WIN £600 OF TOP ART PRODUCTS TIPS » TECHNIQUES + IDEAS + INSPIRATION Summer 2017 £4.40 he best exhibitions and what you can learn from them ” PIGPAINT A VIBRANT SCENECARANP ACHE Genéve ~ CREATE COLOURS MADE IN SWITZERLAND For xddonl information and stocks plese contact: JAKAR INTERNATIONAL LIMITED Salar Internationa Limited, 410 Certenial Park, Estee, WD6 311 Tet: 020 8381 7000 emu nfo@atarcouk axandach comGET CREATIVE WITH YOUR TIME x jeaseaiguarpuireay ar a ements poliahactataglalegsunmardig ngredse Subseriphi pes damaged mgt som ee ihechnarmes tqoetirge borin ace cepat thre rca xmas of agi onde ee ng se am pe i aa ue bern ‘sone ofthe great joys of summer, whether its finally ‘nine: reading that book youve been eyeing for months, starting on a new painting — me projector exploring amazing art exhibitions, hes ‘We've dedicated our special summer issue to helping you make the most of the season, Our great contributors have put together a raft of bite-size a eae, challenges (page 51), which ean be tackled in few hours to give you a Post: tits & Musratos, creative boost, rom fine-tuning observational skills to trying a new genre of ‘Subseriptons Dosatment 7 = et Chelsea Magarnes, Tower House, painting. I youre in need of inspiration before you get slated, we've cast an ela ag tye over the biggest art shows (page 16) toring you those we think you will eee ee find the mos fascinating. And that's in addition toa fabulous watercolour ‘masterclass (page 62) and a great chat with illustrator Brian Sanders (p 36), who talks us through his time drawing on set with Stanley Kubrick luring the filing of 2001: A Space Odssey, and much more. The most dlficult decision might well be what todo frst Sally Hales, Ealtor BS irioearstsanctsratos.cauk ED @randiagerne HF arisstransvatoss (BY pondimagnne [2 zandimagnene Ariat tdztratrs, he Chlns Maganhe Company i, hes owe, 2 bia ae Londen W331. 020)7389 3700 wow arsaanditrs cook bromine Sy als Oita Edy Nats ner Art Er ais Favades arr ars Bonet fake Sct, Ae ate Paes, ela Ey Rey [nit Teena Cort Ly Note, Daman Car, tel ngs ae Carat ra Uitcige,l ostar Kats stor OMLNEENERIES arpa {centres ADVERTEING vrnvnn arg han 0) Ta Tauck ans reno Dna Mpg sn on Fue, ogra aer et YG randanager Caiy usuen BAEK SEUES wmchclecaroxanes or sop IEW NOT 4729 company Teitoeneransassteckar eae She ver 2015" Artists & MustrarorsCONTENTS Artists & SUMMER 2017 (tin touch by post email and social media Five chances to win stash of art supplies Zz 54 ‘The best art events this summer Your monthly selection of quik tips and advice 32 66 Laura Bosnel helps you plana group show Ann Witherdge looks at mass drawing 34: o Relox with these creative reads ames Glick reveols the secrets to stil ie 35. 72 Learn about your Sargent watercolour Explore watercolour pencisin an urban scene 36 a2 ‘look athe golden era ofcommereal art Controversial war artist Wyndham Lewis 46 30 We tak techniques and inspiatonal art 40 Daphne Todd shares her portrait methods st 62 74 15 bite size challenges for youto tackle Howto paint edges wih contrast in watercolour Try ading gouache and other materialsfoackac or LIFE BACK AT THE EASEL Having taken a break from painting for neoy 25 years, 1 decided ta retuentoit recently ‘after ving up my fulltime job in ‘an office to bacome a carer for ‘my husband, |m loving painting again and nave even soe few of my works ‘online: mainly pant bright, bold ‘and vibrant abstracts, and recently have come across anew twennique of aye pours, whien ‘8Nes an amazing result. This | wanted to say how wonderful Portalo Plus i. tis giving me a ‘nance to cisplay my work ontine In an amazing community of artist. fam 23 and a salttaught artist ang iMustrator ling in the beautiful ‘countryside of Cornwall. | am also very passionate about the world that we lve Ive recenty been made redundant from my spectacular job ‘asa lass engraver and | decides it vwa8 a sign I should dedicate myself fulltime to art. want tobe able to inspire younger people and suport ‘caries with my work. Its 2 dream to.0pen an animal shelter supported by sales of my artwork. Leah Ollson, via email I's great to hear Portfolio Pus is working for you, Lean. Signing up fran accounts simple at www, arvstsanditustrators.co.uk/register YOUR LETTERS {salatge 100%75em floral abstract that | recently painted, called Catfornian Poppies. have also been accepted to ‘exhibit three of my paintings at tie! Boofari Gallery in North Wales throughout the month of ‘uly, This will be my frst ‘exhibition so lam very excited, as well asa litle nervous. ‘Susan Wooler, Taaere, Holywell tarite fo ut post: its & Museen £50 aft veer frm our vow retartc.uk GreatArt® ©: Mark Peveriey (Pov): Step-bystep guide: How to layer foliage. Artist Matt Jeanes ‘shows you how to approach a ‘mass of leaves in watercotour. Lets know what you think of Artists & Mustrators and share your painting projects with us Using the contacts below. © enanaimagasine EF aritsanenustators andimagazine El enanamagaainePortrait of Eléonore Florent Farges “All we axe is dust. My attic life has always been guided by this realization: compared to he mindblowing scale of our universe, we are mere dust. My goal inthis life is to turn dust into meaningful forms. That is why I've clways felt naturally attracted to Nitram Charcoal Isl eemember my fist ime using Nik dust wosn asa student = ving all over the place ike it does with willow or vine charcoal. For the very rol over values ‘and franstions. | didn't have fo use a stump or my finger and ruin the drawing. Unlike willow cr vine charcoal, that offen present a hollow core, Nitram is one so it comes in three degrees of softness: B, HB and H. | soon realized th a hard stick inlo a very fine point lo jiece, Furthermore, | could sharpen the transiions wih @ grea! level of subllly. For the first time, dust wos giv to ise then, [have been exclusively using Nitam Chorcea. The range of possiiliis is endless.” =EaESaS Be ee een Cc ii sgundy, Force, He stdiad ot he Loran Ath www.nitramcharcoal.com© FESTIVAL OF ILLUSTRATION 2017EXPLORE PD Print ar Getsome creative Inspiration at tne Fresny Presses Print Far which takes place at The CGvic in Bamsiey on Saturvay 15 Juy 2047, from 10am to 4pm. tis set to feature acacoshory of stalls sling ar, lustration and more alongside line-up of lve music wr barsleyelie co.uk LEARN Liferawing class Explore freestyle, large-scale Cchatcoalcrawing wih a clothes model Shorted for the Jerwood Drawing Prize 2086, artist Neola Galler wi snare her passion for nave Summer EMERSON MAYES ‘Atbough painting nas been a partof this ars’ ite since childhood, It wasnt his eaest passion. Emerson fst ‘reamed of playing cricket for Yorkshire, but while thoughts ofa future filed with sporting gion faded, a lave forthe county's landscape endured, as Summer Track attests. “My family are trom 8 rural background, so spent my childhood on farms,” says the artist, whois now based in Harrogate. “I aiso worked on a farm as a holly oo while ‘at university in Leeds and ved in the Yorkstize Dales for ‘a numer of years, soit was just a case of painting what surrounded me” And although he now ives in town, the landscape Is never ar away and the palnter enjoys gaining some distance from his subject. “Belng away frm the al-encompassing landscape gves me more ofa chance for the painting to develop naturally.” he says. ‘Summer Track isthe result of a reguar walk and was painted at Emerson's Harrogate studi ftom a series of ‘Quick sketches and photographs. “I know the landscape Wal ust wanted to capture that sense of a meandering path on a summers day he says. He pints with oll aight rom the tube, ang Summer Track allowed him to revel in his lave af the viscous quality af the medium with big, volo, brushstrokes. He aimed to capture the feeling ot doth and distance. “The success of the painting relies on the sense ofthe dark foreground opening outin tothe lighter, more spacious background," Emerson say. ‘As much ashe loves painting landscapes, he also embraces the interplay between urn life and the countryside, ands working on a yearlong project to ‘document scenes from his favourite bus journey, which runs from the eathedral ety of Rioon, va Harrogate and an to Leeds. W's a great route as ittakes in both the rural anc turban and passes trough many places Ihave a deeo ‘emotional connection to He also being kes busy in his tale 28 chiet exeeutve officer of visual arts charity New Light Arts, which promotes Norther artists by hosting one ofthe UIs largest open cali for art the New Light Prize Exhibition, whichis curently accepting entries. vow. nrlight ator. uk; wwn.omersonmayes.couk >Your art, printed. POINT10%1 » Upload image » Choose size &layout » Proview » Summary & pi 5 of 5 — Position image ° Image setup Print quality Image e — ° 239 Paper size ° Paper Any distance Border £12 =a © 9.6 out of 10 on Trustpilot 10% giclee discount for A&l readers, use code “ai10” @ P Ea www.point101.com 020 7241 1113 ey‘ton pant, 53350 LIAM DICKINSON (Can you imagine painting against the clock wth judas, Crowds and celebrities watching your every stroke? Lancashire-based Portola Pus artist Liam Dickinson can, having competed inthis year's teevisee Sky arts Portrait arise of the Year 2017. Across imelde ‘Staunton played a strong and sient ole fr the seven ‘semifinalists and Liam's rendition of the performer ‘a him through to the inal three. _Athough he is used to ishing a portal na single Sitting. the time restraint of just four hours meant that re had to prioritise. The artists were tasked with ‘communicating a narrative in their paintings, 80 Liam used soft, suggestive marks o praduce the rose bush to allude to Imolda's passion for gardening, but his main focus was the face. Imelda's smile brings ner to ie, ‘emphasised ty the soft shagows under the cheek bones and above the eyes, whichis marginaly efferent in tone to Create an iluson of Gepth. He places subtle undertones inthe same way to unify the portrait and background ~ spat ‘the greon of the bush relectod as a coo! tint onthe chin and hai. Such details were narito grasp due tothe artist's he began — which he then viewed on his Pad ~ and laid gre to ansfer tothe canvas. although he paints ‘om Ife Liam isnot averse to using nhetography as an aid to pek uo more than the naked eye, "Tm more thar certain that had the Old Masters hed access to cameras or iPads they would be making the most of thom” ne jokes, The artist's fascination withthe minutiae wa Inspired by hyperealist and impressionist styles, ‘hich helped him to carve a path to his own impressionist photorealsm which captures a likeness, hile also engaging the viewerin a jigsaw of subte, carefully chosen marks. ce from the ster, 50 Lm took a photo before PortfoliopLus For your chance to feature n Fresh Paint, sign up for your ‘own personalised Portfolio Plus page today. You can also: *Showease and sel unlimited artworks commission free + Get your work seen across AA's soclal media Submit arto online exhibitions +Enjoy exclusive discounts and much more Rogister now www. stsandillustrators.c.uk/registerFORTHCOMING WORKSHOPS 7 PORTRAIT AND LANDSCAPE DRAWING /PAINTING UPN CIN LD U1 a DL | eC meee Cel eee OM RET mol OC eLy artistinitaly.comPAINTING TIPS TO IMPROVE YOUR OWN ART, WORDS 4 huly to 29 October 2017 Scottish National Gallery Of Modern Art (Modern Two) The rie of abstract art has left ther genres ‘of painting that thrived during the 1920s and 19308 somewhat oversradowes, This year, True to Life at the Seotish National Galery af Modern Artin Edinburgh, from 4 ly to 29 October seoks to rehabilitate the reputation (of Brtish reat painting between the two ‘Word wars. Curated with stunning success by Patrick Eliot, the show i sureto fascinate ‘and inspire vepresertational artists a5 t brings together more than 80 paintings oy ‘aroun 80 artists who form a now almast forgotten generation of painters. Focusing on ‘Scrupulousty detalles realst work, it locates ‘them not only within the British traction but also as part of a worlwide tend, Eliot was inspired to bring te paintings | together after seeing artworks ofthe period in regional gates. saw paintings by Mereatn | Frampton and Gerald Leste Brockhurst nthe | Forons Art Galery in Hull and they were so stunning” he says. "want other people to | share tat pleasure and entrusiasm, andthe wand vilak you. CAR learh from Hum EXPLORING THE SEASON'S BEST EXHIBITIONS IS THE PERFECT OPPORTUNITY TO PICK UP sense of discovery” Thue fo Lif includes established artist, such as Gerald Losio Brockhurst, Meredith Frampton, Laura Knight James Cowie anc Winfred Knights, but Eliot. promises vistors wllalso “see fabulous Dalntngs by attists they nove never Heard of, > rights, Te Dewge, 1920, i on cans, A SALLY HALES AND NATALIE MILNER Broek, Byte Hits, 1959, oon‘such as Pamela Bianco, laoys Hynes and Harola wiiamson Tat so much ofthe realet art of the ages in public collection ‘testament to its contemporary popularity ‘the paintings were snappod up by rogoral salle. “They wee sought af ‘raising. “Brockhurst was the most rat painter ofthe day, charging upto £1,000. Giyn Philp very expensive. pensive ‘ur, although the exibition brings these paintrstogather based on genre, they wer not partof an art movement. Ary concerns wth subject matter and sty Instead spring rom the shared experiences and preoccupations ofthe times. "There's a {quirkiness and st upper ip quay about it verlapaing that's “There ae ots of erent takes on realism, and that ry British” says EliCTOBERSUMMER SHOWS.‘maybe one reason ithasn't oeen the subject of an exibton before rs nat a school, style osm. I's multifarious and hard to pin down, Many ofthe works are undeniably and suitconsciously beauttul such as Gerald Lesle Brookhurst's By the His, Merguerte ‘oleay by Meredith Frampton and Pauline Wattng by Herbert James Gunn. The ‘commercial success of these wellconceived anatomicaly accurate portraits provided painters wth an income, but they werent a ‘simple continuation ofthe lavish tradition of Edwardian portraiture. Instead the painters oveloped wnat Eliot cas a “sharper serse of realty’ Meredith Frampton’ paintings, ‘such 35 Marguerite Kelsey, combine ‘waditiona techniques witn a concern for pictorial values, anc are-an exami of crea and ana)ytical modern realism which embraces erder and harmony ta express @ Ctassical sensibly, yot the deta, colours and tones create a vividly contemporary mocd, Crties viewed realist painting a continuation of the conservative trend in art ‘schools and decried tas descriptive ana unworthy of serous examination asart. AS result, the importance of realist painting as ‘8 mirorto the political, social anc cultural concerns ofthe tines has also been largely ‘orgoten. “Representational artis a good ‘means for interrogating issues," says Ell “We easy to understang, which useful, but ‘theres also bags of scope for incivdualty. Solt’s an appreach that was used by the rght {ang tne ot, and everyone in between” ‘The works in True to Life aren't overtly plea, aut te fact that there patngs of -spectaces, holiday, pices, sport, domestic and working life locates their contemporary 5 relevance. Eliott ads: “I's an amazingly ich ‘and competing period There's the anxiety of having ved trough one war, and the 5 possbity of another one approaching” “Through depicting the new reales of leisure lime and publ transport artist, sucha award Burrain his painting The Snack Bor, reveal thet desire to record the raphy ‘canging worl around them and ® theansietiesit provoked. And although they ‘weren't school, artists such as Meredits Frampton, Gerald Leslie Brockhurst and Edward Bord share a sharp focused sve “We've looked in particuar at the graphic, hard-edged realist tle, which has some saflities wth the German Neve Sachlchkett (new obiectivy’) paintings ay Otto Dian others” says Ello. “This stve Is ‘quintessentially of te period, but taint have a brand name. ts sometimes refered to ‘as brushes: You get erties apolauging the fact that you cant see the brushmarks that the paintings seem almost to have been stained. You can imagine these works being painted with superfine brushes and thin, layered gazes.” ut there was ~and is noone way to paint realism and visitors tothe exhibition wil find a variety of techniques on display rom paintings that allow brushwark to show to ‘others that veer towards the mechanical style (of Vortiism, such as Winitred Kgs? ‘acclaimed The Deluge. ts reinteroretation of ‘inca seene can be read as a lament forthe Fist Wor War la an attempt o apply BE Edward Bra, Tho Snack Bar, 1920, ol on canes, (Cubism to realistic painting. revealing how, 76.288 Sem ‘ar rom noing distnt pats tough art LEFT Mereatn histor, representational and figurative art Frampton, Mergueme ‘and abstract ane sutrealst painting led etsy, 1928, Into each other during these decades. ol on conas, ww. natlonalgalons org > nosis zen22 June to 24 September 2017 National Portrait Gallery, London WC2 This year the BP Portrait Award - the most prestigious annual prize for portature~ atwracted 2,580 entries ‘om 87 counties, inetuding 1,244 from the UK. Ths ‘summers three shortsted artworks ~ Double Porat by Thomas Ehretsman, Breech! by Benjamin Sullvan ana Emma by Antony Willams ~ can be seen as part ofthe words exhibition, along with other eelectes submissions. Seen together, these paintings offer an unmissable Insignt into the erat of porvalture exeeutod with exquisite skil bythe wore’ leading artists “Goingto the BP Porralt Award i invaluable for aspiring artists and students because it gves them access to study fst hand how these portraits were created in terms of composition, technique, and the use af lighting for cramatic effect,” says finalist and Artist & Iustrators cortioutorArteny Wiliams. He even crests @ vito the BP PortratAwara exhibition In the early 1980s ‘wth giving him the matvation to pursue parvaiture more seriously, And with seven 8° Portrait Avards exhibitions tonis name, tnere's no denying thatthe show was wel ‘Worth theta fr the audelng portal. ‘This years trio of finalists present intensely personal paintings that balance vulnerability and empowerment in equal measure. Two af the three models are the artist ‘wives. Benjamin Sullvan’s ol on carwas Breech’ uses the ttle to suggest panic inthe face ofa domestic scene, as his wife breasttonds their baby gir New lfe and nisden depts ar also conveyed in Thomas Ehretsmann's depiction of his prgnant wife Caroline ~ nhs aptly names Double Portrait with ayers of semitranspacent crc ‘Te subject of Antory Willams’ eggtempera Emma is his long-term sitter and friend. She is ned and, atthe same time, preventing the viewer from seeing her completely, This deiant aose i born of 1 years of collaboration, from which came a dozen pontings and countless drawings. Willams’ egg tempera techniaue plays its part, too. This traditional method allows him to ‘express deep emotion othe face. The BP Portrait Award 2017 winners announced on 20 June. worw.npe.org.uk si SUMMER SHOWS FARUFTAnony Porto, eric on Wiliams. Emma, egg board, 30440em temperaon bose, BELOW BenjaminRaphael: The Drawings Unt 3 September 2017 ‘Ashmolean Museum, Oxford OX ‘The 120 wotks bythe Renaissance artist n ts ‘once-in-aifetie exhibition are a fascinating proposition for artists interested inthe technicalities of crewing. |Athough the works on display are sketches for large-scale paintings they reveal Raphael's ‘draughtsmanship and artiste daring. Throughout his, career the artist pushed Boundaries n search of Dossibties of expression, and the visual and emotive ower of his drawings remains unsurpassed. Raphael was acutely avare ofthe expressive potential ‘ofeach medium ~ cnareoal, earthy enalks nk and metalpoint~ and, a8 mode of reflection and exoloration, the drawings reveal processes of thinking, experimenting recaling from memory and revising that stl speak clearly to viewers, artists in particular, today. The images’ potent ‘exoressive power is corweyed by their tactile and gestural ‘qualities, with studies of hands and faces rendered in chiaroscuro which appear tobe caught in the act of speech or movement ise [As Dr Catherine Whistler, exhibition curator and Keeper ‘of western art at the Ashmolean Museum, says: “Raphael: The Drawings sims to shift the ground in our appreciation of Raph! by lookingat his drawings as ‘worlds In themselves, where We see the artists hand and mind in tune as thoughts take shape before ou eyes ‘through tne process and materials of drawing” www ashmolean ont Unti 10 September 2027 ‘Serpentine Gallery, London W2 | Ture Prizewinning artist ana Royal Academician makes an uniely man of the peonle, but that’s ust what ‘Grayson Perry has become. What's even more staggering isthat he has achieves this national treasure status without losing credibity as an artist. Crowds wil lack to the aptly named The Most Popular Art Exhibition Ever, TOPRaphae, Aman ‘tee, blockbuster show of major new works inane of carnngan cer man London's mast loved parks, Kensington Gardens. Ths on his back, red chalk, very accessibility sone ofthe key ideas inthe show, as 30«17-3em the wore touches on the theme of his popularty and what LEFTGrayeon Perry. beingen ast can mean in ourmadem word. “lamin Putf Piece, | the communication business” says Pemy. "want to aces ceramic communicate to as wide an aucience as possible. What kind of art do people tke? Why do people ke going to art galeries = these days?" Pery's work is ‘adept at communicating complex ideas in an open and inclusive way, and as engages and informs tbxings art ana the ‘everyday closer together. " wwew.serpentinegalleies. ongUnt 20 August 2017 Royal Academy of Arts, London WAS ‘With a heritage dating back 249 years and offering ‘more than £50,000 in prizes, the Royal Academy of Arts Summer Exhibition i the largest ane mest popular open-submission contemporary art show in ‘the world A highlight ofthe creative year, isthe place to see what is happening inthe at word right ow, witn around 2,200 works on olspay from painting nd printmaking to photogrephy, sculpture archtecture and tim. i's also where emerging anists rub shoulders with same ofthe most successful tists in the worl, ineluding Royal Academician, ‘who areal entitled to show. The R's show occupies a unique place in atte _asprations for exactly this reason ~ geting a work ‘accepted means being seen by a huge and infuetial ‘audience ang, as such, can launch a career. youve entered o are thinking about entering in the future. heading along isthe best way to get a fee forthe art WATCH THE STARS OF THE FUTURE BEING BORN AS THE WORK OF EMERGING ARTISTS HANGS SIDE BY SIDE WITH THE BIGGEST NAMES IN ART » | p \worl's current tastes, preoccupations and priate, ‘a3 well as study the techniques being used by those at ‘the cutting edge of artistic practice. ‘One ofthe many things that glves the Summer 4 Exhibition its status isthe transparent vay the arte chosen. Any artist can submit up to two works for consideration bythe selection and hanging committee. \hich is made up of academy members. This yea, ts work is co-ordinated by painter and printmaker Ellen Cooper, keeper af tne RA Schools, who's simed to extend the reach ofthe exhibition fo include more Works from arsts across the globe, as wel as those working in diferent media R's featured this yar Include Gilbert & George, who are showing a new large-scale work from theit Beard Speak seres, along with Pylga Barlow, Antony Gormiey, Sean Soul, Bab and Roberta Smith, and ‘Wolfgang Tilmans. But you should also pay lose attention to the new names, tne possible star of tne future, as you pot your path towards claiming some ‘space for your oun artwork on the hallwed wats of ‘the Royal Academy of Art ‘wwwroyalacademy org.uk <“EXPLORE THE BOUNDARIES OF THE PUBLIC AND PRIVATE — WHAT CAN BE DEPICTED AND WHAT CAN ONLY BE HINTED” Unti a October 2017 Tate Britain, London SWP Te works explore the boundaries ofthe pubic and the private — what can be depicted ard what can be only hintea ator suggested," says the show's curator Clare Barlow. This exhibition fs the frst word to focus on ‘queer Bitch art and offer afte perspective on art history ast marks the 50th anniversary of the partial decriminalsation of male nomosexualty in England. Compare Edward Burra's buzzing watercolour and pencil izzy Ort depicting @ dockside nightclub In Boston ‘with Dora Carringtons Intimate bedroom oll portrait Luton Strachey, atongside Hannan Guuekstein’s sensitive ‘oral sili ~ behing which hides her relationship with 2 society Nower-arranger. Be intrigued and inspired by how artists expressed themsoWves ata time when established assumptions about gender and sexuality were being ‘questiones and transformed. How much of yoursetf do yeu reveal in your artwork? This exhibition is sure to make you question the boundaries of representation ‘wwwtate.org.uk Portraying a Nation: Germany 1919-1933 23 June to 45 October 2037 Tate Liverpool, Albert Dock L3 I's Umely that this extition suggests art as lens to focus on an everevotving nation. ‘Twa shaws in one, itis united by its study of the glamour and ultimate misery of the ‘Weimar Republic Artists Rooms: August Sander offers a photographic interpretation ‘alongside Otto Dix: The Evi Eye's traditional ‘med, The painter's teenniques span en ‘tempera, experimental watercolours, Printmaking and etching to create ruthlessly realistic depletions of Weimar society. On ‘canvas, Ob hed to transfer fl-scale ‘etches to'a smooth gesso ground on boar, onto which he applied thin layers of gg tempera and ol paint in somitranslucent slazes. Look to Sef Portrait with Easel forthe style atts best, with reference tothe old masters of the German Renaissance. worwcate.org. >Unt 34 January 2028 National Muscum Cardiff CF20 ‘This exibition s your opportunity to see stellar cast of modern art in one saace. At collectors lan and Mercedes Stoutzker ‘gathered this astouncing private collection ~ Now on joan = over 60 years often having the Inclination and foresight to catch an artist st the beginning oftheir carer. It you want inspiration fr your iguratwe work, ead stralgt to Francis Bacon's two outstanding pieces, Portrait of @ Man ang Henrietta Moraes. He's in good company. with his close fiends fram the so-called, ‘School of London also featuring Inthe show, with a portrait by Lucian Frewd, ard expressionist earvasses by Frank Auerbach and Leon Kossof. These figurative works are complemented by more abstract works by ‘the Newlyn School painter Ben Nicholson. Unt 9 September 2017 Fans of contemporary art can also relish Penlee House Gallery and Museum, ‘a itferent side to Davis Hockney, with bold Penzance TRA, colours making way fora smal, delicate ol “stanhooe Forbes was net afraid of scale. on canvas Figure Being Hypnotised, 36 well He painted en pein air atten with large ‘88 Scotish painter Peter Dog's delicate canvases” gaye Louise Connell, erecta of 4ream-the tandscape. Penlee House Galery. “The original carwas for ‘wow museum.wales/caritf Fiah Sale on a Cornish Beach was a colossal ‘eit although he later cut it down toa more manageable Sut This was the painting that gained him national recognition when itwas accepted atthe Royal Academy ‘of Ans ust one year ater his arrival in Newiyr, His hardworking, charismatle nature and eagerness to ‘emorace modern painting styes brought together 2 ‘community of artists which became known as the Newlyn ‘School. This summer, you can explore 70 works from the painter who helped to develop the British art movement. ‘The school red to capture rural fe in an impressionist style, drawing inspiration trom the French Social Realist atts along the style to. British audience by painting ‘Corrs folk. The work on show spans realstic paintings {rom his early years to idealistic visions of rural ils “Forbes placed people informal inthe landscane, using sunlight and shede to fix his figures natural inthe scene," explains Connell. "He was also a biliant observer ‘of reflections on water and his pictures are rarely without them, whether the sea, stream, @ pond ora puddle” ‘www: penleenouse org.uk ssove stannope Forbes, Gta ay, otLONDON Sargent: The Watercolours 24 June 108 October 2017 Dulwich Picture Gallery, London SED1 Take a new view ofthe renowned portratist atthe fst UK show in nearly 100 years dedicated to watercolours ofthe great Anglo-American arts. worw.dubwichplcturegallery.org.uk William Henry Hunt: Country People 24 June to 47 September 2017 The Courtauld Gallery, London WC2R Taking the lead from his celebrated ‘Work The Head Gardener, this exhibition shares depictions of rural figures in the eary 19th ry through 20 drawings aa watercolours wirw.courtauld ac.uh/ gallery SOUTH British Art: Ancient Landscapes Unt'3 September 2097 ‘The Salisbury Museum SP4 Some of tho greatest narnes in British art. including Constable, Ture, Ere Raviious and Paul Nash, come together to reveal a unique view of the landscapes ‘sraped by our distant ancestors. ‘www sllsburymuseum org.uk Christina Sheppard: A Retrospective Until 4 October 2037 ‘Shakespeare Birthplace Ts, ‘Strotford-Upon-Avon C37 Explore Shepard's work from the 1950s tothe present day including mixed-mecia paintings lancscapes and silites as wel as ilustrations and ceramics ‘ww shakespeare org.uk NORTH Howard Hodgkin: Painting Indi July to 8 October 2017 ‘The Hepworth Galery, Wakefield See 35 works painted over the last 5 yoars revealing the lte artists Felong love of Inca, spayed alongside peces from Hodgkin's personal caletion of Indian at worwchepworthwakefeld.org Discover even more inspiring art around the UK this summer at these amazing exhibitions Ede Pop: Japanese Prints Until 24 September 2017 Lagy Lever Ar Gallery, Liverpoo! cH62 A print tnat costs the price of haku these mass-produced works creates on woodblock were sougnt ater by fans of Eoo's (Tokyo) culture. \iw.liverpootmuseums.org.uk SUMMER SHOWS SCOTLAND The Modern Ports ‘Unt 27 October 2019, ‘Scottish National Portralt Gallery, anburgh EH2 ‘Anew display colates outstanding 20th: and 24st century portraits roving rich survey of paintings. ‘wuwunationalgaleies.rg Beyond Caravaggio 47 June to 24 September 2017 ‘Scottish National Gallery, Eanurgh EH2 Study the dramatic lighting ‘and compositions of the italian masters through works by Caravaggio ana tis followers. ‘wwe nationalgaleies.rg WALES Gillian Ayres Until 3 September 2047 ‘National Museum Cardi CF10 The Tumerorze nominated artist procuces bola, energetic abstract paintings by pouring, cripping and staining paint onto the canvas. ww wmuseumvalos/corcitt IRELAND. Vermeer and the Masters of Genre Painting: Inspiration and Rivalry 47 June to 47 September 2017 "National Gallery of eland, Dublin 2 Track te Fascinating network of ‘elationshios between Vermeer and the Duten genre painters trom 1650 0 1675 through 60 paintings. www.nationalgaloryieTHE Al ALS HOW SHE PAINTS THE NATURAL LIGHT OF THE PASSING SEASONS IN HER HOME T |ARDEN IN CAMBERWELL, LOND >HOTOS: ANNE-KATRIN PURKISS In November 201, you had a solo exhibition at Purdy Hicks Gallery in London, accompanied by amonagraph. Di you take a short break afterwards? Watercourse No. nad been looking forward to getting back to painting that the Without elstraction. twas @ cry winter and I began a big asia aseries Painting outside. Despite the col, many aspects of working outdaors ave easier inthe winter. When you work outdoors, do you finish your pletues in the studlo? Painting becomes interesting when | have ‘an apen mind about now it il look, When Ihave found a way ta respond as directly ‘asl canto what | see, brush in hand, ‘ a uy to convey what fg. Lbring the painting in to Judge ts strength as an independent object. might make ‘agustments, but onyin this sense \woulditbe rished away ftom the matt s chavote aks scout tat whic span of tnisyear’s Ra Sumer Exton When do you work in the studio? ‘few practical factors cictate whether I paint inside ar autside In the summer, for instance, the strong ight lor deep Shadows on the bright, white canvas make it ciffeultto work continuously on one painting, The arden isn't huge, so there arent mary’ places to stand at my easel inthe shace, especaly or large paintings. ring things inside ~fowers, branches ~ and scatter and nang things in the studi. You might have noticed strings ‘arging fiom the celing Your studio Is part ofthe family home. Have you always worked hero? We moved here more than 30 years age knowing there was 8 large, nerth-it upper room for me. It would seem more trofessional, perhaps, to have a stud elsewhere but | cannot think of working somewere anonymous. When di you decide that you wanted to ‘bean arist? ‘Around the ago of 14 | wanted to be 3 painter more than anything but hardy ‘dated hope it would be possible. I don't remember being encouraged to goto an art school other than the Sade Schoo) of Fine Art. | was steered towards university to stu iterature, but the Slade ‘accepted me. was overoyed.IN THE STUDIO found the area protounly resonant. | deciced to spend as ‘uch time working there as | cout, staying ana painting on the edge of the River Stour a spat that Constable knew Inumatey you stay somewhere for weeks doing nothing but painting, you gett know the place. Inboth places you worked with watercolour, rather than, say, ol. What was the reason? Te watercolours make my drawings more physical They are drawings with a brush. used handmade paper and thre or four colours painting mostly in black, sepia and ress. It seemed enough. What are your plans for the future? ‘As well as painting. lam looking forward to working with Japanese printers ona smal series of woodblock prints. Meanwhile, the paintings of Ronald Blythe's garden willbe shown atthe Garden Museum in London in the spring of 2018. A group of ll paimtings ‘are included in an exhibition af contemporary painters at Galeria Cerbeli, Bergamo, tly, until October 2027. | also havea painting, called stat inthe Royal Academy of Arts Summer Exhition 2037, The monograph Charlotte Verty by Paul Hil, Garry Fablan Miller and Edmund de Waals published by Ridinghouse, £22.95. wen You can soe more of Charlotte's charlottoveriy. co.uk You a not stuaytterature, buts testi an interest? "ike to reag ke poetry. should ‘mention Ronalé Biythe inthis context. He lives inthe former house o the painter John Nash in Essex, end thas written beauty about him, Recently, have been making \watereolours ofthe garden John ‘nd Ghrstine Nash created. ‘You also had an exhibition atthe Boat House Galley, Fatford. Has the Ioandseape influenced your work” {Risa patch of England from which ‘Constable made his greatest work Ly or he vatey spe sitsinCHOOSE A THEME FOR YOUR SHOW, PERHAPS SOMETHING LOCAL OR TOPICAL. IT IS A GIFT FOR MARKETING ”? land magazines. Print up fiers with opening times, a map and website details well in advance. Make full use of everyone's social media Sails and maling ists, always linking back tothe website. Finally enjoy the show, and don frget to meet up with your elow artists afterwards for a chat and a group pat on the back.SURREY foetal nuk OWN ARTISTS, PRINTMAKERS, PHOTOGRAPHERS, CERAMICISTS, SCULPTORS AND GLASS MAKERS. OVER 120 STANDS AT TWO EXCELLENT LOCATIONS, ATTRACTING SUCCESSFUL FOOTFALL, www.surreycontemporaryarifair.co.uk ART IN THE ALGARVE Meco MeO cine MRO Tp ROS eer saeel a Call us on: 0203 287 7140 PR ae Nera)& HER YOU ARE HEADING TO WARMER CLIMES OR USING THE LONG Days TO PAINT MORE, OUR PICK OF THE BEST BOOKS WILL ENSURE YOU STAY INSPIRED Why Draw? by Joachien Homann, published by Proste, £40. Taking in 100 drawings, pastels, watercolours and Collage, this lovely hardback ‘explores what compels artists to draw and ilustates its ‘enduring relevance as. ‘a basic artistic practice. www prestelpublising, randomhouse.de How to Paint Skies by Geott Kersey, published by ‘Search Press, £12.99. Skies area tricky yet essential part of landscape paintings. This Book begins with acvice ‘VId3W G3XIW NI S3dVSGNV1 AYVYOdW3LNOD { i | tohelp you understand how watercolour behaves, s0 you ‘ean produce a broad range of effects, before outlining the materials you will need, and finishing with sixindopth stop-by stop projects. ‘wwrw.seatchpress.com Painting Portrait of Children by Simon Davis, published by ‘Cromood, £14.99. In this detalled guidebook, top portrat painter Simon Davis, ‘explains his approach to capturing the essence of 2 chi from the importance ot ‘composition, balance and tonality top ‘atmosphere and advice ‘on overall process. ww.ctowood.com ‘Contemporary Landscapes ‘In Mixed Meda by Soraya French, published by Batsford, £19.99, Featuring handy tps, simple projects and step-by-step ‘demonstrations, along with ‘dvi on colour mixing, Soraya French's colourful {ule wil help you create ‘animated landeeapes ‘whatever the season. worw:bateford.oom You're Bored With Watercolour Read This Book by Veronica Ballart Lilja, published by lex Press, £1209, ‘This beautully put together painting guide introduces simple and Innovative techniques that will help you ‘explore the possiblities ofthe ‘medium and create distinctive ‘mixed-media artworks, using luminous colour an ‘dynamic composition. wwilex press A Forger’ Tate by Shaun Greenhalzh, published by Allen & Unwin, £16.99. Written in prison, this tale carting the author's notorious career as. forger makes a {reat holiday read. From ‘Leonardo drawings and US Lowry paintings to ‘Modernism and Stone Age at, Greenhalgh copied ther all ‘and fooled the ar wold. ‘wwwallenandunwin.comOKT ohn Singer Sargent San Vite, 1943, over protiminay penet on pope ‘orn in Florence in 2856 to American parents John Singer Sargent vained in Pais tore ‘making his markin London as aol “anist who excelled at painting the luxury and grandeur of his Eowarcian society subjects. Yet ne also painted €n plein air in watercolour throughout his fe, and was as fascinated with ‘achieving technical mastery in tis medium as ols. This summer. trom 21 June to 8 October 2037, Duwich Picture Gallery in London wll be ‘Showing te first exhibition in the UK dedicated solely to nis watercolours ‘or more than 100 years. ‘The painting on your free print ‘San Vigo. forms partof Sargent: The Watercolours halls from 1913, ater Sargent had closed his studio to focus ‘on traveling and painting watercolours and is @ wonderful ‘example of his feesh and concent ‘approach tothe medium, as well as his mastery of ight effects ww. duwichplcturogallor.org.uk YOUR FREE PRINT DISCOVER THE STORY BEHIND THE DAZZLING WATERCOLOUR ARTWORK ON YOUR FREE DULWICH PICTURE GALLERY PRINT DULWICH PICTURE GALLERY SAB TEM ercoLours eeh odyssey IN ILLUSTRATION DEN ERA C ANDERS St CHAT T ‘W, SALLY HALES he surealotherworidiness and Sbtles. But the dkector wasn't drawn ‘sense oftrepidation in Moon Pt by his work, but Sanders! more Ot perfect captures one of experimental, noncommercial collages. fis greatest moments. Created by | aways expermented alongside Bris istator Bran Sanders, the things been working on.” says 1120x120em mixed media work recores Sanders. “rd been daing nay uty the descent tothe menaith inStariey collages, made aut of tn cans and Kubrick's 1968 masterpiece 2001: thing ike that. (wae picwed] onthe ‘Space Oxyssey: The artist was chosen strength of thetn-cancallages and the bythe director - who worked on a Work started todo for The Sunday closed seton which photography was Times and people ke that. He rotallowed~to record the fim shoot, [Kubrick] said, "Woulé you Ike to come More than 50 years later, this stunning, and draw on set” And that was that” workis making rare publ Sanders would draw on location two ‘appearance st the LeverGaleryin days 8 weok, ishing work back at Mis London, unt 29 July, 8 oat of tus. "l produced very recise retrospective of Sanders work during drawings of what was happening” he etring decade for ilustration. ‘6. “He let me look at everything. LEFT Moon Pt Tooting his man, Kubick tumed 19 1.cauld do whatever wanted.” 0,200: one ofthe biggestart agenciesof the _Theartist produced around 25 space owsey, time, Artist Partners, where Sanders images, but only two were eleased 1065. ret tiom —admade arame forhimsottasa __prir tothe im coming out ana, whoa lvansparency of commercial artist duringthe heydayof few others were later published, mary rived mada on itustation using the bubble ang lof the Space Oayssey works ae now canvas orginal, streak’ technique, which would come lost, making this exhibition a uniave 1201120em to define the aesthetic of the Swinging chance tosee these rareartworks. >Now in his 8otn year, Sanders claims tarnever have been aut of work, ‘recting is abity to adapt and stay ‘ahead of inustry needs fo his long, ‘successful career Fr example, the KubrckJob came Sanders’ way curing ‘a period of creative change. Altera decade of success using the bubble ‘and streak syle ~ an impressionistic ‘technique which used seumblingwith newly invented acryic oan, softening the colous and outines with a covering of pave or semiopsque Colour or rubbing he sensed ts use had become ubiquitous. twas time to move on. “At the beginingof the 419706, Ifel back on watereotour. love watercolour twas the frst medium | used,” says Sanders, "Everyone sad you can’ do it because't doesn't reproduce well which was nonsense 9 Artis & astra because all you hadto do was put ‘mare paint on your brush. Iwas very succosstul and working forall ofthe women's magazines.” NEW BEGINNINGS It’s the kin of creative bravery that can be traced through his career. Sanders wanted to’be an ats rom ‘the age of tree and, ater school got Jab asa runner at an agency, which fave him access t0 60 workingartsts “They would eve me time al of them,” he says.“ oul ook at thet work. If you can hold an artwork in your hand, you can tell how i's done." ‘These artists inspired him. after the Interruption of National Service, Sanders werked with a photograaher luring the day and on his portato in ‘the evening, producing around 200 LET Oskota Staton BOTTOM RIGHT Shgsthe Blues, Kulick wth 1060s, er¢on_camaratcam, arboate, 8id3em 200A Space GMT Aston Maran Oayssey, 1965, 1083, 19605, iat pet tom onwatereoour ——anparency of oper, mounted on secon canvas roca, 70x4Dem oj, 2201814 works. He selected 12, wet freeance atthe age of 18 ang quick won jos, butalso developed doubts about his styl." was doing work nat was similar to people | admired and elt sult he soys. Iwas doing ok, but | ‘thought! would go down anew rote 501 took the works and destroyed ther” He headed to London's Elephant and Castle to create gutsy images cepicting Its junkyards and markets. Much ike he would ater leave bubble and steak behing, twas @ mave that paid ot But the atist could never have imagined his mastery of acne scumbling would be called on again, 50 years later. 12014, Sanders was sought out by ‘the makers of te TV series Mad Man whieh charts the birth ofthe advertising era -to create an image for Its pint campaign which ecaledthe style of the 1960s, “The Moa Men project started with conversation with an acvertising agency in Americ, which asked if id either of these two Pieces [nich they showed him” he says. “One of them was by Berrie Fens, one ofthe greatest iustrators of alltime. wished rad done But | had dane the other one. They said ‘Can you sil doit? I said: "Wel, can ‘ry Las on tat for three or four ‘months efor itstarted to come, | had toloosen up a bit. | was trying to fake ny own work 50 years later” ‘Mad Men captures 2 nostalgia for ‘the 19608 and, in commissioning one of ts original craftsmen, thas also helped to bring this groundbreaking, lnustravon back int te ight rian Sanders: From 2001: A Space (yssoy to Mad Men runs unt 28 Jay 2017 at Lover Gallery, London ECIV. vue levergalley comBRIAN SANDERS SANDERS MADE A NAME FOR HIMSELF DURING THE HEYDAY OF ILLUSTRATION USING ‘BUBBLE AND STREAK’, A TECHNIQUE THAT WOULD COME TO DEFINE THE AESTHETIC OF THE 1960Si “1 CAN ONLY SAY WHAT | THINK AND BACK IT UP PM ha eles la Cae aout COLOUR THEORY AND rey Nard THERE ARE NO RULES”DAPHNE TODD WE ASK THE FIRST FEMALE PRESIDENT OF THE ROYAL SOCIETY O PAINTERS, BP PORTRAIT AWARD-WINNER AND TV ART JUDG ORTRAIT THE SECRETS TO HER PAINTING CAREER. INTERVIEW: SALLY HALES. PHOTOGRAPH: DANIELA EXLEY You're best known for our portraits, but also paint a vatlety of subjects Is there one that feels most natural? Yee! most atrome doing porvat vecause 3 ‘commissioned painting has to work from the off s0 am caretulto seleet a room, background ana igniting ‘coneltions I know will make a decent painting. How would you describe your ol technique? Direct no preliminary crawing, always from life and not photographs, even for back-up. One battleground is ‘enoueh. use fairy dry paint with no medium, and tend to use shorthandled sable brushes, which ae intended for watercolour, sit feels ike drawing with paint and I can use my litle finger as a mahi stck. How did you develop your distinctive style? Ikd0es not seem lke 3 syle to me. eld not sim at a syle. | dort work from pretminary studies because, when | was ‘a postgraduate student atthe Slade Schoo! of Fine Art, | as afforded the uxury ofa model to pose for me fora term. Having been woried by my loony, grey paintings, thought, eid a perfect drawing of her, | would be able to Work out the shapes and composition, transfer the outlines to.canvas and apply bright, clean colour. The moment began to paint could see it was useless. The psycrology ‘of perception has the answers to this phenomenon, butt ‘means you ae painting experience, rather than ilustating ‘an idea. Patches of colour must work for themseves. Is here a secret to catching.a person's essence? | go forsomething that strikes me as making them partcuaty diferent trom everyone else. For example it ‘an be proportion, such asthe length oftheir uppe i, or 2a certain expression or set ofthe head or colour. Whatever Its. Ly to bang that down fst betore | forgot, oven tit means changing italliater because that area has tobe omeuhare eee when other considerations come inta ply. You've bean successful in the Portrait Award numerous times. How has this helped your career? Ie is eifcult to quantify Prizes do not mean you are a great 4 landscape view Brighton and at West Dean 7 ¢g thatis almost an Coleg, woo jkespcorar.coak | abetraction —en GREAT ART TALKS Presented by Lorraine Lavan, BA Fine Art (Hons,) Painter & Retired Art Teacher Improve your drawing and painting skills feanret demeeea st tee ereteel erste ad wasopaeton, ute WP eles une, pee eos Doaren tienen onic ent aerpeerore) reteset oor ree eee (erates Gu ater tearing scnéel ett cect anc ce Loaf Ltn sc Fi At Corte ticles at degra an Mpevtfed ache Atend At oer andes procera eat eee iors me ooeel Set ce seal ea cae al erat (ae arg retrace eta fe rade rears se eenie eee ae eters eel eae Ci Gausisha ots cata Gl cocsene Gai oomrinow) Painting holidays in beautiful Devon See eke eee eee cane pi ene erty mare (Atcgh tetra Boel Nara Ua noe ‘All redial levels, two tutors ‘travel and can create bespoke programmes. rectal eel etek stare For more information contact: Lorraine Lavan For more information visit our website Emait: lost.lavans@btinternet.com -www.bramblesartretreat.com Tel: 01493 722734 ‘Contact Janet - tel: 01566784359agen Sisy Art soe A | j Cee Beye Fils Co eee er nes Daa FEATS NONE on WS £250 worth of Winsor & Newton art materials tobe won, Winning entry will feature on the cover of our new catalogue. ae WINSOR soesoe RCo Stanhope Forbes Father of the Newlyn School 10 June — 9 September 2017 PENLEE HOUSE GALLERY & MUSEUM Save 10% when David Aust repeat Morrab Road, Penzance TRIS 4HE_ Tel. 01736 363625 lowe n Rose yy ° ‘ww:penlechouse.org.uke Visit: won oses.com 202 376300 Sothebyss <2. [RM aa Antins & UlustratSKETCH8OOK LUCY CORBETT FROM THE WELSH ACADEMY OF ART EXPLA DW THIS SIMPLE HINIO YOU ACHIEVE URATE PROPORTIONS IN YOUR PAINTINGS This technique allows the artat to view the subject and image ‘81.by-sde on a oneto-one scale, Sightsiaing Works wel I al senres, particulary portraiture, and is useful in landscape painting as a quick way to achieve accurate proportions. When YOU Sightsz0, the vow in your line of vision beside the canvas vil be directly transferred onto your supoort allowing the uninterrupted comparison of al elements of the landscape. A viewiinder may also be helpful to assess the composition vw.nelshacademyotar.com Gin a NC Ge WHY NOT TRY Bnet Sal This colourless aryle gel has 2 todd Interest and texture toa long theology, which meansit painting, Here you an see how ‘can be poured almost ike string mixed-matia artist Mandy tomake pattems on painted Russell used Golden Tar Gel surfaces. You could try using tto and Golden Fluid Acrylics to ‘Suggest ropes or other objocts, _craate movement and texture * letit dots own thingto create Inher painting Arise. ‘an abstract image orjust use it .nondyeeal comSPECIAL SUBSCRIPTION OFFER Whether you favour oils = or watercolours, portraits or landscapes, abstract art or botanical inspiration, Artists & Illustrators brings a vibrant blend of creativity and advice. Capture summer's vibrant colours t Improve your skills with our step-by-step guides, from painting and drawing to printmaking and illustration Thipiration Discover the best new artworks and read about the lives of the world’s most creative artists Advice Learn how to get the most from your materials and discover the secret techniques of the mastersSET A TIME LIMIT TO. CREATE A PAINTING Ifyou have a detailed sve, itcan be helpful 0 restrict the time that you spend on a painting Learn to “ave! ight" and include cnly what you really need. This wil allow you tadal inte your subject mare quicaly ‘and create a fished painting in no more than afew hours. Fest, think about your light source and how In ereates light and shadow areas. Quickly ‘aw the basic shapes of tne composition with your brush or pencil. Consider beginning ‘ona toned cacas as this can speed up the process, plus the underyng tone can pook ‘through later in paces you wish. Start bulla te weight of tne image with some ‘substantial bold colour | paint the darkest ‘295 first and this allows me to bette Jude ry lighter colours. Hai close your eyes to see your subject simplified. This wl et you establish the most important aspects of what you are capturing. Don't be concerned with perfection, just enjoy a possible inthe time. painting is looser or loss “tnished™ than ‘ermal, but that's no ba thing. The fal ‘stages can be highlights and tiny spacks of etal you've noticed along the way (ans probabiy itching to include). (Lat)BI SUAVE ‘what you will learn How to examine light and dark to describe the human form. What you should do [Ata time of year when mary life classes take ‘a break for the summer, drawing from ‘sculpture i a museum atows you to further develop observational skls. We can often stand much closer toa sculpture to draw and ‘museum lighting eves strongly contrasting tones. An added bonus is that a marble figure can be returned to fora sustained drawing ~ the nose wil be the same. Use a stick of sraphite on its side to covera sheet of saper witha fine layer of tane as you would when Using charcoal. Nex, mucge the surface to ceeate a smooth and soft ayer of tone ‘You can remave and tnen aad graphite bulaing un the shapes ofthe igure. white ‘lonly analysing each tore as you work, Look at how ligt touches and describes the orm and contours ofthe igure, Try to folow the direction of these contours as you work withthe grapite and eraser. Graphite fs ‘an ideal medium to use ina museum setting because it wont crumble ike athe softer drawing meaiums, (AW)How to use line and tone, and balance the warm and 20a! colours inthe face Find a fiend to sit for 20 minutes and work no larger than Ifte-size on gre or butt paper. Make a ine drawing using a sanguine chal, CConté stick or Conte penci. Grey paper creates soliity so the lines can be ‘economical. Hatch areas of shadow and tone in od chalk. Next, darken and cool the ‘sanguine with charcoal and lghten or helgnten areas wth white or cream chalk. Relate mbxtures of brown ano biack, or brown ‘and ereamy/white, tothe temperature ofthe face, The rose, cheeks and eyelids wl be redder, or warmer, wile shadows on the neck and hae wil be coal. (2C) 6 /PAINTA SIGNATURE DISH STILL LIFE ‘What you will earn Food has always been a great subject in plating. Chardin, Manet, Monet and even Van Gogh all usedit as subject matter. ‘Leatn how to Use a favourte dish as Inspiration to create an unusual stil ie What you should do ‘Summer food can look fantastic and here ‘used a Spanish recipe to inspire me to paint stil life. This is abt lfferent trom the apples and pears approach to the genre, 1 started the painting of tne roasted peppers Artis & Mustratons 5 WORK EN PLEIN AIR Mrs What you will learn To work quickyin pastes to capture the Aecting effects ofa changing subject. What you should do Take a set of 24 chalk pastels and a smal Diece of offwhite paste paper outdoors. ‘Star the arawing witha dark pastel ~ brown ‘or dark blue/green. Lay te stick on is side, draw some ofthe dark shapes that make up your subject and smudge tne pastel ana feline the shapes witha rubber. Next, start ‘5 soon as they came out of the oven. also took some photographs to hela me ‘because | knew that they would disappear ‘quickly once they eft the kitchen, This seene nad all the right ingredients fora painting: intense colour, big contrasts, andl Interesting forms and surfaces to ‘suggest in paint. nad to work quickly before things wited butt was great fun tying to dash down the Image. The black roasting troy was unusual and particularly ‘nico to paint. used ol paint as it seemed to suggest the oleaginous nature ofthe subject, but you can use your chosen ‘medium to capture the essense of your favourte food. (10) a errr bulding the larger blocks of colour by hatching o ering pastel on ton ofthe ‘tonal underdrawing allowing tne dark areas to show through. Tr to refine colours by mixing the pastels onthe drawing surface. Exalore textures according tothe aspects of landseape you are observing, for example, particular directions of strokes for rpales of ‘water, and softer thin layers of colour fr the ‘sky and clouds, Notice how the scene aters withthe changing weather an lignt, See now {you oan use the lighter, brighter chalks to ‘capture these effects and choose aspects of your compositon for emprasis. Wit be bright ignt on water oF looming cloucs? (DC)air — The Specialist Suppliers of Equipment & Materials 0 Artist Printmakers ‘sh avin to ats rom oo Catal London sop. We ate open Monday to Fay 1am to pm ee Saturday Tam dpm Fre catalogue avait on request Vist os or London '9 Playhouse Cou 62 Souler Sidge Road London SET OAT “et 0207 926 2693 Fax: 0207928 2711 es aay ss Fred Lawson The renowned Yorkshire born Artist, Engraver & Book lutrator Father of Sona Laweon RA. The 304 page uly lustated book with ‘Crorology, 240 colour and mana mage ofthis grt arts work, ‘carding the scone of hs time for poste. ‘ext by dobn Duncate, Foroword Jane Selars, BA MA FMA. 188N 978-0-9507177-4-0 Hard back: £38 (25 p&p UK) This Pubieation is avaiable Kom: Tilington Press, PO Box 738 Amazon.co.uk te °ublahars.” Hamogate HGY AEE or by Paypal at Ailingtonpress@hotmall.ca.uk —wwactlingtonpress.com ‘na boosters Kk Sea CALL FOR US DORs yea Painters, Sculptors & Gravers MANY PRIZES AND AWARDS RECEIVING DAY % Saturday %h September 10.00 am - 5.00 pm A Contact: » www soyol miniature society.0rg.Uk si Work to be delivered to 17 Catton House Terace, tonden swiy seo LE) Ariss & Mhnsratons 65PAINT A SINGLE ‘What you will earn How to notice detail and strengthen ‘observation. Paying close atention can teach you to spot key elements with ease, ‘What you should do Select a strawberry and spend time looking atthe shapes, colours and more subtle tones ‘ofthe flesh, as well asthe pattem ofthe ‘seed. YoU wl discover that caaturng the light ané shade of @three-simensional ‘object, while aso painting the vey varied ‘surface, can be a callenge. Notice how you ‘can add highlights te indicate the fullest part ‘ofthe fruits shape with usta few quick brushstrokes. Try to keep your ealou's ‘and fresh to show the tranberrys clean tones, Shacow areas will emphasise the ‘right ed ofthe esh anc may need to be surprisingly dar. The presence of shadows wil also add to the characteristic full shape you are aiming to express. You might aso ‘notice ligt reflected on the underside f the strawberry, eich wll help to give a feeling of Substance and its presence within the surroundings. (LA) a — ISHADE ON LOCATION Nhat you will learn How to paint n situ by dealing with ‘the changing pattern of light and shade, ‘and working quick. ‘What you should do ‘Choose an eatly morning or eaty evening lendseape when tre cast shadons wil be much more dramatic. Befre you beg, produce a quick tonal thumbnail sketch to record the shadowed areas, as well as the ‘general composition. This isnot time wasted ‘and will prove an invaluable reference as the ‘sun shifts around. You will need to observe ‘the colours in the shadows accurately to make them corvincing, Don't paint the ‘shadows tao dark oF Use the paint too thick. Try to keep ith, ether transparent of ‘opsave, not to0 sold a dark, Shacows are never black, but rather contain a great dea! ‘of colour fram reds and greens to purples. AS this panting shows, a cast shadow in the ‘foreground can play an Important rte inthe ‘composition. It not only lends emphasis to the bight sunlit areas, but also helps ereate ‘sense of denth and contrat. (8)CAPTURE PEOPLE 10 motion How ta create dynamic arawings wth a sense ‘of depth nc dramatic action. Take some photographs of frends o family playing sport or at a cance, tor example, oF look for images in the paper. Werk on ‘oftvhite paper and draw the igure with lines in wilow charcoal. Keen making ‘changes to ths stage, austing the angles of the limbs ane heads unt the poses ave ‘convincing. Keen faces simple so they don't detract rom the movement. Novee the things that generate a sense af movement in the figures for example, fying halr and Clothing, angled heads, shadows andthe position of feat. Next, hatch intone and spray vith ative. Apply the colours ina unifying way, covering the larger shapes with ively hatches or seriboled marks. This wil ado the fgures vitality an create depth through layers of charcoal and colour. Return tothe ‘loments that emphasise movernent such as har clothing ana soon. (OC) sSUMMER CHALLENGES. ‘The characteristic of stil water is that it rotlects the sky and whatever ese is close, Water thats nearer aways apears darker, as the depth ofthe water or the ground Lnderneath isthe predominant influence on tane and colour. You wil also see that colours ‘become less saturated In reflections. To achieve wet ooking reflections in whatever ‘medium you choose, you will ngecto keep your painting technique simple. Watercolour fs the most abvious chalce and often a few sweeping brushstrokes wetin-wet can ge you an instant impression Start by choosing a large brush and mix plenty of paint. tis important to paint with a light touch and nat te apply too much pressure. ken the corect handling of the brush to dancing on the paper. Be sure to be ‘bold and keep brushstrokes loose and expressive. Soft pastels when blenced with atinger can also be effective, In this painting the retections were paintee In watercolour ana, when or, pastel es epaled to suggest ropes caused by a {gentle reeze. When painting retections, make sure they lean tothe same side and at ‘the same angle asthe ebycts they ener. ‘general rules that whatever is Hight will be rellected darker in water anc vice versa. (RB)SKETCH A COASTAL SCENE IN SITU SUMMER CHALLENGES. It youre not usualy a flower painter, choosing to ciscover more about the subiect without becoming overwhelmed by information. Select lowers that appeal to you, as well as Hight. Aim to narness tnt ite ang personaly rather than wory abo! ‘mathodicaly painting every petal. you dont ‘ormally paint fowers it's important to avoia getting too hung up on how to approach the subject. Try to ecord wnat you see an the sense of light and colour. Focusing on a Single fower ar just a couple of slooms car stop you becoming swamped in detail Keeping things simple wil so direct your attention to seeing the shapes and Hight ‘background will ela you to ma It you canbe brave on the shadows a petals ~ this wil give a ral weight to each ‘loom of towers LM)SUMMER CHALLENGES. lee PSST enw [AND VOLUME] What you will learn How tose wil charcoal and a putty rubber to describe tonal values and volume. ‘What you should do Cover your paper with a smoath layer of charcoal making sure it is cark enough that when you start to use an eraser you can see ‘te marks clearly, Smudge tne charcoal with ‘a tissue itis too textured. Remove the Igptest areas witnin the composition using ‘the putty cuober. few lines may be needed to help place the abject, but ty to keep these toa minimum. Once the lightest areas are established, lay down the darkest tones with charcoal, Remember to simpity the ‘shapes as much as possible Lightis always placed next te dark as you workover the entire surface, Look atthe relationship of ‘tones inthe surrouncing space ard negative ‘shapes as much asthe objects. As the stil Ie progresses mare detalled tonal changes can beaddes and you could also addline to pick out particular area. (AW)in bata The Aa of Botanic! Sketchbook 1 pointing bated on textboake he Botonic! Foleto ond Botanical twelve separate arsignments ond ‘© Diploma portfolio specifically created to develop ond hone sls loam from experienced members of the Society, specaliss in the fields of pene, watercolour, coloured ppenall and gouache critiques and motking delivered cher each assignment cord fellow students othe Introductory meeting inthe first year and the Seminar in the second yaar ofthe cours, wom by artists everywhere Pro Arte's all round best seller Stocked by all good art shops! Everywhere Home Study Courses Study inthe comfort and convenience ot your own home Al agessall stages - learn at your own speed London Art College Diploma and Cerificate courses Flexible timetable - excellent tutors Courses include Beginners’ Drawing/Painting History of Art Ilustrating Childrens’ Books Coloured Pencils Botanical Painting Photography Pet Portraits ART COURSES FOR EVERYONE ESTABLISHED 1931 Coney VERSE! Sita) eae el Scum Pear arene www.thenewschoolart.orgTHE BALC SCEN BRAZILIAN WATERCOLOURIST FABIO CEMBRANELLI SHOWS YOU HOW TO TACKLE HARD. AND SOFT EDGES AND CREATE CONTRAST IN THIS SUN-DRENCHED VISTA strong igntcontrast | abandoned the contort ot SRE such asa summery outline and blended colours (Je enon uurUeSsu UME Qo) palconyiga great togetarange of saturation, |My ureetietlt ey subject. An architectural tone and wetonwet eects. (EP ea Mantes | user iar et air feature has mary hard edges | wanted to create intense ene eee et ‘and needs caretul drawing sunlight, sol paid attention Usui erro ret) because perspectives tocast shadows. Before ceo See Important. Butwhy not add adeing colour, | re tne Pe heen meee flowers, greensand pots mainshadows. Most ofthe (Us uniuramalen| oa painted with softedges? In. time, these are mace with See ieee ety this ainting. the door and transparent washes, and.can |UJuuiateeanIE™ balcony work 88a support enhance the focal pola EE tay Tes forthe composition, and the play between light and eet {greens and foners are ‘shadow is important to eens painted in a loose and attract the viewer's eyes, Spontaneoustechnique. __wwrfablocembranel.com PINSON After drawing with water-soluble graphite, | start work onthe wal colours using @ number 46 round rush ora number 18 fat brush j loaded with allsted mix of Incian Yellow, Translucent Orange and Burnt Sienna. | palnt ‘the door shutters wit a darker less diute, mix of the wal eolout.'¥ come back to darken t mare ~| just need to see tne mood. SEI ‘Using watercolours ona folding palette, | paint Using a number 2 or 4fan brush I start ‘icky, so prefer pigments from tubes as the ‘adeing flowers and greens. Here | used Sao consistency is easier to work with. use round ‘Green, Viridian Green anda lite bit of Green ‘and at arusnes with sharp points in Gold for leaves and Transparent Alzarin synthetic ores: allare part of my Signature ‘Crimson, Winsor Red and Opera Rose for my [Brushes range and important for my art. If ; ‘owes. The brush needs to touch the paper want to restore the white ofthe paper, ting 7 ently to see a natural running and blending ‘out is easier with a synthetic ore, between the oolours and tones. > 2 Artists & MstratorsMASTERCLASS BEES | add blues with a mix of Cobalt Blue and Juse 8 numer 40 raund brush loaded witn | Ultramarine Bue, anda ite Sap Green ‘a mix of Sap Green and Leaf Green. | want, ‘and Viridian Green. lalsosstart adding brighter greens here, and use tne rush tip | shadows tothe greens using the same to make afew dots and marks. I work round bushes, rumber 10nd 16.atthis ff ‘everywhere because | need to connect stage the paper and paints are wet, S01 greens and flowers. At ths pont | have ‘make the mast af the eolaur mixing on the more soft edges because itis stl the paper rather than palette because | want background of my painting. an tute and impressionist approach. eng CTX MSS eS SETS ‘use a number 10 fat rush foades with a_ | 1 add more ines and hard edges, and work ‘mixof Sumt Sienna, Burnt Umber. French | on the shutters using my rigger bush Utramarine and Ultramarine Violet to work | number 6 loaded with a mix af Burnt Umber, fon form shadows, which dete the Burnt Sienna, Utramarine Violet and abit subject's shane giving te illusion of ‘of Shadow Violet. | add thin ines with three-dimensions. need a darker mixto | confidence. They dont need tobe straight, show cast shadows. lalsoworkon the | but ldoneed to contral the rigger brush, balcony, which needs hard edges. Practise tine lines on ordinary paper fst.