the light and shade agreed with the prevailing light

PRACTICAL
THE MOUTH
The shape of the mouth follows the course of the centre line
between the two lips, from the indentation where the mouth
splits the cheek. I usually shape the upper lip first, and then
suggest the lower lip with the shadow beneath, which defines the
protrusion of the mouth and the indentation of the chin. The lips
present a pleasing duo of contrasting tones: under overhead light
the upper lip is darker, as it tilts downward, the lower lip lighter,
as it faces upward. Not all lip shapes exhibit clear modelling –
adult lips rarely conform to a classic Pre-Raphaelite Cupid’s bow,
and thin with age – when scant useful tonal variation is present, it
rarely hurts to enhance the values with lighting, or exaggerate
values to assist form
t The contour of the lips is

p To position the mouth, align the middle point ‘dip’ of clear in profile. The upper lip
the lips with the centre of the tip of the nose. If you find projects forward from under
painting mouths challenging, paint a closed mouth rather the nose, and tilts back to
than an open one, and seek a more serious, rather than meet the lower lip. The
smiley, expression lower lip curves outward, to
join the chin. Bear this
structure in mind, whatever
the angle painted
LIVELY EXPRESSION
The eyes and the mouth are the features that carry the expression
of the sitter because they are more mobile than the rest of the
facial features. The suggestion of detail, rather than the description
of every detail, will provide a lively narrative to the face, as it
implies movement and predicts change. Once you have positioned
the eyes, nose and mouth, do not be afraid to blur edges and
blend details, especially in the shadows around the eyes and
mouth. Practise painting the individual features until you become
familiar with them. They will seem far less daunting when you put
them together as a whole if you already know what to expect.
p To find the width of the mouth, drop

imaginary lines from the centre of the eye.
When modelling the lips, use light and
shade to fashion the curve and tilt of both
lips, and to suggest the curvature of the
mouth around the face in a lateral
direction. The lower lip casts a useful
shadow to help shape the lower lip and
chin
u When lighting is considerably

stronger on one side, the bi-tonal
counterchange of the upper and lower
lips is enhanced on the lit side and
diminished on the shaded side, creating a
range of entertaining tones within this
already evocative facial feature
Next month: Unofficial portraits

TA06p38_41_LaleREVISE_Layout 1 03/04/2017 10:46 Page 38
Lively abstracts
Follow Hazel Lale and create a watercolour
abstract composition full of pattern and colour
dimensional images that have no
I
find enormous satisfaction in The most fundamental components of
establishing the basic structural picture making are shapes, and in particular reference to anything but
lines to build drawings, then figurative painting we use shapes to themselves.
resolving them into a finished create the illusion of a deeper space on Modernism describes the artistic
painting. The next challenge is to take the two-dimensional surface of the process of gradually taking away
your work back to the barest minimum paper. In contrast, abstract art is anything perceived to be superfluous.
of parts that go towards picture making. concerned with creating two- Using your watercolours for abstract art
allows you more freedom in how you
react to the world around you, and
frees you to use pattern and vibrant
DEMONSTRATION colour with less concrete structure. TA
Armchair Dreaming
For this abstract painting (page 41)
I started with the concept of travel and
connections and created a collage,
incorporating an empty chair, an
aeroplane and circular shapes to
symbolise thoughts. Collage is useful for
developing ideas as it involves selecting
and rejecting shapes, patterns and
colours suitable – or not – for the piece. p STAGE TWO u
Make some exploratory sketches of
the more important parts of the
q STAGE ONE images, such as the chair and
Create a collage in your sketchbook to help aeroplane, then make a large initial
you decide on the composition and main sketch to decide on the final
shapes composition
YOU WILL NEED

l Watercolour paper, 300lb
(640gsm) Rough surface,
30⫻22in (76⫻56cm)
l Watercolour paints: Winsor
violet, Winsor blue (red
shade), scarlet lake, Bengal
rose, cobalt turquoise light,
Winsor red, brown madder
l Brushes: size 16 round
l 4B pencil and eraser
l Scissors
l White glue
l Collage materials
l Sketchbooks
u STAGE THREE
Using a copy of the initial sketch,
work out a colour run

PRACTICAL
p STAGE FOUR p STAGE FIVE

Draw out your final drawing using the colour run as a reference for Use the size 16 round brush to apply cobalt blue to the chair (the
the shapes, starting with the main elements to give you an anchor focal element) in sections. Drop in touches of Winsor violet and use
point for space when adding the less immediately identifiable areas pure Winsor violet to paint over one or two clean sections, too
p STAGE SIX p STAGE SEVEN

Paint some of the surrounding negative spaces with the colours, and Still using the size 16 round brush, paint in the aeroplane using Winsor
use Winsor blue (red shade) for more elements of the chair. Continue blue (red shade), varying the tone with differing amounts of water
building up the chair
Tip The colours I used for the example colour run, shown
bottom left, were eventually rejected in favour of
those used for the demonstration. Abstraction allows you
great freedom in colour choice, so I suggest you make a
number of very different colour runs before deciding on your
final palette
t STAGE EIGHT
Use the size 16 round
brush to paint areas
that connect, lead
through or point at
the main elements
with scarlet lake, then
add areas of diluted
scarlet lake and
strong Bengal rose p STAGE NINE
near the bottom of Continue building the painting by adding strong elements with
t
the artwork pure cobalt turquoise light, Winsor red and Bengal rose

W AT E R C O L O U R A B S T R A C T S
p STAGE TEN
Add some deeper areas with pure Winsor violet and Winsor blue
(red shade) mixed with a little Winsor violet, Winsor red and brown
madder. Build up the areas gradually, avoiding working on areas
next to wet areas
p STAGE ELEVEN
Continue to build up elements including strong darks made up of
Winsor blue (red shade) and brown madder. Place them between the
brighter elements
p STAGE TWELVE
The strong darks help to separate areas, even when used very subtly.
You can use the point of the size 16 round brush to paint very fine
lines that will serve to push the other elements forward
p STAGE THIRTEEN p STAGE FOURTEEN

Continue filling the various areas, strengthening previous areas as To finish this demonstration piece I added a strong vibrant band at the
necessary. As you work be careful not to make the areas of the base using Bengal rose and Winsor red
painting too similar in tone – ensure you retain some light-toned
areas

p FINISHED PAINTING This extract is taken from Vibrant

Armchair Dreaming, watercolour, 30⫻22in (76⫻56cm).
Watercolours by Hazel Lale,
This is a more developed version of the demonstration painting and is published by Search Press, price
what I consider the final piece in a sequence that contains the sketches, £14.99, ISBN 9781782212942.
colour runs and the demonstration piece. It shows how breaking down Readers can save £2 and enjoy free
recognisable forms into a varied pattern allows you to use your P&P when they order from our online
imagination without steering away too far from the fundamentals of bookshop – turn to page 52 for details.
creating a balanced rhythmic painting

TA06p42_44_Martin_Layout 1 03/04/2017 15:57 Page 42
Glazing gets involved when artists start to stack or

multiply glaze layers. Turner liked to use different
mediums with them, making him a key painter to study
O I L PA I N T I N G T E C H N I Q U E S : 2 O F 5
Glazing
Martin Kinnear’s series continues with advice on glazing,
including how to glaze and, more importantly, he puts glazing in
context for your practice
I
n last month's article I said that could be built up using inexpensive, crimson and what’s under it. For
value is arguably the most monochromatic pigments (carbon black, example, a crimson painted over a
important component of visual art, chalk, white lead etc) and then green will neutralise the colour slightly
yet it is questions on glazing that fill coloured by washing (glazing) more (red+green=grey); a red over an orange
my inbox. So what is glazing? exotic and expensive colours over will cool it and a red over a yellow will
Glazing is simply the process of laying them. If a colour was hard to obtain – make an orange. So a simple colour,
translucent colours down on a painting purple is a good example – it could be placed over other colours, creates many
– it’s as simple as that. This seemingly made by glazing red over a relatively more complex and subtle ones – and
glib answer brings to mind the advice inexpensive blue such as azurite. here’s the important bit, they’re optical
by Rubens that 'one should develop an If glazing is such a simple process, colours, ie colours created by the
idea, mass the forms, and progress where does it become complex? There interaction of light passing through a
towards modelling them' – all very true are two places: the medium (vehicle) paint film.
but not all that useful unless you know that holds the glaze colours in place, You can match an optical colour by
the thousand little things that are and the interaction of multiple glaze wet-into-wet mixing in value, saturation,
subsumed in his method. I’m not being layers. Let's start with the latter, hue and temperature, but you can’t
glib of course, I just wanted to because it informs your choice of replicate its interaction with light
underline how simple the core concept media. unless you make it with a glaze. This is
and process of glazing is, because there one reason that many contemporary
are thousands of artists who would tell Optical colours artists have difficulty finding
you otherwise. Glazing creates optical colours, that is equivalents to traditional colour effects,
to say colours that are created by the despite having a wider range of better
Old Master glazing interaction of translucent layers of paint colours to choose from. Technique is
The Old Masters used glazing because with a ground of some kind. The easiest everything.
it was an efficient way to make colours way to try this is to paint a translucent
go a long way, and allowed them to colour, such as alizarin crimson, over a Sequencing optical colours
create colours that were hard to obtain dry painting. By placing one colour over So glazing is fundamentally a very
as a raw pigment. For instance, using a a variegated base, you’ll create all simple process. However, complexity
glazing (indirect) method, a painting kinds of interactions between the creeps in when we start to stack or

PRACTICAL
‘Glazing is simply the

process of laying
translucent colours
down on a painting –
it’s as simple as that’
t Before
q After
A simple glaze such as this alizarin crimson creates a
range of complex optical colours
IN A NUTSHELL
l A glaze is a translucent wet layer
placed over a dry underpainting
l Glazes interact with light to create
optical colours
l Try to keep it simple, interactions
from multiple glazes are hard to
predict
l Glazes may be modified by using
mediums
l The principle of glazing – managing
opacity – is timelessly relevant
layer multiple glazes. For instance,

when our simple crimson glaze dries we
could add a second glaze over it as
follows:
l A second crimson glaze would
intensify the effect of the first, and
make it appear optically deeper.
l A glaze in a harmonic colour could
modify the apparent temperature of all
of the optical colours. Blue, for instance,
would cool all of it down, and orange practically endless, considering that we
would warm it up – based on standard generally glaze three times. For the
colour wheel progressions of course. Italian painter Giorgio Vasari, 20 times
l A glaze of a complementary colour was not unusual! Moreover, the optical
would grey it down and, if it’s not a true subtlety may be increased further still
complement, adjust its temperature, by the glaze medium used.
too. So for crimson (red) a green would
desaturate, a warm yellow (yellow Glaze mediums
green) both desaturate and warm, a Any simple oil medium may be used
cool blue (blue green) would for glazing although, as is always the
desaturate and cool. case with oils, solvents are a poor
Of course these effects would rely in choice. Glazes appear optically deeper
no small part on the strength of the p Various traditional glazing mediums, and interact more effectively with light
crimson glaze and its interaction with including neo megilp, Italian medium if they hold the pigment within a
whatever is under it. All in all, the and Rembrandt’s signature medium, burnt translucent vehicle, such as stand oil.
t
potential for subtle colours is plate oil Oil is, however, a problematic choice

O I L PA I N T I N G T E C H N I Q U E S : 2 O F 5
calcites to make the mixture a little
cloudy (turbid).
When these mixes of wax, resin etc
were successful, artists would guard
‘their’ recipe and often the sequence in
which it was applied with various
colours; taken together these might
qualify as ‘secrets of the old masters’.
It’s important, though, that an instance
of how a medium might be used is not
given the same weight as that of
understanding the system more
globally, which is the ideal for
contemporary artists. So from a simple,
predicable and very explicable system,
glazing can in practice, if not principle,
be rather complex.
Should you be glazing?

Around 2010 I enjoyed a wonderful
exhibition of Monet’s work at the Grand
Palais in Paris, and of the hundreds of
p Before works on show I only saw one small
A grisaille painting spot of glazing, in a sky of a London
scene. The works were fantastic, the
artist’s vision sublime and the technical
execution, particularly in respect of
colour and mark making, breathtaking.
But that glaze was incongruous, out of
place, awkward – just plain wrong. It sat
in a beautifully orchestrated sky like a
carbuncle. It dated the picture and
made it look like a work of artifice
rather than a fresh colourful vision.
The lesson? Glazes can be unhappy
companions for bold contemporary
painting and the subtle transitions they
bring are at odds with vibrant evocative
brushwork. Nevertheless it’s quite
possible to use glazes in a
contemporary manner, and more useful
still to use the big ideas from glazing in
your work; the management of opacity
will always make a good painting into a
great one. TA
p After
The same grisaille, transformed by a simple glaze of ultramarine blue
for glazing, as it is very slow drying and Sir Charles Lock Eastlake, the first
makes paints it is mixed with ‘fat’ director of the National Gallery and an
(unsuitable for overpainting). The expert in traditional painting
traditional compromise is to use a techniques, described these types of
resin-based glaze, or varnish, which glazes as possessing a ‘gemlike’
acts as medium, dryer and binder. In quality, and indeed they do improve Martin Kinnear
fact many of these resins dry so rapidly the clarity of depth of colours is a professional oil painter and
that a little oil was often added to incorporated with them. Many course director at the Norfolk Painting
facilitate blending. Most common professional artists, however, preferred School, which offers courses for
‘traditional’ glazing mediums are to modify their glaze mediums subtly, painters new to oils as well as
based on just this – a dammar, copal or to tweak their working properties or practising oil painters. To find out more
mastic varnish, plus a little oil to how they interacted with light. call 01485 528588 or email
control their drying rate. Generally The commonest additives to glaze Studio@norfolkpaintingschool.com
speaking, resinous glazes make mediums are a thicker or gelled oil www.norfolkpaintingschool.com
paintings appear glossy and optically (creating Turner’s signature medium or read more from Martin at
deep, so they’re a popular choice with megilp), a drier or two such as cobalt www.alizarinblog.com
traditional painters. or lead, or a substance such as wax or

TA06p45_47_Charles_Layout 1 03/04/2017 10:48 Page 45
BEGINNINGS, MIDDLES & ENDS: 6 OF 6
The end
As Charles Williams comes to the end of his series he offers
some practical solutions for what to do when, having finished, you realise
there’s something not quite right with your painting…
I
n this series I have not really talked
specifically about the media. I think
that ground has been very well-
trodden, and what really interests
me is not so much how the different
types of paint work but rather how the
way in which they work affects what you
can do, or even what you might do.
Case study
For instance, I recently took an oil
painting to what I felt was the end of its
possibilities. The forms looked well-
realised and the colour balanced just
so; I put the brushes down and went for
my pre-supper glass of wine feeling
pretty pleased with myself. A week or
so later, what I had regarded as the
gem of my recent work began to look
faded, a little ‘dead’ – what is wrong, I
thought?
Because I had finished it so late I had
begun to forget the quality of the paint
itself, and so a kind of ‘sinking’ had
occurred, possibly because I had put
too much mixer in with the paint. It
went on nice and glossy but dried flat,
matt, a little dusty. The newer paintings
looked fresh by comparison.
What to do? I am a terrible re-painter
and basher-on, and I felt a huge
temptation to take the canvas off the
stretcher, put it on a board and sand it
down, before re-stretching and carrying but I took a long hard look at it and p Drawing The Borders, oil on linen,
on. It can be quite hard to get a good tried very hard to be honest with 233⁄4⫻233⁄4in (60⫻60cm).
tension in the canvas again, but myself about what I wanted from it. A week or so after I thought I had finished
perfectly possible with judicious use of this painting, I realised it looked flat. A
wedges and a strong pair of hands. Narratives rethink was necessary
Does that sound absurdly drastic? I In fact, as with much of my work, what I
have been doing it for years, in fact wanted from it was more to do with
ever since I was at the RA Schools. what I had been doing with the
David Parfitt, who taught me there, previous two or three paintings. I find some odd books lately), there was also
pointed out that De Kooning often re- that I go in pursuit of narrative and a formal idea about the work, to do with
stretched his work, shifting the picture formal ideas that take me in a certain delicacy, both of surface and
plane by a few inches one way or the unpredictable directions across groups of form, and a playfulness about finish,
other. If you sand it down, you retain a or sets of paintings. In this case, as well which would allow some sections of the
lot of the form, it just takes away some as a macabre, dystopian view of an painting to be highly resolved while
of its definition, and allows you to paint England in a parallel universe where others were merely indicated.
over the top more easily. society has broken into an anarchistic, Looking over the rather matt surface,
I came within an ace of re-stretching localised set of states at amateurish war I realised that rather than unclogging it
this particular canvas, and I may yet, with each other (I have been reading by sanding it down and re-doing it,

BEGINNINGS, MIDDLES & ENDS: 6 OF 6
‘I often advise that the ultimate device for

‘finishing’ recalcitrant watercolours is to cut them
up and use the fragments to start new pieces’
t Head, watercolour and

gouache on paper,
4⫻6in (10⫻15cm)
p Monkey, watercolour and gouache on paper, 6⫻113⁄4in (15⫻30cm) p Putting the two together
I could vary it by a little judicious Facebook is not just about showing shiny again if you put it behind glass
varnishing here and some scraping-out other people what a brilliant holiday though, and the darks look rich and
there. A careful, finicky finish, but a you are having or showing your friends deep rather than flat and dusty. It looks
finish nevertheless. It’s hard to talk how stupid you can be. as finished as if you had posted it on
about the surface of a painting in a I have noticed that lots of people Facebook!
magazine as all the surfaces are appreciate expressive-looking
equalised into a shiny homogeneity; paintings. People will ‘like’ paintings The cut-and-shut option
the computer screen increases this that are loosely painted, showing the Sometimes a watercolour will just not
further by its extraordinary backlighting. brushstrokes very clearly, or painted go right, even if it is put behind glass. I
Colours look so good on the screen! with bravura. They will applaud what often advise that the ultimate device
they see as ‘rawness’ or ‘emotionality’ for ‘finishing’ recalcitrant watercolours is
Expressing an interest or ‘honesty’. It is, I think, what a lot of to cut them up and use the fragments
Facebook is one of the ways I use to people look for in visual art. to start new pieces. I use this now and
find, look at and discuss art – it’s But the truth is, what you see on the again, and it can work well. For
surprisingly good for this. I really get screen is not loose brushwork or example, I had started a painting of a
into it when I am putting together a vigorous paint handling, but a woman with a monkey sitting on her lap
history of art slide-show for a class, and photograph of it. It is twice removed – don’t ask. In the end I cut the head
I am researching images all day. I come from the thing itself, an image of an and shoulders off, and had two
across things that I want to show other image of something. The screen, more paintings, a head and shoulders and a
people, to get their responses or than the printed page, looks so much woman’s body with a monkey sitting on
simply to add to my own profile, and so like reality. its lap.
for the whole day I might be Watercolour, unlike oil, must be Both were reasonably successful. The
sporadically posting images. Other framed behind glass. Watercolour monkey became more of the focus of
people, I assume, do the same thing, always dries matt, so the problem I was one painting, without the woman’s face
and some excellent conversations, both facing with my oil painting of to compete with it, and the head
visual and verbal, ensue. I have incompetent militias (page 45) is a became more of a portrait. It was only
discovered all sorts of artists this way. constant in watercolour. It becomes after I had painted both images much

PRACTICAL
p Woman and Monkey tracing
p Laura with Monkey, collage, watercolour and gouache on paper, 133⁄4⫻113⁄4in (35⫻30cm)
further on, and in fact cut another

section off the woman’s head painting,
that I saw the possibility of reuniting
the two pictures, and sure enough,
there it was. The problem had been
that I had made the woman’s torso too
long. Reduced by a centimeter it
worked just fine!
The trouble is, it’s now in two pieces, Charles Williams
and they don’t fit. I can glue the bits NEAC RWS Cert.RAS
together with an extra bit, and make a is a painter, writer and lecturer. He has
sort of collage, or I can trace over the exhibited in the UK, USA and Europe
re-connected image and start another and is the author of Basic Drawing and
painting. I could do both. Basic Watercolour, both published by
So the end is also a beginning. And Robert Hale. Currently engaged in a p The beginning of another painting. It’s
that’s how it should be. As I hinted PhD on narrative and improvisation in rough and ready, it’s messy, but it’s a start,
earlier, a painting is rarely a discrete painting, Charles continues to make and who knows where it will lead? It’s an
phenomenon, emerging from nowhere and show paintings, sculpture and adventure. I will come up with something
and existing only in its own right. That’s drawing that will surprise me, that I would never have
an impression we gain from studying
thought of. That’s what I like about painting
art – you can never show all the work of
one artist in a slide show, so you have
to rely on one or two pieces to give the
idea of it. But the fact is that one
painting leads to another, which leads
‘So the end is also a beginning.
to another, ad infinitum. Or ad nauseam,
depending on your aesthetic views... TA
And that’s how it should be’
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TA06p49_51_Jake Winkle_Layout 1 03/04/2017 15:58 Page 49
Starting out in watercolour: part 3 of 4
Jake Winkle
What to paint in
uses the Luxartis range of kolinsky
sable brushes, available from
www.luxartis.biz as is his book, Light
and Movement in Watercolour,
published by Batsford. Jake has three
watercolour
teaching DVDs, available from Town This month Jake Winkle looks at a variety of
House Films, www.townhouse
films.co.uk For more information
subjects and the range of techniques you can use
about Jake and his paintings, see to render them as lively paintings
www.winkle art.com and
www.jakewinkle.co.uk
W
atercolour is a very technical elements of light, shade, colour and well as light against dark, gives a glow
medium that requires the brushstroke. This painting could have to the painting.To ensure the shadow
artist to learn how to use it been produced wet-in-wet to create a colours did not appear too intense a
and be creative at the same diffuse gradation of tone where the little wet-in-wet and dry brush with
time. Forgive me for not dwelling round belly of the teapot caught the strong colour was applied to show the
particularly on the layered or ‘glazing’ light, but I opted for a wet-on-dry pattern. A simple exercise and a lovely
approach – I’m a painter of light, approach, which meant I could still fresh painting!
movement and colour and paint using create a variegated colour wash but
the direct or one-touch approach. would be in control of lost-and-found Wet-in-wet
edges. Drama was created by using How do you reveal form in something
From simple beginnings contrasts and hard-edged shadows that is predominantly one colour, or
Revealed white paper is a dynamic enhanced the feeling of light without even one tone – black! Black is seldom
contrast to colour and can be exploited compromising the rounded form of the black, and the key is to capture the
beautifully in a simple rendition of a object. So, by painting the light, or in subject in a light that will allow other
white porcelain teapot (below). Without other words painting the shadows to colours to reflect back on it. In Black and
the overwhelming detail of a complex reveal the light, the teapot came to life Blue Panther (page 50), I sought the
scene I could concentrate on the key and the use of warm and cool colour, as reflected colour and made use of
changing colour temperature and
subtle light and shade to reveal the
velvety form of the subject. Knowing I
was going to have slightly lighter and
darker elements, I chose the wet-in-wet
approach. The head area was wetted
with clean water and then the tonal
masses were modelled. Wet-in-wet
creates unity because all the shapes
and masses blend together but it has
to be applied specifically from light to
dark because the colour mixtures must
thicken as the paper slowly dries. I had
as long as the paper would remain
damp to create the entire image –
about 15 minutes. By the time the last
brushstrokes were in place the paper
was only just damp and the pigment
was the texture of toothpaste. It is very
tactile to paint in this way as you are
constantly in touch with the paper and
the thickening paint and towards the
end the paint takes on its own velvety
texture.
Something in the landscape

p Humble Teapot, watercolour on Arches Rough 140lb (300gsm), 121⁄2⫻181⁄2in (32⫻47cm). Watercolour landscapes require a
White paper, cool and warm pale shadows and dark contrasts make for luminosity special way of seeing, by which I mean

t Black and Blue Panther, watercolour on

Arches Rough 140lb (300gsm), 121⁄2⫻181⁄2in
(32⫻47cm).
Seek out reflected light in black subjects. This
painting uses wet-in-wet to model the soft
dark contours of the panther
simplification. The mass of textures is

overwhelming and impossible to
achieve in watercolour so a dramatic
cleansing of detail is required. Objects
become coloured silhouettes and
textural detail suggestions with dry and
wet brushstrokes. In A Potter in the
Countryside (bottom left), trees are
vague masses of foliage with just
occasional branches and the distance is
made of simple interlocking shapes. So
much of a watercolour landscape relies
on one or two recognisable shapes
giving form to vague ones through
association. The silhouette of the main
tree was rendered by holding the brush
away from the ferrule and painting a
downward dry brushstroke. This shape
would be impossible to achieve with
the point alone but the dry brush
allows the texture of the paper to
create a hit-and-miss effect with the
paint. Notice too that there are strong
light and dark contrasts between sky,
foreground and objects to prevent the
painting becoming ‘clogged up’ tonally.
Adding figures dark to light

Figures add life to a scene and can be
supporting elements or the subject of
the picture. Looking at Paintings in La
Rochelle (left) is a very complex scene
with figures in a busy marketplace.
p Looking at Paintings in La Rochelle, watercolour Painting from dark to light means you Simplification was essential to decide
on Arches Rough 140lb (300gsm), 121⁄2⫻181⁄2in don’t have to plan in advance where which elements were important and
(32⫻47cm). your white paper is to be retained which were not. The strong sunlight
helps show the people as simple
shapes of light and shadow. When
observed through half-closed eyes the
paintings in the market became just
blurred shapes of colour and, by
rendering them as such, the figures and
the pictures have equal import. To
capture the light I tackled this painting
from dark to light, so the figures and
background buildings were rendered
before the sky, foreground and sunlit
parasols. Working dark to light meant I
didn’t have to plan in advance where
the white paper needed to be retained,
which made it easier to judge these
areas towards the end of the picture
when most of the darks were in place.
So long as no strong staining colours
were used in the darks I could put my
pale foreground wash last without
making the darks bleed. TA
p A Potter in the Countryside, watercolour on Arches Summer trees are often best
Rough 140lb (300gsm), 91⁄2⫻133⁄4in (24⫻35cm). rendered as dry brush silhouettes Next month: From technique to interpretation

PRACTICAL
DEMONSTRATION Pony Ride
u STAGE ONE
A light sketch in 2B pencil was followed by a simple broad
wash of pale cobalt blue at the top, running down into
pale cadmium orange below. The cadmium orange is so
pale that it looks a little like raw sienna, which I seldom
use these days because it dries out too quickly. It was
important to create a simple transparent wash with no
unwanted textures appearing and also to leave the riders
mainly the white of the paper
t STAGE TWO
Starting with the ‘grey’ ponies, I painted them through their
shadows in the same way as I did the teapot. Cool and warm colour
was applied to give luminosity whilst I had to remember that the
purpose of these shadows was to reveal interesting highlights. The
chestnut was then painted with a variety of cool and warm browns.
The direct approach meant that the relative lightness and darkness
of each area had to be rendered first go. This painting was done
during one of my workshops and at this point I stopped to let the
students have a go
q FINISHED PAINTING
Pony Ride, watercolour on Arches Rough 140lb (300gsm),
121⁄2⫻181⁄2in (32⫻47cm).
The figures were added, seen as simple shapes of light and dark.
This meant half-closing my eyes to see the main shapes. The ponies’
tack and the cast shadow on the ground were added last. The result
– a vignette painting about light

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FullPage_MAY2017.indd 1 09/03/2017 16:33:48
TA06p53_55_PTG_Layout 1 03/04/2017 10:51 Page 1
Paul Talbot-Greaves
has been painting for over 20 years
and teaches watercolour and acrylic
painting in his home county of west
Yorkshire. He also runs workshops and
demonstrates to art societies
throughout the north. Paul can be
contacted by email: information@
talbot-greaves.co.uk or through his
website: www.talbot-greaves.co.uk p Afternoon Glow and Reflection, watercolour on Saunders Waterford (640gsm) rough paper,
15⫻22in (38⫻56cm)
C O N T R A S T S I N W AT E R C O L O U R : 1 O F 6
Light versus dark Paul Talbot-Greaves begins a new series in which

C
ontrast is so important in a
painting, but contrast doesn’t
just refer to dark and light. he outlines ways of thinking to improve your
Everything has an opposite,
such as edges, colour, temperature,
watercolour work, beginning with an in-depth look
distance and so on. When contrast at values. Each month he’ll invite you to complete a
happens, it generally places more
emphasis on the lesser element, for
painting challenge that you can submit for appraisal
example a small amount of light
surrounded by a greater percentage of white shapes, but I sometimes find may easily end up losing the lights
dark will give the light a stronger they don’t always end up where you altogether as you add more and more
attraction. A larger amount of wet-into- want them to be by the time you reach colour to the painting.
wet technique contrasted with a smaller the end of the painting. Larger areas of
amount of hard-edged work will white can be painted around using Mid values
naturally push the eye to the hard negative painting or masked-out with These middle strength mixtures of
edge, a perfect way of drawing masking fluid or other methods such as colour help to balance the lights and
attention to a focus, for example. masking tape or masking film. darks of a painting. Many watercolour
Value refers to how dark or how light a painters only ever reach mid-value in
colour is and when extremes of values Mid-light values their work, and this can leave the
come together, contrast is generated. If you don’t have white in your painting, picture looking washed out. Paintings
Contrasting values are just one way of your mid-light values will take the role that lack the richness of the darker
attracting attention in a painting and of the lightest parts. Mid-light values values will always appear this way as
are perhaps best used around a focus are generated by a single wash of they lean heavily towards the lighter
or focal area. colour, somewhere around the bias. Mid-value paint tends to be
consistency of full-fat milk. You should mixed towards the consistency of single
Light values aim a little stronger than you think you cream. As you progress towards making
The lightest light in a watercolour can need, to allow for the reduction in the darker values, much more pigment
be taken as the white of the paper. Not value strength as the paint dries. You and less water is required.
every painting contains white but if it will gain the brightest glow from your
does, it is imperative to use the paper colour if you can achieve your mid-light Mid-dark values
as you cannot achieve quite the same value in one application of paint. It is These rich values bring contrast to the
brightness with white paint. Having said so important to plan where your light mid-lights and are essential for adding
that, small amounts of white are usually and mid-lights are going to be in your shade, balance, mood and light to a
better added at the end using white painting so that you can preserve the painting. Without these there is no
gouache or watercolour white (the washes as you progress through the light. The consistency of this paint is
pigment needs to be titanium dioxide). picture. Without some sort of plan, that of yogurt. The use of tube paints
It is also possible to mask out small whether a mental plan or a sketch, you facilitates the quick and easy mixing of

DEMONSTRATION Light Through the Hedgerow

I drew out the main shapes using a 4B pencil then began the sky After drying, I began in the background with a little cobalt blue and
wash with cerulean blue, changing to burnt sienna where the houses brown madder to form the vague shapes of distant trees, walls and so
are. Using a large size 8 squirrel mop brush I applied the varied on. I used only a small size 6 round brush so that I could control the
greens using permanent sap green, yellow ochre and burnt sienna, shapes. Progressing onto the buildings, I painted them as a block with
to the consistency of full-fat milk. Without pausing I painted the light varying amounts of burnt sienna and brown madder, then switched to
on the right-hand building and wall with yellow ochre and burnt the right-hand side of the painting and added the background trees, a
sienna, then covered the road using cobalt blue, brown madder and little stone detail and some slightly stronger grass
a touch of yellow ochre, all mixed on the paper. You can see that I
aimed for a great amount of variety in this application
p STAGE THREE
Continuing with the main build of the painting I loosely tackled the
foreground, making paint run and allowed colours to bleed here and
there. I used paint thicknesses of single cream and yogurt to achieve
variation in the stronger values and shapes. As this painting is about p STAGE FOUR
contrast, it was very important I aimed to achieve the mid-dark values I shaped up some of the features, adding the darkest values with
whilst leaving the light as the single starting wash thicker paint on the hedge and the dark face of the buildings
mid-dark and dark values because the be reached simply by using soft tube of your design or consider modifying
paint can be picked up easily and paint either neat or with a tiny amount the values of an existing image, photo
mixed with just a little water. of water. or sketch, where contrast is lacking.
Dark values Contrasting values Proportions of values

Dark values consolidate the full value By bringing together opposing values of As with all other aspects of painting,
scale. When all the values are used light and dark, contrast and therefore off-setting balance is generally better
from light to dark you have depth, interest is created. If you use this than equal amounts. The proportions of
solidity, bright colours and of course theory around your focal area, you will value are totally subjective to each
contrast. By placing the darkest dark make a stronger, more desirable painting, but try to think how you might
against the lightest light, you create design, although it isn’t always offset any balance and not have equal
maximum contrast, which attracts essential as the patterns of light against amounts of dark and light. A greater
attention from the viewer. The darkest dark or dark against light will make your amount of one will place more emphasis
dark can be achieved by layering one painting attractive anyway. Either look on the other, so for example a painting
mid-value layer over another, or it can out for contrast at the conceptual stage consisting of 60 per cent mid-value, 30

p FINISHED PAINTING
Light Through the Hedgerow, watercolour on areas and dabbing with tissue. In some and deciding on how best to finish. I brought
Saunders Waterford 140lb (300gsm) Rough, places, I gently sprayed the painting with a glaze of cerulean blue over the background
15⫻22in (38⫻56cm). water to soften the dry paint, then scraped to cool down the greens, then added a few
Working on further detail and interest, I into it with the edge of a credit card. I gouache highlights including the windows to
removed specks of paint by dampening small continued making alterations, standing back put small amounts of light into the dark
per cent dark value and 10 per cent

light value will force the eye to the light
area. Similarly, a proportion of more
light to dark will push you towards the
darker shapes. In a watercolour context,
planning or thinking about this concept
THIS
before you begin painting will help you MONTH’S
achieve a much better result. CHALLENGE
Black and white paint
This subject is always up for debate but
I have no issue with using black and
white in a painting because these
values complete the whole value scale.
I sometimes mix white into colours so
that I achieve a pale but thick mixture,
enabling me to create drag brush in the
mid-light areas. White paint will also I’d like you to create a painting from the photograph (above) with
cloud colour when added to a wash the aim of achieving contrast. The values are evident – all you
making for some great effects. I mainly have to do is use different paint consistencies to reach them.
use it to add highlights here and there. Take a good-quality photo of your painting and email your work to
I use neat black paint to generate only dawn@tapc.co.uk together with a brief description (no more than 100 words)
the strongest values in the painting, about the process you used, with PTG1 in the subject line, by June 30.
although generally I use neutral tint as
this can also be used to make shades Each month all entries will be uploaded to PaintersOnline
by mixing it into other colours. TA (www.painters-online.co.uk) and I will select the work of one lucky artist for
appraisal. Have fun, good luck and happy painting.
Join Paul for his acrylics workshop at this year’s
Patchings Festival – see page 2 for details. Next month: Hard versus soft contrasts

TA06p56_59_YaelFITS_Layout 1 03/04/2017 16:00 Page 56
Purr-fect cats
For Yael Maimon cats are a passion. She reveals her approach
to capturing the character of a cat in mixed-media, with advice
on colours and how to obtain texture
I
have been working on a series of began experimenting with mixed-media creativity and more freedom to
cat paintings for about ten years painting, combining oil, soft pastel and experiment. I love seeing how far I can
now, with a variety of media, charcoal. Each medium has unique take a painting using various materials,
including oil, pastel, acrylic and characteristics and it is exciting to see and discovering their limits (if there are
watercolour. In recent years, aiming to how one medium interacts with another. any). I think that for both novice and
take my artwork to a whole new level, I I feel that mixed media allows more professional artists, using mixed media
is a great way to really understand the
essence of painting and drawing
materials.
My composition
I paint cats in various settings and
cover a range of themes, such as eating,
grooming and napping. Some
composition ideas come as I am
observing my cats and I find myself
mesmerized, others are inspired by a
concept or message that I want to get
across. I then create a sketch, take
several photos, mostly on my mobile
phone, and write notes, trying to figure
out what makes this ordinary scene into
an extraordinary one. It could be the
play of light, colour scheme,
atmosphere or other elements. I often
like to crop a photo to get a tightly
composed close-up view of the cat,
leaving only a small area of background.
To create a complex composition, I
sometimes play around with my photos
and combine two or three images.
My method
I begin with a sketch, planning the
painting theme, colour scheme and
value range. Once I have a clear idea in
my mind, I create a final drawing on my
surface. It is essential to make a solid
drawing – one that will hold your piece
together. Next, I introduce colour,
starting with thinned oil paint. I work as
quickly as possible, trying to convey
the overall feeling of the cat's shape
and colour. After the painting is left to
dry for a week or so, I introduce
charcoal and soft pastel, building up
the form of the cat to bring it into focus.
Finally, I use oil paint where needed to
finish the painting. There's always room
for improvisation and spontaneity. I
In the Garden, oil, soft pastel and charcoal on linen, 16⫻12in (40.5⫻30.5cm). love playing with colours, contrasts and
The cat is positioned amongst delicate leaves and blue flowers. Working on the background, I edges. When I feel that I've achieved
was very careful to keep the clean lines of the cat. My favourite part was getting the placement the desired mood and captured the
of the brilliant blue flowers just right cat's spirit, I'm ready to sign the piece.

PRACTICAL
u Mother Cat, oil, soft pastel and charcoal
on linen, 151⁄2⫻191⁄2in (39.5⫻49.5cm).
I wanted to capture a beautiful moment in
time in which the little cat ate while the
mother kept guard. I wanted the background
to be quite simple so it was given an abstract
treatment. In many of my paintings I have a
low-angle view, which allows the viewer to be
drawn into the painting and makes them feel
part of it
Colour choices and technique

Cats have such a wonderful variety of
colour combinations and coat patterns.
I often do quick colour studies, which
allow me to test and explore colour
relationships or plan a specific colour
scheme. Before I start, I try to visualise
how I want my finished painting to look,
so I often have a more or less clear idea
about the colours I'm going to use.
Even when I have a colour plan, colour
problems may arise during the course
of the painting and will need to be
worked out through risk taking and a
more creative approach with colour
choices.
I don't limit myself to the colours I see
in the photos – I amplify and manipulate make some quick sketches and take
colour, imaginatively and intuitively; I photos that will be used later as
love playing with pigments and pushing reference. I don’t just want to capture
the boundaries. The distribution of the physical appearance of the cat but
colour is a key element in my work. also its spirit. Observing cats and
When I apply a colour, I will use the reading about their anatomy can be
same or similar colour in other parts of very helpful as knowing your subject
the painting. This brings the viewer's well is essential if you are to paint it
eye around the composition and often with conviction and confidence.
creates a sense of harmony and unity. For me, it is important to know the
I use both pure and mixed colours in atmosphere I want to create before
a painting, being careful not to create starting a painting. I use the lighting
mud. When I mix colours, I pay effects, colours and values to evoke a blue violet, permanent red violet,
attention to their opacity/transparency certain mood or to create a message. ultramarine violet, sap green,
and value. For dark areas I don't use Working with warm or cold, subtle or permanent green light, permanent
pure black but often create a dark mix intense colour schemes will have yellowish green, permanent yellow
of two to four oil pigments (one of them different impacts. There is a fine line light, permanent lemon yellow, Naples
must be a primary colour) and allow the between a finished and an overworked yellow light, Naples yellow red, yellow
charcoal to blend into the mix. This painting; I often feel the final stage is ochre, raw sienna, burnt sienna, burnt
results in a deep rich dark mass. If I the most challenging, because this is umber, titanium white and lamp black.
don't want my dark to be too intense, the point where you can turn a bad My favourite pastels are Rembrandt,
I create a lighter mix of oils or simply painting into a masterpiece or overwork Sennelier, Jaxell, Richeson and Unison;
apply the charcoal lightly with feathery it to ruin. When the painting is close to the charcoals I use vary from very soft
strokes. In mid-tone and light areas, completion I slow down, take a few to very hard sticks.
I usually overlap strokes of pastels on steps back and ask myself: does it I have a variety of bristle and
an oil underpainting or straight on to work, should I add more details? What synthetic sable brushes – rounds and
reserved blank areas. I love the risks should (or shouldn't) I take now, flats, sizes range from small to very
surprising effect of successive layers of and how to pull it all together? large. I do most of the painting with flat
colour and pigments. synthetic brushes. I use bristle brushes
My materials especially to scrape off mistakes and
Creating a mood My favourite brands of oils are remove excessive pigment. To add
Finding a cat that is willing to pose for a Rembrandt and Winsor & Newton. My detail lines, I use a long thin soft round
painting can be a challenge, so it is palette includes ultramarine deep, brush. I like to prepare my own
more convenient to paint them when ultramarine light, cobalt blue, Prussian painting surfaces. I purchase rolls of raw
they are resting or napping, because blue, king's blue, vermilion, permanent rough-textured Belgian linen, and
they do it often and for long periods of orange, cadmium red medium, stretch and prime it with four- to five
t
time. When cats can't hold still, I just transparent red medium, permanent thin layers of gesso.

MIXED MEDIA
DEMONSTRATION Midnight Snack
p My reference photo p STAGE ONE

I made a quick sketch using vine charcoal on a smooth cartridge
paper. Simplifying forms and keeping it loose, I wanted to
suggest the value masses and get a better understanding of the
scene I was about to paint
p STAGE TWO
I drew my design in pencil on my painting surface then began painting the
cat and background with both pure and mixed, thinned oil colours: burnt
sienna, burnt umber, sap green, vermilion, cobalt, ultramarine and blue
violet. I worked rapidly, trying to ignore details, knowing this was just my
underpainting
p STAGE THREE
When the first layer was completely dry, I
began to cover the entire painting, except for
the light areas – cat's white fur and food plate
– with charcoal. I like reserving the white of
my surface for the lightest areas
t STAGE FOUR
I smeared and scrubbed in the charcoal, then
applied a second layer in varying directional
strokes. Some of the underpainting oil colour
was showing through here and there. I still
didn't achieve the dramatic effect I was after,
and started to think about the best solution

PRACTICAL
q STAGE SIX
At this stage, I focused on the cat's fur.
Paying attention to the direction and
length of the fur in different parts of
the body and face, I applied strokes of
white, neutral hues and other soft
gentle light colours. The fur texture
was starting to build up Yael Maimon
has painted professionally since her
early 20s. Her work has been shown in
solo and collective exhibitions in Israel
and abroad and she has won many
awards. Yael is represented by Abend
Gallery, Denver, CO, USA.
www.yaelmaimon.com
p STAGE FIVE q STAGE SEVEN

I decided to darken the background by Midnight Snack, oil, charcoal and soft pastel
adding oil colours. With a highly thinned on linen, 12⫻16in (30.5⫻40.5cm).
mix of burnt umber, ultramarine, red I introduced violet hues and continued to
violet and a bit of Prussian blue, I started work on the cat to finish, with pastels as well
covering the background as touches of oil colour. Next, I refined the
cat's ear and face, painted the food plate,
added some details, adjusted edges and
finally signed the piece

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TA06p61_Colour_Layout 1 03/04/2017 10:56 Page 65
Julie Collins
THE A-Z OF COLOUR studied painting at the University of Reading. In

2016 she received the Watercolour Award, 1st
Prize at the Royal West of England Academy.
Julie has been regularly selected for the ING
Discerning Eye, where she has won the regional award, and she
Julie Collins explains how to create has received many awards from the Royal Watercolour Society.
Her paintings have been selected for many exhibitions and she is
successful shadows in watercolour author of six art books. www.juliecollins.co.uk
S is for shadows
A simple example of planning the direction,
colour and tones of shadows on buildings
French ultramarine blue +
burnt sienna 50/50 mix
P
ainting shadows in watercolour can
cause us some considerable
problems. If painted well they create
French ultramarine blue +
interesting shapes in your work and more burnt sienna =
so improve your composition. It is the light slightly browner mix
and shade in a painting that create basic
shape patterns. More French
There are two types of shadows: form ultramarine blue +
shadows and cast shadows. burnt sienna =
slightly bluer
Form shadows appear on the sides of the
objects that face away from the light source.
Cast shadows are produced by these objects
French
and are cast onto adjacent objects, such as ultramarine
the ground or buildings. Because the light blue
changes throughout the day, these shadows
change constantly. Cast shadows tend to be
lighter and have softer edges the further
away they are from the object that is
Burnt sienna
creating them. Form shadows are nearly
always joined to cast shadows on objects Tonal values and colour
connected to the ground. Shadows cast by The tonal value of your shadows will depend on the time of day or the light in the
clouds would be an exception to this. room where you are working. Early morning shadows, for instance, will be long and
The light source will dictate the direction of dark. Midday shadows will be lighter because by this time of day more light bounces
a shadow. Therefore if you’re making a into them.
landscape painting it is essential to take a I think it’s fair to say that generally we think of shadows as grey. But this ‘grey’ will
photograph or make a sketch of the shadows also contain the complementary colour of the light source. Therefore, if the light
to ensure all the shadows in your finished source is the sun, and yellow, then the shadow will contain a hint of violet. In a red
painting follow the same direction. The light the shadows will contain a hint of green. For reference, see my article on
example (right) shows you how simple complementary colour in the March 2016 issue of The Artist.
shadows can be. TA
Colours for pears:

Pears
Shadow colours
Winsor lemon French ultramarine Burnt sienna
for ground:
Burnt sienna 50% +
blue
French ultramarine
blue 50% = pale
Winsor Winsor lemon

lemon 90% + French
ultramarine blue,
10%
Shadow colour on pears:

Winsor Shadow colours for
lemon 90% Add the cast shadow:
+ French some Burnt sienna 50% +
For this painting I used Winsor lemon, French ultramarine burnt French ultramarine
ultramarine blue and burnt sienna blue, 10% sienna 50% = dark

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Saturday 12.30pm - 5pm materials, model kits and bespoke framing
Stockists of: Golden Acrylics, Roberson,
Daler-Rowney, Pro Arte, Unison pastels,
Tel 01476 578800 The Art Shop
www.localartshop.co.uk
LINCOLNSHIRE
service. Professional artist and tutor owner
SURREY
Sennelier, Conté, Paperblanks, Reeves.
Sennelier,
Stocking: Royal Talens, Da Vinci,binders,
Talens, pigments and Schmincke Stockists of: Royal
2 Newmarket & Langnickel,
Street, Skipton, Whappy to offer expert advice.
F Gadsby
Jacquard dyes and paints, Khadi, North Yorks BD23Loxley,
2JB Golden,
Pullingers Sennelier, Pebeo, 347 High Street, Lincoln,
Picture framing on site.
109 West Street, Farnham,
WEST YORKSHIRE
Pink Pig, Seawhite, fabrics and Tel: 01756 70177
House of Crafts, Cretacolor, Jakar,
www.theartshop.co.uk
The ArtLN5
Lincolnshire Shop7DQ
Surrey GU9 7HH The off
canvas Art
theShop
roll. - Ilkley Stockist of: Derwent,
Daler-Rowney, CaranPebeo, Loxley
d’Ache.
Tel:
230 01522 527
High 487 Northallerton,
Street,
Pegasus Art Shop
Tel: 01252 715390 Reeves, Unison, Daler-Rowney, www.gadsbys.co.uk
Hawksworth Street, Ilkley, Northof:Yorkshire DL7 8LU
www.pullingers.com
Griffin Mill, London Road, Stroud, Stockist Winsor & Newton,
West Yorkshire LS29 9DU Sennelier, Winsor & Newton, Conte
Stockist of: Canson, Caran D Ache, Cretacolor Patchings Art Centre Tel: Rowney,
Daler 01609 Caran
761775D’Ache etc
Gloucestershire GL5 2AZ
Tel:Faber-Castell,
01453 886560
LANCASHIRE
Tel & Fax: +44(0)1943 432016
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, www.theartshops.co.uk
Saunders Waterford,
Fabriano,Road,
Oxton Art Master
Hahnemuhle,
Calverton, Opening times: Monday to
Westgate Gallery
Golden, Royal Talens, Schmincke Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9.30am – 5pm
Sennelier,times:
Opening Winsor Monday
& Newton, Fabriano
to Ken Bromley
Canson, Art Unison,
Liquitex, Derwent, Supplies
Caran Nottingham NG14 6NU 83 Westgate, Grantham NG31 6LE
Saturday 9am - 5pm D’Ache,
Unit 13 Loxley,
LodgeSennelier Mapac
Bank Estate,
SURREY
Tel: 0115 965 3479 www.theartshops.co.uk
Tel 01476 578800
LINCOLNSHIRE
www.pegasusart.co.uk Crown Lane, Horwich,
Pullingers
Opening times: every day
Stocking:
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke
W F of:
Stockists Gadsby
Williamsburg, Rembrandt, SUFFOLK
Bolton BL6 5HY
109 West Street,
9.30am Farnham,
- 5.30pm
Daler-Rowney, Loxley, Pip Seymour,
WEST YORKSHIRE
Surrey GU9 7HH
Old347 High Street,
Holland, Lincoln,Cobra,
Pip Seymour, The
Tel: Art 690114
01204 Trading Company www.patchingsartcentre.co.uk
Pan Pastel, Unison, Pro Arte, Artmaster,
Lincolnshire LN5 7DQ
Tel: 01252 715390 The Art Shop - Ilkley
Winsor & Newton, Daler-Rowney, 36a Earsham Street,Bungay N35 1AQ www.pullingers.com Hahnemühle, Pebeo.
Tel: 01522 527 487 Opening times: Monday to Friday Stockists of: Winsor & Newton, Hawksworth Street, Ilkley,
01986 897939 Stockist of: Canson, Caran D Ache, Cretacolor
Derwent, Daniel Smith, Schmincke,
www.gadsbys.co.uk 9am - 5pm Daler-Rowney, Derwent, Caran d’Ache, West Yorkshire LS29 9DU
www.theartradingcompany.co.uk Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Da Stockist of: Arte,
Vinci, Pro WinsorArches,
& Newton,
Canson, Stocking: Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
Daler Rowney, Caran D’Ache etc
Saunders Waterford watercolour paper,
www.artsupplies.co.uk
Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Stockists of: Winsor
Pip Seymour, & Newton,
Canson, Derwent, Roberson,
Unison, Liquitex,
Faber-Castell,
Sennelier,Brushes,
Leonard
OldRoyal
Golden, Holland,
Talens,Pro
Winsor & Sennelier,
Newton, Fabriano
Canson,
Arte,
Schmincke
WEST YORKSHIRE
www.theartshops.co.uk
Winsor & Newton, Daler Rowney, Pro Arte,
Hahnemühle,
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Gallery Canson, Liquitex, Derwent, Unison, Caran
Daler-Rowney, Daniel Smith, Liquitex, St Cuthberts Mill, Artmaster, Pebeo. The Art Shop
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Bob Ross, Derwent, Caran d’Ache, LINCOLNSHIRE D’Ache, Loxley, Sennelier Mapac
Hawksworth Street, Ilkley,
Jackson's Art Supplies
Tel 01476 578800 W F Gadsby
The
Stocking: Royal Talens, Da Vinci, Schmincke Pro Arte,Art Shop
Loxley, Bockingford, Arches, SUFFOLK
West Yorkshire LS29 9DU
Unit 4 Brearley Court, Baird Road,
Waterwells Business Park,
Saunders Waterford
2 Newmarket and
Street, accessories.
Skipton, SUFFOLK
347 High Street, Lincoln,
Lincolnshire LN5 7DQ The Art Trading
Tel: 01943 432016Company
WEST YORKSHIRE
Gloucester GL2 2AF
North Yorks BD23 2JB
Tel: 01756 70177
Tel: 01522 527 487
The Art Trading
Opening
36a Earshamtimes: Monday
Street,Bungay N35to1AQ
01986 8979399am – 5.30pm
Tel:The Art729672
Shop - Ilkley www.gadsbys.co.uk Saturday
LONDON
01452 Company
Stockist of: Winsor & Newton, www.theartradingcompany.co.uk
Hawksworth Street, Ilkley, Stockist of: Derwent, Pebeo, Loxley Reeves, www.theartshops.co.uk
Opening times: Daler
55 Rowney, Caran
Earsham D’Ache
Street, etc
Bungay Stocking: Golden, Lascaux, Unison,
West Yorkshire LS29 9DU Unison, Daler-Rowney, Sennelier, Winsor
Stockists Daniel
Sennelier, of: Winsor
Smith,&Pro
Newton,
Arte, Da Vinci,
Monday to Friday
Tel & Fax: 9am
+44(0)1943 – 5pm
432016 Jackson's
& Newton, ConteArt Supplies
Saunders Waterford, Suffolk NR35 1AF Pip Seymour, Canson, Derwent, Roberson,
www.jacksonsart.com
www.theartshops.co.uk Hahnemuhle, Fabriano, Art Master
1 Farleigh Place,
Westgate Gallery Daler-Rowney, Loxley, Pip Seymour,
Tel: 01986 897939
Winsor & Newton, Daler Rowney, Pro Arte,
Jackson’s warehouse holds painting,
Canson, Liquitex, Derwent, Unison, Caran London N16 7SX
SURREY
Opening times: Monday to
Tel 01476 578800 NORTH YORKSHIRE
Pan Pastel, Unison, Pro Arte, Artmaster,
Hahnemühle, Pebeo.
drawing,
D’Ache,printmaking and sculpture
Loxley, Sennelier Mapac Tel: 020 7254 0077 Stocking: Royal
Saturday 10amTalens, Da Vinci, Schmincke
– 5pm The Art Shop
materials from Golden, Sennelier, Pullingers
Opening times: Monday to Friday (closed Sunday and Bank Holidays) 2 Newmarket Street, Skipton,
SUFFOLK
Schmincke, Winsor & Newton etc. 109 West Street, Farnham,
WEST YORKSHIRE North Yorks BD23 2JB
The Art Trading Company
9am
Surrey– 5.30pm,
GU9 7HH Saturday
Tel: 01252
10am – 6pm 715390
www.TheArtTradingCompany.co.uk
The Art
Stockists of: Shop - Ilkley
Old Holland, Michael
WALES
Tel: 01756 70177
www.pullingers.com
36a Earsham Street,Bungay N35 1AQ Emrys
Stockist Art Supplies
of: Derwent, Ltd
Pebeo, Loxley Reeves,
HAMPSHIRE
01986 897939
www.theartradingcompany.co.uk
www.jacksonsart.com
Stockist of: Canson, Caran D Ache, Cretacolor
Stockists of: painting,
Clairfontaine, Da Vinci,drawing and Derwent,
Daler-Rowney,
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Harding,
Daniel Smith,
Street, Golden,
Sennelier,
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Rohrer & 432016

Klingner, Winsor
Unison, Daler-Rowney, Sennelier, Winsor
22 Market Street, Haverfordwest,
Tel & Fax: +44(0)1943 & Newton, Conte Saunders Waterford,
Faber-Castell, Golden, Royal
from Talens, Schmincke
Perrys
Stocking: Art Suppliers
Golden, Ltd
Lascaux, Unison, printmaking materials
Sennelier, Winsor & Newton, Fabriano & Newton, Liquitex and many more.
www.theartshops.co.uk Pembrokeshire,
Hahnemuhle, Wales
Fabriano, SA61 1NH
Art Master
Sennelier, Daniel Smith, Pro Arte, Da Vinci,
109 East Street, Southampton Daler-Rowney, Winsor & Newton, Winsor & Newton, Daler Rowney, Pro Arte, Tel: 01437 779646
Pip Seymour, Canson, Derwent, Roberson,
SO14 3HD
LINCOLNSHIRE
Old Holland and Michael Harding etc.
Canson, Liquitex, Derwent, Unison, Caran
D’Ache, Loxley, Sennelier Mapac
SURREY
Opening times: Tuesday to
NORTH YORKSHIRE
Tel: 0238 0339444
W F Gadsby NORTH YORKSHIRE Pullingers
Saturday 9am – 5pm
109 West Street, Farnham,
The Art Shop 347 High Street, Lincoln,
Jackson's Art
SUFFOLK
The Art Shop Skipton
www.emrysart.co.uk
Surrey GU9 7HH
Saturday 9.30am – 5.30pm Lincolnshire LN5 7DQSupplies Stockists
Tel: 01252of: Winsor & Newton, plus many
715390
2 Newmarket Street, Skipton,
Email: perrysart@btinternet.com Tel: 66,
01522 527 487Approach,
The Art Trading Company
Online & instore
North Yorks BD23 2JB Arch Station www.pullingers.com
more including Daler-Rowney, Sennelier,
Tel: 01756 www.gadsbys.co.uk 36a Earsham Street,Bungay N35 1AQ Stockist of: Canson, Caran D Ache, Cretacolor
High-quality art70177
materials at competitive London SW6 3UH 22 Newmarket Street, Skipton, Unison, Pro Arte, Derwent.
www.theartshop.co.uk Stockist of: Winsor & Newton, 01986 897939 Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
prices and a personal friendly service. Daler
Tel: 020Rowney,
7384Caran
3055 D’Ache etc North Yorkshire BD23 2JB
www.theartradingcompany.co.uk Faber-Castell, Golden, Royal Talens, Schmincke
Stockist of: Derwent, Pebeo, Loxley
Winsor & Newton,
Reeves, Daler-Rowney,
Unison, Daler-Rowney, Stocking:
Tel: 01756 Golden, Lascaux, Unison,
701177 Sennelier, Winsor & Newton, Fabriano
Sennelier,
Derwent, WinsorGold
Montana & Newton, Conte
spray paints,
Westgate Gallery Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Thursday 9am – 6pm, Friday, Opening times: Monday
Derwent, to Friday
Saunders Waterford, Hahnemuhle,
Golden, Sennelier, Unison and much more.
83 Westgate, Grantham NG31 6LE Pip Seymour,
9am - 5.30pm,
Canson, Roberson,
LINCOLNSHIRE
WTo discuss a listing
Fabriano, Art Master 9am – 5.30pm,
Tel 01476 578800
F Gadsby
Stocking: Royal
Saturday 9amTalens,
– 5pmDa Vinci, Schmincke NORTH YORKSHIRE
Saturday 9am – 5pm.
SURREY www.theartshopskipton.co.uk in ourLN5 UK 7DQArt Shops
347 High Street, Lincoln,
HERTFORDSHIRE
Pullingers
www.jacksonsart.com
WEST YORKSHIRE
Stockists of: essential high-quality
The Art Shop
Stockists of: Pebeo,
Street,Derwent,
Skipton, Sennelier,
Lincolnshire
Tel: 01522 527 487
Art 109Van Go Farnham,
West Street, The Art Shop - Ilkley
painting and drawing materials from
2 Newmarket
North Yorks
Unison, BD23
Winsor & 2JB
Newton,
directory contact
www.gadsbys.co.uk
Tel: 01756 70177 Stockist of: Winsor & Newton,
Anna-Marie
Rowney, Caran D’Acheon
Surrey GU9 7HH Hawksworth Street, Ilkley,
TheTel:
Studios, 1 Stevenage Road, brands including Sennelier, Daler-Rowney, Loxley, Artmaster, Daler etc
01252 715390 West Yorkshire LS29 9DU www.theartshop.co.uk
Knebworth, Hertfordshire SG3 6AN
www.pullingers.com Winsor & Newton,
Tel & Fax: Golden,
+44(0)1943 432016 Reeves, Hahnemühle,
Stockist of: AMTLoxley
Derwent, Pebeo, Products,
Tel:Stockist
01438 of: 814946
Canson, Caran D Ache, Cretacolor www.theartshops.co.uk
Old Holland and more. Reeves,
and manyUnison, Daler-Rowney,
more. 01778
Westgate 392048
Gallery
C W S

6
p62_63_tajune17.indd 62 06/04/2017 09:54:17
JAKAR PORTFOLIOS
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p62_63_tajune17.indd 63 06/04/2017 12:18:29

June Exhibitions from Brenda_Exhibitions for Vivien 06/04/2017 11:38 Page 62
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
The National Gallery

LONDON ☎ 020 7747 2885
Trafalgar Square WC2.
BRISTOL HASTINGS NEWCASTLE
UPON TYNE
Bankside Gallery Royal West of England Jerwood Gallery
Michelangelo & Sebastiano; Academy
☎ 01424 728377
Rock-a-Nore Road. Laing Art Gallery
☎ 020 7928 7521
48 Hopton Street SE1. until June 25.
☎ 0117 9735129 ☎ 0191 278 1611
Queen’s Road, Clifton. New Bridge Street.
Society of Graphic Fine Art; Keith Tyson: Turn Back Now;
National Portrait Lines in a Landscape:
June 5 to 18. In Focus: Eileen Agar – Bride Modern Visionaries: Van
Gallery Drawings from the Royal of the Sea; Dyck and the Artist’s Eye;
☎ 020 7306 0055
St Martin’s Place WC2. Collection;
British Museum until June 4. until June 4.
until June 4.
☎ 020 7930 027
Great Russell Street WC1. Howard Hodgkin:
Absent Friends; KENDAL NOTTINGHAM
The American Dream: Pop to until June 18. CHESTER
☎ 01539 722464
the Present; charts modern Abbot Hall Art Gallery Djanogly Gallery
Grosvenor Museum
☎ 0115 8467777
and contemporary American The Queen’s Gallery Nottingham Lakeside Arts.
☎ 0117 9735129
printmaking, until June 18. Queen’s Road, Clifton.
☎ 020 7766 7301 (tickets)
Buckingham Palace. Julian Cooper;
Places of the Mind: British until July 2. Winifred Nicholson:
Watercolour Landscapes Grosvenor Museum’s 12th
Canaletto and the Art Liberation of Colour;
1850–1950; Open Exhibition;
until August 27.
of Venice; until June 21. KINGSBRIDGE touring exhibition,
May 19 to November 12. until June 4.
Harbour House Gallery
Browse & Darby CHICHESTER
☎ 01548 854708
Royal Academy of Arts The Promenade. PENZANCE
☎ 020 7734 7984
19 Cork Street W1.
☎ 020 7300 8000

Piccadilly W1. Pallant House Gallery
Simon Dobbs: Swansong;
☎ 01243 774557.
Victoria Crowe; 9 North Pallant. Penlee House Gallery
America After the Fall: paintings, and Museum
May 4 to June 2.
May 23 to June 4.
☎ 01736 363625
Painting in the 1930s; Victor Pasmore: Towards a Morab Road.
Dulwich Picture Gallery until June 4. New Reality;
☎ 020 8693 5254

College Road SE21. Summer Exhibition; until June 11. LEAMINGTON SPA Stanhope Forbes: Father
June 30 to August 20. The Woodcut: From Dürer of the Newlyn School;
Vanessa Bell; to Now; Art Gallery & Museum June 10 to September 9.
☎ 01926 742700
until June 4. Tate Modern until June 25. Royal Parade,
☎ 020 7887 8888

Bankside SE1.
Estorick Collection of POOLE
Modern Italian Art
COLCHESTER Open Exhibition 2017 ;
Alberto Giacometti; until June 25. The Gallery
☎ 020 7704 9522
39a Canonbury Square N1. May 9 to September 10. Chappel Galleries Arts University
☎ 01206 240326
Fahrelnissa Zeid; abstracts
☎ 01202 533 011
15 Colchester Road.
Giacomo Balla: Designing with Islamic, Byzantine, Arab LEICESTER Bournemouth
the Future; over 200 works by and Persian influences fused Mary Griffiths; Swimming Upstream:
New Walk Museum and
one of the undisputed masters with European approaches, May 6 to 28. cultures of watercolour;
Art Gallery
June 7 to October 15.
☎ 0116 225 4900
of modern Italian art, 53 New Walk. watercolours by Professor
until June 25. EASTBOURNE Lei Yongbin, from Sichuan
Tate Britain Little Selves; exhibition of Arts Institute, China,
☎ 020 7887 8888

Flowers Millbank SW1. Towner Art Gallery miniature portraits, includes June 1 to July 1.
☎ 020 7920 7777 ☎ 01323 434670.

21 Cork Street W1. College Road. miniatures from the museum’s
David Hockney;
Carol Robertson: Pointstar; until May 29. Ravilious & Co: The Pattern of
collection, until June 25. RYE
May 3 to June 3. Queer British Art; Friendship, English Art Rye Art Gallery
Designers 1922–1942; LIVERPOOL
☎ 01797 222433
until October 1. 107 High Street.
Foundry Gallery includes Paul and John Nash
☎ 020 7351 5456

39 Old Church Street SW3. and Edward Bawden, Tate Liverpool The Royal Birmingham
☎ 0151 702 7400
May 27 to September 17. Albert Dock.
Society of Artists;
Lucy Bainbridge: Fermata; .
new prints inspired by
London’s changing skyline,
REGIONS FALMOUTH Ellsworth Kelly in Focus;
until May 29.
May 13 to June 11.
April 21 to June 2. Falmouth Art Gallery

SHEFFIELD
BATH Walker Art Gallery
☎ 01326 313863
Municipal Buildings, The Moor. Graves Gallery
☎ 0151 478 4199
Llewellyn Alexander William Brown Street.
☎ 0114 278 2600
Victoria Art Gallery Surrey Street.
☎ 020 7620 1322
124 The Cut, Waterloo SE1. Artists Afloat – Tuke and
☎ 01225 477244
Bridge Street. Hemy at Sea; marine Transparency; transparent
An Earthly Paradise:
Bruce Yardley; paintings by Henry Scott Tuke materials and forms used to
Bath Society of Artists; Gardens in Art; includes
May 2 to 24. and Napier Hemy, explore how we see the world,
Stanley Spencer, Evelyn
Not the Royal Academy; annual open exhibition, until June 17. until June 18.
Dunbar, Paul Cézanne and
June 13 to August 19. May 20 to July 15.
Frank Tissot,
Mall Galleries HARROGATE MANCHESTER until July 1.
BIRMINGHAM
☎ 020 7930 6844
The Mall SW1. Mercer Art Gallery Imperial War Museum Millenium Gallery
☎ 01423 556188 ☎ 0114 278 2600

Royal Birmingham 31 Swan Road. North Surrey Street.
Royal Society of Portrait Society of Artists The Quays, Trafford Wharf
☎ 0121 236 4353 ☎ 0161 836 4000

Painters; annual exhibition, 4 Brook Street, St Paul’s Square. Isabel Alexander; illustrator Road Master of all Trades: The
May 4 to 19. turned artist who trained at John Ruskin Prize 2017;
New English Art Club; annual Prize Exhibition; annual open the Slade School of Art in the Wyndham Lewis: Life, Art, works shortlisted for the
open exhibition, submission exhibition, 1930s, War; prize,
June 16 to 25. May 18 to June 10. until June 4. June 23 to January 1, 2018. June 21 to October 8.

June Exhibitions from Brenda_Exhibitions for Vivien 06/04/2017 11:38 Page 63
☎ 0131 624 6200

SHERBORNE The Tweedales: Power,
Politics and Portraits;
Jerram Gallery until May 27.
☎ 01935 815261
Half Moon Street.
Katherine Swinfen Eady:

New Work;
June 10 to 28. WALES
STOW ON THE CARDIFF
WOLD Albany Art Gallery
74b Albany Road,
Fosse Gallery Peter Brown, Andrew
☎ 01451 831319
The Manor House, The Square. Douglas-Forbes, Mike
Jones, Euan McGregor,
Annabel Playfair: From Port William Selwyn, Peter
Isaac to Poppy Fields;
Wileman, Kyffin Williams;
June 11 to July 1.
May 11 to June 3.
WORCESTER CONWY
City Museum and Royal Cambrian
Art Gallery Academy
☎ 01905 616979 ☎ 01492 593413

Foregate Street. Crown Lane.
David Cox and his New Members; mixed show

Contemporaries; of Academicians elected to
until June 3. the Royal Cambrian Academy
in 2016,
May 6 to June 10.
WORKSOP
Harley Gallery MACHYNLLETH
☎ 01909 501700
A60 Mansfield Road, Welbeck.
MOMA Wales
☎ 01654 703355
The Harley Open; biennial art Heol Penrallt.
competition,
June 24 to August 8. A selection of works from Mall
p Susan Ryder Adjutant, Scots Guard, 2014, oil, 30⫻243⁄4in
the Tabernacle Collection; Galleries,
May 6 to August 31.
YORK London (76⫻63cm), on show in the Royal Society of Portrait Painters’
exhibition, May 4 to 19.
York Art Gallery
☎ 01904 687687
Exhibition Square.
Albert Moore: Of Beauty and

Aesthetics;
ART SOCIETIES Kendal Art Society
Annual exhibition at Stricklandgate
Reading Guild of Artists
Summer exhibition at Art Building LO4,
until October 1. House, from May 20 to June 3. The Institute of Education, University of
Arnold Art Society Reading, London Road Campus, from
Spring exhibition at Pondhills www.kendalartsociety.co.uk
June 15 to 25.
Community Centre, on May 6 and 7. Lechlade Art Society www.rga-artists.org.uk
SCOTLAND www.art4arnold.com
Bedale Art Society
Spring exhibition in the Long Room,
New Inn, Lechlade, on May 26 to 29. Salisbury Group
Annual exhibition at Bedale Hall, on May www.lechladeartsociety.co.uk of Artists
EDINBURGH 26 and 27. Info: Exhibition at Arundells, 59 The Close,
bedaleartgroup@yahoo.co.uk
Letchworth Art Society Salisbury SP1 2EN, from June 3 to July 3.
Scottish National Spring exhibition at the Community Tel: 01722 743577.
Gallery Clapham Art Group Museum Gallery, from May 13 to 20. www.salisburygroupofartists.co.uk
☎ 0131 624 6200
The Mound. Annual exhibition at Clapham Village
Hall, from May 27 to June 4. Little Gaddesden St Mary’s Bay
Beyond Caravaggio; Art Club Art Group
Caravaggio and his followers – Devon Art Society Summer exhibition at the Village Hall, Exhibition at St Nicholas Church, New
the so-called Caravaggesque Spring exhibition at St Anne’s Hall, Romney, from June 5 to 10.
from June 3 to 5.
painters, Torquay, from May 20 to 29. Tel: 01803
June 17 to September 24. 323640. Mid Beds Art Society Woking Society
Exhibition at Flitwick Village Hall, of Arts
Scottish National Fleet Art Society Outdoor exhibition in Mercia Walk,
Annual exhibition at the Church on the Flitwick, on May 27 and 28.
Gallery of Modern Art www.midbedsart.co.uk Woking Town Centre, on Saturdays June
Heath, Elvetham Heath, from June 15 to
☎ 0131 624 6200
75 Belford Road. 10 and 17. www.wokingartsociety.org
June 17. www.fleetart.org.uk Norfolk Broads
Now: Nathan Coley, Mona Guild of Wiltshire Artists Art Society
Hatoum, Louise Hopkins, Summer exhibition at St Peter’s Church, Annual exhibition in the Loft at Blickling
Pete Horobin, Tessa Lynch, Marlborough, from June 18 to 24. Hall, near Aylsham, Norfolk, from May 3 To submit details of an
Jock McFadyen, Rivane www.guildofwilt shireartists.com to 29. exhibition for possible listing
Neuenschwander, Tony
Ham Art Group Oswestry & District Society here, email Deborah Wanstall
Swain;
until September 24. Spring exhibition at St Thomas Aquinas of Artists at deborah@tapc.co.uk or
Church Hall, Ham, Richmond, Surrey, Exhibition at Chirk Castle, Denbighshire, telephone 01580 763673
Scottish National from May 27 to 29. Tel: 020 8940 5725. from May 27 to June 5.
Portrait Gallery
1 Queen Street.

Patchings single page ad_Layout 1 06/04/2017 10:08 Page 1
PatchingsFestival 2017
ART, CRAFT & PHOTOGRAPHY JULY 13 TO 16, 10AM TO 5PM DAILY
Supported by The Artist and Leisure Painter magazines
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FOR 2017
Don’tmissthisopportunitytomeetover250 Resident Festival Artists
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designersdemonstratingtheirskillsatoneof Laura Boswell, printmaker;
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theUK’sfinestcreativeevents,setin60acres Stephen Ashurst,
ofpicturesqueNottinghamshirecountryside portrait painter; E+M Glass,
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FREE DAILY DEMONSTRATIONS BE demonstrations
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(Thursday to Saturday, July 13 to 15) and Tim Fisher (Sunday, July 16), 140 selected works in two
sponsored by Daler-Rowney. Manyotherfreedemonstrationswillbe separate exhibitions from this
providedbyCaran D’Ache, Derwent, Pebeo, Premium Art Brands, year’s The Artist and Leisure
Search Press, UK Coloured Pencil Society andWinsor & Newton Painter Open Art
Competition and view the
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sponsored
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MEET AND TALK TO OUR GUEST ARTISTS

ThuRsdAY, JulY 13 John Sprakes, Pollyana Pickering
Enjoy a great day out!
FRidAY, JulY 14 Bruce Mulcahy, Colin Allbrook
sATuRdAY, JulY 15 David Curtis, Ann Blockley BOOK YOUR TICKETS TODAY!
suNdAY, JulY 16 David Allen, Peter Barker
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Cuthberts Mill, Winsor & Newton and many more • REFRESHMENTS AVAILABLE
Allticketsavailableonlinebyvisiting
FESTIVAL WATERCOLOUR DEMONSTRATIONS
Enjoy watercolour demonstrations sponsored by St Cuthberts Mill
www.patchingsartcentre.co.uk or
ThuRsdAY, JulY 13 David Bellamy, Ann Blockley, Soraya French by telephone on 0115 9653 479
FRidAY, JulY 14 Ann Blockley, Soraya French, David Bellamy
Nobookingfeeforonlineticketsales.Thestandardone-dayticketprice
sATuRdAY, JulY 15 David Bellamy, Carne Griffiths, Ken Howard OBE, RA onthedayis£10.TicketpriceincludesVATandthefestivalguide.
suNdAY, JulY 16 Carne Griffiths, Robert Brindley Patchings Art Centre, Oxton Road Calverton, Nottingham. NG14
A limited number of tickets (£2.75) will be available for purchase for these 6NU Telephone 0115 9653 479 festival@patchingsartcentre.co.uk
watercolour demonstrations with advanced tickets
June Opps RHP_Layout 1 06/04/2017 09:22 Page 1
OPPORTUNITIES
& COMPETITIONS Check out the latest competitions to enter
and make a note of important deadlines
unframed prints and greetings cards Farm Shop Prize of a luxury hamper. Contact: Llewellyn Alexander
Sending-in days may be submitted. All painting For full details, see the website. Gallery, address above.
Derbyshire Open Art media considered. All work should When: Submissions deadline, May ) 020 7620 1322 or 1324
Competition 2017 have been completed in the last five 21, 5pm; handing-in, June 15 to 18.
Details: Now in its 35th year, this
years, be for sale and framed to a Arts Depot Open 2017
professional standard. Selected Cost: £10 per work.
annual competition is open to Details: Annual artsdepot open
works will be exhibited at the NWAG Contact: Harley Gallery, address exhibition is a celebration of
amateur and professional artists. Gallery, Banham Zoo, Norfolk, from above; info@harleygallery.co.uk
) 01909 501700
Entrants are asked to capture an creativity. Emerging and established
July 15 to September 17. For full artists in the UK are invited to submit
image of what Derbyshire means to terms and conditions see
the artist. The subject could be a up to three works, which can be in
www.naturalworldartgroup.co.uk Exeter Contemporary any medium such as paintings,
landscape, a view of the artist's Open 2017
home town, local people, When: Closing date, July 1; handing- prints, audio-visual, digital or
representations of local legends or in, July 11. Details: Annual open submission ceramics. All must have been made
still life. Most media are accepted, Cost: £8 per work. exhibition of contemporary visual since January 2014. Prizes will be
including oils, acrylics, watercolours, art. Up to four works, completed awarded as follows: artsdepot Open
Contact: NWAG co-ordinator Viv within the last two years, may be Prize (Barnet), a first prize of £750
drawing, print, collage, manipulated Rainsbury: submitted in a variety of disciplines, and second prize of £250 for the
digital imagery or 3D work, but not viv.rainsbury@virginmedia.com
) 01493 440972
including painting, sculpture, most distinguished works by artists
photographic prints or computer-
photography, print, drawing, video, currently living, studying or working
general images. Works must have mixed and digital media. Maximum in the London Borough of Barnet.
been created in the last five years. Royal Scottish Academy size, 783⁄4in (200cm) in any artsdepot Open Prize (General): open
Up to two works may be submitted,
maximum size 150cm in any
(RSA) Open 2017 dimension. The selection panel will to all artists who do not live, work or
Details: Showcasing a unique particularly look for work that study in the London Borough of
dimension. Selected works will be reflects current themes and concerns Barnet, £500 for the artwork that
shown at Buxton Museum and Art selection of collectable small and
medium-sized artworks by artists in contemporary practice. Selected best represents artsdepot’s passion
Gallery, Terrace Road, Buxton, works will be exhibited at Exeter for creativity and originality. Young
Derbyshire SK17 6DA from June 24 from Scotland and beyond, the RSA
Phoenix, Bradninch Place, Gandy Artist Prize, for an artist aged 13 to
to September 1. Awards include open exhibition celebrates the best
Street, Exeter EX4 3LS from 19 years old. Digital submission in
Derbyshire Trophy, £750 Purchase of contemporary practice. Up to two
September 15 to November 4. First first instance. Selected works will be
Prize; five Derbyshire County Council works, including paintings, drawings, exhibited at artsdepot’s Apthorp
prize, £1,000; second prize, £500;
Awards of £200 each; and a Visitors’ sculptures, prints and photography, Audience Choice Award, £200. For Gallery, 5 Nether Street, London N12
Choice Award, £100. may be submitted, maximum size full details and entry forms, see 0GA, from July 27 to September 1.
311⁄2in (80cm) in any dimension www.exetercontemporaryopen.com/ For full details, and to download
When: Handing-in, June 9 and 10,
(framed). Digital submission in first call-for-entries entry forms, go to
10am to 4.30pm.
instance, one image per work to be www.artsdepot.co.uk/submissions-
Cost: Free to enter. uploaded. All works must be for sale. When: Submissions deadline, June
16; handing-in, September 4 to 9. invited-artsdepot-open-2017
Contact: Download terms and Selected works will be exhibited in
the Lower Galleries, The Royal Cost: £20, students £15, for up to When: Submissions deadline, June
conditions and entry forms from
Scottish Academy Building, The four works. 12, 10am. Handing-in, July 17 to 21.
www.derbyshire.gov.uk/leisure/buxt
on_museum/derbyshire_open Mound, Edinburgh EH2 2EL, from Cost: £10 per work; young artists, £3
) 01629 533540
Contact: See website, or telephone
July 22 to October 1. Awards include the box office. per work.
the RSA Guthrie Medal and £750; the ) 01392 667080 Contact: Apthorp Gallery, address
Society of Equestrian Artists’ RSA Maude Gemmell Hutchison above. Or telephone the box office:
summer open exhibition Prize, £600; the RSA Open Exhibition Not the Royal Academy ) 020 8369 5454
Details: The Society of Equestrian Prize, £500; and many other prizes.
Details: The 27th year of this annual
Artists’ Summer Exhibition is open to When: Submissions deadline, June 7, salon des refusés exhibition of Droitwich ArtsFest 2017
all artists. Works must be original, 5pm. Handing-in, July 7 and 8, 10am paintings submitted to, and rejected Open Mail Art Exhibition
equestrian related and can be in any to 4.30pm. for, this year’s Royal Academy Details: Artists are invited to take
medium except photography/digital Cost: £10 for one work, £18 for two; Summer Exhibition. The directors are part in the 3rd international open
art, 2D or 3D. Non-members may students £6 per work. particularly looking for well- mail art exhibition. The theme is
submit a maximum of two works. executed oils, acrylics, watercolours ‘Long Live the Arts’; artists can use
Contact: To enter, and download full
Digital submission, one image per and some drawings. Photographs, any technique – on paper or card,
regulations, go to
entry. Selected works will be shown sculptures and prints are not size A6, A5 or A4. All entries will be
www.royalscottishacademy.oess.uk
at the National Horse Racing accepted. Digital rejections will be exhibited at Droitwich Library from
Museum, Palace House, Newmarket, The Harley Open considered. Two works may be August 1 to 30, and published on the
Suffolk CB8 8EP from July 10 to 16. submitted, which must be for sale. Mail Art website: https://droitwich
Details: Entries are invited for this RA submission slips are required. mailart.wordpress.com. All artists
When: Submissions deadline, June 4. biennial open competition for
Handing-in, July 8, 10.30am to Telephone for full details, and to must register their submissions by
original, wall-based artwork of any arrange on-the-spot selection by the email: mail.art2015@yahoo.co.uk
2.30pm. Regional handing-in points. discipline. A maximum of two directors of the gallery. The
Cost: £5 per work, no hanging fees. works, made within the last two When: Registration deadline,
exhibition is from June 13 to August
years, may be submitted. Online 19 at Llewellyn Alexander Gallery, June 15.
Contact: Enter online and see full
entry conditions at: submission process only, via 124–126 The Cut, Waterloo, London Cost: Free to enter
www.equestrianartists.co.uk/index.p www.harleygallery.co.uk. Around SE1 8LN. The gallery is open from Contact: Send works to Droitwich
hp/summer-open-exhibition 140 works will be selected by a 10am to 7.30pm, Tuesday to
) 0300 0110 185
Mail Art, 19 Impney Way, Droitwich
panel for exhibition at the Harley Saturday. Spa, WR9 7EJ.
) 01905 776909
Gallery, A60 Mansfield Road,
Welbeck, Worksop, Nottinghamshire Cost: Free to enter.
Natural World Art Group
S80 3LW, from June 24 to August 30.
Details: Exhibition open to all artists, Prizes include the Harley Prize: £750 A much larger selection of opportunities can be viewed on our website,
professional and amateur, plus a solo exhibition alongside the
worldwide. Up to six framed where you will find a list of workshops, tutors, painting holidays and more.
next Harley Open; the Judges’ Prize:
paintings or sculptures plus up to £500; the School of Artisan Prize: a
three smaller works, framed and weekend course; and the Welbeck

Project2_Layout 1 10/10/2013 14:30 Page 2 Projec
ARTNET
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68
64 June 20172013
December www.painters-online.co.uk
June CLA_TA.indd 68 05/04/2017 13:59:22

Project2_Layout 1 10/10/2013 14:30 Page 3
THE ARTIST’S DIRECTORY OF COURSES, MATERIALS & SERVICES

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www.painters-online.co.uk June 20172013

December 65
69
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A D E B A N J I ’ S M O T I V AT I O N A L T I P S : 6 T H O F 1 3
Work at it!
Adebanji Alade says forget about waiting for inspiration
and quick steps to success. If you are going to succeed as
an artist you have to develop an ‘insane work ethic’
T
hese days, people seem to want have a place, but if you depend on as ‘Pete the Street’, who is always on
success without having to put in them to make it in your pursuit of an the road, painting or drawing. Now, it’s
any effort at all – so prevalent is art career, it’s going to be a bumpy easy to say these guys are doing this
the idea of instant-this and ride! everyday because they have great
instant-that, or quick steps to becoming You must be ready to work at it. Treat galleries representing them or because
an artist, that I wonder what is really your art career as a full-time job. You they know they are going to sell most of
going on. In this quick-fix era many art might not be able to put in three- to what they create. But it was the insane
students aren’t fully prepared for what ten hours every day but what you do work ethic and dedication that got
is ahead for them in the real world of need is consistency over time. Set a them the attention and has kept them
being an artist. It is no surprise that particular time for every day, one that having the attention and large following
many of today’s art graduates end up in you will use to put your best efforts they’ve built over the years.
jobs that have nothing to do with art. into your work, whether you feel like it Are you ready to take the plunge? Are
Who told them the road was going to or not. You’ve got to have some sort of you ready to give your art career a full-
be easy? Who gave them the structure and stick to it. Be ready to blooded, concentrated and aggressive
impression that talent would help them give it everything you’ve got. Don’t go work push? Do you really want to take
get noticed and they’d make it big in a into any art venture half-heartedly; be your work to the next level? Do you
couple of months, or even years? ready to take on anything in front of want to see your talent take you from a
Where will success without blood, you with a driving force. hobbyist to a professional? Then I’ll say
sweat and tears come from? Well, I’m with all my heart that you need to
not sure where it all went wrong but I’m Work is fun WORK at your craft! Work on your
sure going to try my best to put it right! So Work must become Fun. Yes – you weaknesses and make sure you don’t
heard me – work must become fun! stop till you have completely overcome
Don’t wait for inspiration You need to develop what I call an them. Work on your strengths, keep
I’ll start this motivational tip by saying insane work ethic. I have observed practising and honing your skills.
that if you are a bit laid back and lazy, some very successful practising artists Collectors and galleries are fond of
and think you’ll try your hand at and the one thing that makes them a artists who are hardworking and are
something creative when the mood cut above the rest is their obsession able to work to meet tight deadlines,
takes you, you might just be in the with work. Every single day they go out produce a large body of work for
wrong career. I love to let people know into the world or into their studios and exhibitions and who never fail to
that being a creative person doesn’t put in the hours. Even before most of deliver when expected. Are you that
mean you don’t have a full-time job. If them had studios they made the best kind of person? Do you want to be that
you treat it like a full-time job, it will of what they had until things got better. kind of person? Well, the choice is
serve you like a full-time job. You can’t I remember Professor Ken Howard yours. You are probably reading this
wait for inspiration for new projects, saying: ‘You’ve got to treat your career article because you know you can be
and develop a whole new body of work as a job; if you have a job, you’ll have a that kind of person. So, do it – get out
whenever you feel like it. Now don’t get resuming and closing time.’ your art gear and do something today,
me wrong, feelings and inspiration do I follow Peter Brown, popularly known tomorrow and forever! TA
Adebanji Alade
studied fine art in Nigeria and has a
diploma in portraiture from Heatherley’s
School of Fine Art, where he teaches in
the Open Studio. He has exhibited
widely and won many awards. Adebanji
is a member of the Royal Institute of Oil
Painters and a council member of the
Chelsea Art Society; he tutors
Adebanji is always
workshops and gives demonstrations
looking for
for art societies and also offers private
opportunities to
coaching. For more details see
develop his drawing
www.adebanjialade.co.uk;
skills. He is
www.adebanjialade.blogspot.com;
constantly working
www.sketchinspiration.com
at being an artist

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Inspiring and instructing oil painters since 2007
E: Jane@norfolkpaintingschool.com T: 01485 528588 W: norfolkpaintingschool.com
p71_tajune17.indd 1 05/04/2017 11:51:31

Some people see water colour paint.
You see a history of innovation.
We created the first water colour pan in 1835. And in 1842 the collapsible
paint tube. Two ground breaking ideas that gave artists like JMW Turner the
freedom to paint anywhere. Our rich history now continues with 96 pigment-rich
Professional Water Colours and eleven mediums to provide an even greater
variety of techniques and effects. Turner would have approved.
See our water colour history at www.winsornewton.com/professionalwatercolour
p72_tajune17.indd
COL0058_W+N_PWC 1 Ad_A4_AW1.indd 1 05/04/2017 11:53:44
03/03/2017 17:33

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TA06_p01_fc_TA12 Front cover 06/04/2017 11:06 Page 1

www.painters-online.co.uk June 2017 £4.20

Swing into action

Philip Sutton RA reveals the

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24 Marie Antoniou demonstrates how

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GREAT BRITISH DESIGN & CRAFTSMANSHIP

Thursday 4 - Sunday 7 May

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

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THE ART WORLD

p Wyndham Lewis The Crowd, 1915, oil on canvas, 8⫻61⁄4in (20⫻15.5cm)

www.painters-online.co.uk artist June 2017 9

l North Lincs Art Society is once

DRAWN TO THE RWA l Artists Around Wetherby is an Open

‘The rugged and vibrant coastal scenery of this area of south

To upload images of your own work and receive

10 artist June 2017 www.painters-online.co.uk

p David Cobley Marvellous Mr Hockney, oil on panel, 71⁄2⫻9in (19⫻23cm)

NEW ENGLISH SUMMER

l Christchurch Arts Guild are

www.painters-online.co.uk artist June 2017 11

L to be invited back for another

12 artist June 2017 www.painters-online.co.uk

p Late Afternoon on the Foc'sl, Sea Cloud, watercolour on Arches Rough,

p Sketchbook pages, 6⫻13in (15⫻33cm).

www.painters-online.co.uk artist June 2017 13

p Mahon Stairway, watercolour on Arches

mostly cold and frequently grey (this

14 artist June 2017 www.painters-online.co.uk

u Barcelona Doorway, watercolour on

p Street Awnings, Calvi, sketchbook pages, 13⫻6in (33⫻15cm).

www.painters-online.co.uk artist June 2017 15

p Pembrokeshire, oil on canvas, 61⫻743⁄4in (155⫻190cm)

16 artist June 2017 www.painters-online.co.uk

t Park Farm, Pembrokeshire,

q All Things that Are,

I didn’t know.’ His eureka moment was

tropical paintings, which sold well.

www.painters-online.co.uk artist June 2017 17

p Every Eye is Bright!, oil on canvas, 311⁄2⫻361⁄2in (80⫻93cm)

18 artist June 2017 www.painters-online.co.uk

Charles Williams’ musings: SUMMER SCHOOLS

www.painters-online.co.uk artist June 2017 19

Swing into action ‘Whatever the subj

DEVELOP YOUR SKILLS

£2.92 STAGE THREE

artist May 2017

artist The Artist digital edition

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