WIN £1,000 OF ONLINE ART VOUCHERS iv TUSts TIPS + TECHNIQUES - IDEAS = INSPIRATIO! Tips advice & challenges to Pastel masterclass * Abstract art » Paint like TurnerLearn something you’ve A ores college never learned of the Arts With a fresh new decade upon us, take time to develop you. Practice your creativity through a parttime distance learning degree and empovrer yourself to achieve amazing things. Find more information on OCA.ac.uk/NewDecadeLUMINANCE 6901 Specialy designed wih clouiage amateurs ad profesonalin mind, the Luminagce 69010 peacis elton Cran dAche'squlty standards, Their smooth tecure and exceptions cove ing powe make them the ies! reine of achieving calour overlays nd gradations, With Luminance 6801, Caan Che bie produced the mart. lights colour pocl ever designed, Mad in Gene, they ae arable in cllections of 12,20, 40, 76 peels ‘st wll rane et of 20 port clare. All 100 pend ar viable ndvidaly Carn thc Swine Made excellence since 1915, Forall engi lst contac: JAKAR INTERNATIONAL Led 1610 Centenil Avene, Cantannl Park Eevee WDE 31 Te 020 8381 7000 « Emaitnfo@isarcoe2 ibuc sce tandon Sv Sorcerer, ome ENOURES Nowdet ret fey Hay ‘ean anager Hon ‘haar tvertang rotor Manag ictorPa S000) Smet ter ts ey Schoneamagaznescam/shop These are strange times indeed. 1 want to start by saying that Lbope you and your loved ones ae safe an well This issue of Artists & Tlusrators has been brought to you not from aur usual office bat from kitchen tables and bedroom stules around London, We took the decision to present a special "Paint at Home” issue, one thac gave you realistic advice and challenges that were achievable during the aes Iecdown Iwano haa of or wonder, pully Sales assistant ctor Rebece and at edtor Lae, or the ard ork, rea Socal pang kien porecgeeaametamee BY SUBSCRIBING if cl at i i tate te, rat a satrs ke thee Nevertheless ate owe sopely advan er clan his Ti artes? ttm, yours det pa Wh bea pope ces lve ewe ni ag eg ls ti a cE tse besten couk sree dstacted by ober ences a Thee jonny Seasoned dail narnia ng ieee ite git et tana ca es (Mustrators.co.uh/subscribe available online if you want to make sure you don't miss an issue — just head post Ais estos, orca sig pine, Peace eal ‘Subscriptions Department, send you every issue of the magazine direct to your door Chea oan, oat ees Some ak steve Pil Eator (Sor Sr at aust Natweagh E19 durite to ut! ie V io watt aha You ar mars tay ret ng he neon, Shae yout uence ike arson Sanat on on ase poe rane SSO oemnnTisoonas” [ANNUAL SUBSCRIPTION RATES E Uni Usrsssenoweeaa D cranagarine EE) enreamagarne Artists @ UustratorsaLeo HEAVY BODY ACRYLIC. 105 colors. Satin finish. High viscosity. Highly pigmented. Holds knife macks & beush stcokes. FE] © W vould ariquitex ec lbat Sern}50 \ Why 4 window } makes an ideal Qi sedjeck Now is the time to be generous with your art and to share your skillS Share your thoughts and art 8 Exhibitions (ow eatalogues tered at home Sketchbook o Expert tps and ideas try 16 Fresh Paint (Our 1S-page special negins with step-by-step guide to palrting [New works, hot off the easel Feiichy House's st fe art eros with ight ang rama he Working Artist 42 Self-Portraiture 8 Landscapes With our columnist Laura Boswell Courtyard Studio's PotorKeogan Grahame Booth looks in dtail at Prize Draw lon how to paint yourself ina miror howto paint a Lake District vow Win £1,000 of eckson vouchers 45 Decorating Letters 62 In Depth 8210 Minutes With... Avictoianwaytocommuncate Add painteriy interest with our ‘thor Saran Unet Green 47 Set Up a Studio seven stops to abstraction Tips for working at home creatively 66 Paint Mediums as 48 Illustrating Food ——Addnewtextues 0 your work 2 Big Interview Drawing upon your stockale 68 Figure Drawing The awardwinningSan Diego ‘5 Views from. date Szerconsudesnisseres | pastel painter Margaret Larham Windows bypuling together alle teamed | $9) 30 In The Studio Inventive ways o craw theourside 74 Colour Theory Chris Rivers abstract fantasy art word during the currnt lockdown JM Turner's palett secretseaten A GOOD IMPRESSION Seinen! Sarena ee eS a aT ena days of confinemen Petr] VIRTUAL REALITY Uke many at groups we have sucdeniy had to stop our weekly ‘afternaon meetings due to government advice. We are seting, ‘up virtual galery and also wil meet vitually each week, Many art groups must be having, the same problems. Please could we have some suggestions in an article how we can keep mativated in tre many wooks ahoad. Frances M Hay, via email DAILY BENEFITS. Hoving just read Elaine Argye's Contribution (Letters, Issue 416), | agree wholeheartedly withthe ‘opportunity of being able to share with other readers ther though ‘0 the therapeutic bonetts of being Creative. Here is my own story I. 2006, when my eldest son ‘went to university | purchased acrylics, a painting pad and brushes ‘and started painting whilst working In a busy retail environment. re30 books, followed tutorials ane soon started to procuce carvases full of colour Nine years lates was lagnosed with osteoporosis and \dovided to take early retirement to Cour colurnnist Laura Boswell plus our lockdown-nspired Paint at Home special Begins on page 38 SShovaeveorssonsesconger | rife to wut! BACK To COLLAGE. The Firstly, | must say how pleased ofthe mont’ wie Iwas when a friene introduced me | 3 £50 it to your wonderful magazine. Is ackecwith interest and ilove to | tne Uk lt Took at what other creative people | srt materials are doing out there cfs me with | tho fresh enthusiasm and dive, : Foryears | worked as atieelance | snc . iMustiato, geting work where vm. patart..nk Heouid fr Bo0Ks, eas and $0 on, My work was detailed, and atthe time enjoyable, but when I look back think there was always an abstract artis inside me just waiting tobe freed. After retiring, finaly found what Nove to do ~ ana that's abstract colage [right {nave learnt to make all my own papers, and this means Ihave total ‘Ownership ofthe work as | am not reliant on papers rom craft shops. Overtime my work has slow become brighter and freer Painting was always my lve, but | feel very grateful that | have been able to expand my vision Wendy Taylor, la emai GreatArt® ‘Share your thoughts and get a daily dose of Artists & llustrators tips, advice and Inspiration by following us on our social ‘media channel ‘@xandmagazne KF anistsanamustators D sandimogazine [2] Aancimagazinea SHOP ONLINE TODAY www.londongraphics.co.uk fs ONAL 2 a ONOUES ‘6 oS (: a Sens mNoiA Delivering art supplies to our customers for over 45 years! ECO! ECO! ECOExhibition eee JUNE’S FIVE BEST ART SHOW BOOKS has collected togeter some 100 works, ‘the 270-page catalogue expands upon tha, Sheena Wagstaff and placing the German pant’ arnt the Benjamin Buchloh (ed) cortex ofthe Second Wald War's aftermath Wit New ores Met and also his embrace of itferent medi Brover closed unt Inviualessoys tac a turn Rosters further naie, 9000s the museum's Interetsin photogrphy landscape, memory, Tancmarkdspay af one ofthe weri’s chance and more trestest living pointers. While the exibition Yale UP, £35. wwwyalebooks cok Sarah Vowes (October marks the 300% aniversary 5 Glovann Battista Panes, 2 asic Naan artis famed fr his and dravings of Rome and Pompe With the iih Museum closed for ‘ow, accesso new ipl of his dranings son hole. Thankful this catalogues led wit evalng examples of is developing craughtsmanship, convastng them wth his more cramatcally-eased ons of grand architecture, Thames & Hudson, £20, wwa:thamesanchudson.coman interview wit Facto Cole, ona Warhol HOPPER nature of Hope terol, een painted ceAESTHETICA ART PRIZE \ SUBMIT YOUR WORK Win £5,000 & Exhibition All Media. Any Geni DEADLINE 31 AUGUST zea estheticamagazine.com/artpriz Acsthetica Ta] Fim Yoke seecraumm ¢S\geaaek | BART st nesteFIVE AR’ a UPS Cones ees ere Sor eer eet Cai your style to dealing with co Cee eaters ey prea It's tk istoning in on a pemea or ee Pans Where tostart: ema ‘SKETCHBOOK Pils axel yt LONI (ol cele nce) Fra I} LIVES Pee 45-minute episode, See ed ead eee Cec ee Res Peer rer] cote) ren) eee Where to start: Ce Cee [Toe alt Ciara Poe Cees with antsts, architects err Ceci) ieee CT) ae ee peer tery ne ee pared Whore to start: er a ees Urry oats ee ed ees eer cer “Is the Mona Lisa fake?" Sn ee cd Peete {un and pecked fll of eee ree’ ee Ee anns episode, Pees Penney ern a Saad CNTY oot painter Antrese Wood ee es ‘asking questions on their etn) ee eels corns Cees reese Cory toimprove your art sil, peer et ‘and paper at hand. or eres the Power of Persistence peer peeea eeeeS Create is the UK's leading charity using the creative arts to empower lives, reduce isolation and enhance wellbeing. Its focus is on the most disadvantaged and vulnerable children and adults across the UK. The creative eee oeicncm nici wellbeing and developing skills and, at a time of increased isolation, engaging in creative activity has never been Tiatolconal oLelae-lale a1 EN Me Rear Che Ream brother who has autism. She also cares for her Creamer ie reesei eer rete en eas Came nl) ane ean ogee saci financial stability, and the prospect of homelessness, which is why she contributes fiir iere eae ie ean ee eae ree eae Ree ane cat at 4am to do her schoolwork. She has little eno et eaara eee ete) eRe ARTSORGIIK lea acer ethene] eee aerogenes) collaboratively with other young carers under the guidance of Create’s professional artists Beene Rei Sem mum ae ar painting, ceramics, animation, filmmaking and creative writing. These workshops give her time Bare ean mete os eT ey CUE te tke see gi a es Create projects are co-created with the Seen arm ott ie tee eRe ee eee Per aa te ene ke) their creative thinking, teamwork and social skills, while having fun and building Broan eg Doing projects with Create has taught me how to think creatively, which has been a massive help with my schoolwork. | like to draw and paint when I have a moment to myself. It lets me relax and let go of stress and anxiety. It also lets me dream. Taking part in Create workshops has enabled me to make new friends too, with other young people who understand what it's like to be a carer. SUPPORT US DR nm Rea Ca, Fee eee acters eet eat a keg el eee een ete mena elie) enabling them to pursue their passion for art and creativity during this unprecedented time. Ree CRP iu ei Re aro just £10 a month. You can make an incredible Cora tea estar PTE eA ALLHe a BOOK OF THE MONTH Unguiet Landscape by Christopher Neve ‘When plans were made to publish e new ion ofthis 1990 ost classic, itl dé naw quite haw timely woul he. et Country Life art erie Cnristopner Neve goes in searen of 2oth-contury English landscape paintings that were nat 20 much topographically ‘accurate, but rather attempts to map out he artist's state of ming, Inspired ty his conversations with Ben Nicholson, Neve also disousses the work racesses of Eric Ravilous, y and mace. While we're all ‘tuck indoors, this @ splendid reminder of how far tie inag vow thamesandhudson 20 “THE SECRET TO SO MANY ARTISTS LIVING SO LONG IS THAT EVERY PAINTING IS A NEW ADVENTURE. SO, YOU SEE, THEY'RE ALWAYS LOOKING AHEAD TO SOMETHING NEW AND EXCITING. THE SECRET IS NOT TO LOOK BACK” - NORMAN ROCKWELLSee anc) eC) C Laer) peat Sea a eae det Cee ee 4 eee nmr ee) cee net Poe emt GAMBLIN RECLAIMED Watercolour textures EARTH COLOURS These limited-edition ol paints shouldbe the fst choice for any fenironmentaly conscious artists You can ereate many great watercolour textures using products found at home. A drop of isaprapst (euabing alcoho) n a wet wash ‘creates beautiul starburst effets For a reverse of tis, da halt a teaspoon of sat to your water pot, US many turer Gamblin has ‘extract the iron oxides from contaminated waters releases from abandoned coal mines across America’s Rust Belt. AS wel as ‘leaning the rivers, the resulting colours are top quality ~ the ion Violet in particular is @ punchy earth colour with excellent ightasiness. or. c0m wet the pege and then opin plerent-the sl encourages Last, take set of baking oper andy loosely over a wet Wash, Watforito 3. Remove the shaetto discover interesting tertures where ithad touched the ~ SS1AN’S ToP TIP soft pastels are area for blending ~ tay them own quite loosely the" ‘grrpulate them With you fingers"Inspiring new artworks, straight off the easel lan Rawling ‘out be forgiven fr drooling Kile when ou look atthe ‘ork of Sheffiek-bated arts lan Ranting His prtoiols a ‘menu ed with ce cream cones, fondant anaes, cheese ‘on oat and inthe eae of Sunny Sige Up~ fed eg that postvely sales, Ae wells belng good enough to eat, there is also something quite nostalgic about his choice of subject matter “Ike o pant fomfiar subjects that people tay have a connection wt, and which evoke cera memories.” he agrees. “A melingaeoream may remind someone of a sunny, summer noiday ora messy tomato ketchup battle of boisterous family inners as a chil Ian's treatment of these muchoved subjects als key tohis success, What seems froma distance o bea rather Simple design's actualy caeruy modulates surface fl ‘of ehlce dota. "With Sunny Side Up | pad particular tention tthe bubbles and slighty burt edges ofthe 98 fourd this gave the subject abit of a personality. {much prefer objects which are imperfect r show signs of wear and tea: ‘The Norodom artist begins each new work wh an ‘tne craving n pastel pen before siteningto sot pastels to establish tones ity. As the colours dele, he manipulates the loose colour wth his gers and uses ether a tortion, eaten buds o pastel pencls to add ‘ignerdetais in a sub, cros-natening mesmo. Tan fart hs ctft in rather unusual creumetances. To help pay his way tough a design degree at Shtfeld Hallam Univers, he mede chal, chercoal and pastel ‘rawings on pavements, rebing upon donations rom passersby.“ reall helped tach me how to concentrate an work under pressure as thee was always someone ‘watching you work or commenting 38 the craving progressed" he recalls. "Iwas also where | frst fealsed that! loved creating workin a more realise style” ‘After graduating. he also spent a numberof years working as a greetings cara stator, wri broadened his attic skis and aso taught him alt about erating ctective compositions. "With a greetings cara, the fst thingit needs odo is tract attention and daw the ‘ewer in, something am fr na mypittures, especialy ‘Sunny Side Uo which i feu to miss wth ts huge yellow yoke ‘rwanraingstul.comFresh Paint Elaine Kazimierczuk Wile the great outdoors might fe! tke an abstract. ‘concept for most of us at the mament, for Elaine Kazimierczuk thas always been this way. Her paintings ‘of fields and woodlands are semi-abstracted, with botanical accuracy forsaken in favour of bold colour ‘choices and rhythmic mark making Elaine is something ofa Renaissance woman, having studied chemistry, fulilled sculpture commissions and ‘even been shortlisted forthe BP Portrait Award four years ‘260. Yet whlle she can seemingly turn her hand to most iscplines, ti aifelong love ofthe natural environment ‘that motivates ner work. She regulary supports the ‘conservation charity Plant and the subject of The Last ‘Meadow at Cae Blaen-Dyftryn is one ofthe nature reserves that tiey manage. Pemaps surprisingly, Elaine has yet to vist the ‘carmathenshire stein he painting, having relied instead upon photos supplied a herby Pantie. She ikes to ‘manipulate her source materials on her laptop first, before ‘sketching out the main shapes on her carvas in pencil ‘The arrangement of a scene wil often remain much 3s ‘che found it, wth the artistry coming in her curation ofthe ‘objects within ft “The abstraction isin the process of selection - what | choose to pick out and how I represent ‘those elements wth my own vocabulary of marks and gestures” she explains. “The aim is to achleve a certain resut, one that captures the abundance of nature and tne {oy of orchids in full bloom, Have you seen Persian garden carpets or the landscapes in Florentine tapestries? They ‘achieve something similar with their styistions but in iferent media” ‘The foots of her philosophy are taught in her “Art of Abstraction” workshops in whic, she say, she ‘encourages her students to “experiment wth different media promiscuousiy* and “think oftheir work as a painting, rather than a hilsde ora vee". Despite relying upon the landscape fr inspiration Elaine srt worried about a shortage of subject matter ‘during the lockdown, She has 2 large collection of photos FRGHTEIane to draw upon and intends to cycle out from har atinierc2uk. The Nottinghamshire home when she can. ‘st Meadow at "The Blackthom is ust coming ito blossom and Ive ‘cae Blzen OyFvn, painted the buttercup meadow, which f five minutes from ‘lion canuas, where lve, atleast a dozen tes,” she says excitedly ‘20x80em _wwwelainekazinlerek com ae Anists @ MhstratorFresh Paint PORTFOLIOPLUS = , ny PORTFOLIOPLUS Every month, one of our Fresh Paint anists Is chosen from Portfolio Pus, ‘ur online, arkforsale portal. Foryour uses inthe Ran, ‘ero on cana, 500m chance te feature na forthcoming Issue, sign up for your own personalised Portfolio Plus page today. You can also: + Showease, share and sel unlimited % artworks commission free + Get your work seen across Artists & Imustrators’ socal media channels + Submit arte our online exhibitions + Enjoy exclusive discounts and more Sign up in minutes at www.artistsand IMustrators.co.uk/rexister nove ten Helen Sinfield ‘When Portfolio Plus memiver Helen Sinfeld was out criving fone rainy day, she was struck bythe effect raindrops had hile dripping down her car window. Not only was she ‘awn tothe retections, but the way the seene beyond as blurred. In that moment, the inspiration for London ‘Buses in the Rain was born Five years ago, Helen began dedicating more time to painting after a 25-year career as a graphic designer ~ ‘experience that has a major part to ply in the planning and composition stages of her practice today. “Inala cof ways, stil work asa graphic designer” she explains. putt images in Photoshop, play around with the layout, ‘then decice what Im golng to paint.” These were the steps Helen followed when creating Loraon Buses Inthe Ran. She used the photoedting software to distort and manipulate an image ofthe buses before overlaying it wth photographs shed taken of rain running down a window. “Once I tthe look | wanted, {puta rough pencil drawing down onto the canvas, and then di fal quick covering using a large fat brush {and Daler Rowney System 3 aoryls,” she 53. ‘As was important forthe Portfolio Plus member to capture the *mavement and colour” ofthe soene, she tried to avoid getting cought up In specifics in the early stages. “if you get bogged down in too much detail and overwork 1 the painting loses that movement. ‘ter gradually building up te painting Helen frishod by inessing the raindrops using a small round brush. Her secret to making them look realistic was to consider ‘them as abstract shapes. “Ids look att as though ‘as painting raindrop now.” she says, "Just copied the shapes and colours, and ill came together.” eww atstandilustaters.couk/sineldineatae ee ela C2 Bue. Spy Te yA Cie as ata Sorts eet the shop Subscribe to The English Garden and receive 13 issues from just £44.95, plus FREE welcome gift Order online: www.chelseamagazines.com/CTEGAI20 Or by phone: +44 (0)1858 438833 quoting CTEGAI20After winning the Artists & Illustrators Award at the Pastel Society's 2020 show, MARGARET LARLHAM tells REBECCA BRADBURY about her arresting pastels and artistic rituals A gf <11caN almost sense the ominous, grey cloues rolingin, casting a moody shadow over the BE ceseretike terrain. i's a skyzcape IMW Turner ‘would be proud of, as a splash of resplendent blue stil lingers above candyfoss clouds inthe distance despite ‘the threat ofa downpour edging ever closer. And privy tO itall is a steady stream of water carving its way through ‘the dusty serub below, playing back the show of shitting light and kaleidoscopic hues with ts own metallic git. There’san untameable, rugged beauty as well as a striking luminosity to Margaret Larlham's painting Solitude i, something that can be said of al the award-winning artist's pastel landscapes. ‘Another fomliae feature is the subject its: epic esert scenes in which life thrives against all odds and ‘mountaintops touch the sky, I’ the sort of scenery that surrounded the artist during her childhood in rural South ‘rica and which has left a lasting impression, becoming something of lettmotit throughout her entire ife."The o¢k, the mountains, the bush, the thors, the hardiness of tall it feeds my soul” she explains. "So, when Ise echoes ofthat in ether parts ofthe word, I get excited.” in 1986, Margaret moved to San Diego, California, not far from Mission Trails, a rgional park stretching across. ‘mere than 7,000 acres of canyons and hils. Every morsing, the artist heads there for a meaitatve walk tuning into ‘the changing seasons and grounding herself for the day ahead which almost always involves painting. ‘Some day the weather isnt looking so £004, ‘Margaret wll tay long enough to do some quick sketches cnt Scoss of before returning to her studio at home. Other times, ‘Change, pastel on shellspend the whole dey outside painting, ritual that oper sixsiem is extremely important to her practice she even cites > a2 Artists & MhstratorsINTERVIEWINTERVIEW inspiration for Margaret, but i's not the ony living er creativity,INTERVIEW Gveryth ng I learnt in the theatre, like how lighting from the side shows form, plays into my life as a pa ntep® extends beyond landscapes into ral, stil fe anc portraits, and its crucial forthe atist to have the space ‘tw step away from a subject i's no longer felingresh or siting comfortably with her, She adits this variety Is unusual for an artist, but k's her way of retaining her artistic vigour. "Margaret's ether intuences also stem rom her ‘formative years. She has only boon working full time as an artist fr the past decade or so. Before this, art was someting she found time for “inthe cracks of her] existence” whether this was between semesters while studying English and Theatve at Durban's University of Natal in South Atica, as a new mum while her children were sleeping, or ftted in around her od as a protessor ‘and theatre director. And i's this stage experience that particularly impacts her at today. “Everything | learnt io the theave Ike how lighting ‘rom the sie shows form, plays into my if asa painter because | alwaye choose where | get my sun fom,” she says. “If yeu look at my work, a feature isthe luminosity of some of the images, and its relly about having learnt techniques for perception inthe theatre ~ how the audience has to perceive things troush light ‘and colour and shape. Margaret also likes to think ot her subjects a charactors on a stage, particularly her florals, She's drawn ‘tothe indigenous plants near her home, inigued by how ‘they can push themseves into existence in such a harsh oriment and continue to Survive, She also loves the wonderful duality created by the delicate flowers that ‘seaming spring from the barren soil and rock. It was infact one of Margaret’ paintings of a native buckwheat plant, Seeds of Change, that won the Artists & thustrators award atthe Pastel Society's Annual Exhibition 2020 at London's Mail Galleries back in February. We were Partculaty impressed with the painting's trademark iridescence, dramatic forms and gorgeous combination of vivid, ich colours. Having painted the subject many times before, Margaret describes the plant as “an ola rend” but after becoming fascinated by the tiny buckwheat heads and capturing ‘them on camera, she took a different approach this ime around. What happened next was a reminder forthe artist ‘that no matter how much you plan a painting, t sometimes has a caling of ts own, “Iwas able to blow the photos up and see al the trmall of existence that happens injust one head of buckwheat” > Aucits @ Ulustators 28se recalls. “| used a very old-fashioned technique of {cutting out some shapes from the photos ard putting, ‘them together in a grouping to form the main part of my ‘composition. Then | cid my usual process, whichis an ‘energetic underpaintin, just noting the dark and the light ‘areas, When itcame to the layering, | was able to express ‘the myriad happenings that go on inthe ttle head of buckwheat” “The interplay of the colours stood out to me” ‘she continues, “but tall came too ree, c0I started to introduce some coo! colours a blue and a teal, The teal jumped onto the surface ike a reflection of the sky in a ‘way that started to throw me. I became aware of haw the painting had its own demand and, i youve attentive, you ‘can respond. And | was surprised to discover how much ‘more it became about he atmosphere around the plant.” Margaret's wifower paintings are certainly atmosphere, dlsplaying the drama inherent in her landscapes. And Seeds of Change aso reflects the American artist's passion for experimentation and the tril ‘00 gots from the unpredictable nature of creating art. ‘She can't quite pinpoint when pastels becarne her primary medium, a8 she previously worked in watercolour and ols too. In fact, she has fond memories of atending ‘watercolour courses in the Uk, while visiting her hustiana's {amy and picking up techniaues that have tered ino her past! practice. “The training in watercolour was very powerful for me ‘and | think luse 2 lat of watercolour techniques in pastel sill to this day." she explains. “There's a watercolour ‘strategy which is reserving things as you move forward, ‘0 you'e always concerned about the background and the foreground atthe same time. Ths i something always consider” Margaret also likes the fact that both mediums are very forgiving and that you can layer diferent colours over the top of one another. But she reserves the most zeal for how bulloing up altferent layers of pastel can acc energy and interest to painting, takingit somewhere she could have never foreseen atthe outset. She is sknlaly passionate ‘about mining pastels and constantly discovering haw “ferent colours behave together. this ongoing desire toleam and progress her practice which attracts her to the pastel societios to wien she belongs. “There's an excitement about rediscovering this medium, which has been happeningin recent years, and ‘also an excitement about discovering new techniques, ‘she explains. "There's so many efferent things you can try ‘thatit makes it ealy exeting to bea part ofthat group.” ‘ove Canyon auton, paste on pene! 102626 s0Lx810n INTERVIEW ‘So how do her peers intuence her? “All these things you see other artists do, they help with the confidence of being bold withthe medium and net just using it a8 pene ‘The more you see otter people experimenting. the more you feel ok with the things that you are trying to do: Margaret’ love of creating artis almost palpable, and It's a5 if she senses a similar kind of feeling, an Invisible pul from the earth, tugging her todo this creating used to think it was lke you were going out fishing, the painter would cast a rod and then come back wih a Catch or not she says. “But ve recently begun to think Cofithe other way around, that the wold is doing the fishing and casting out and catching the artist, requiring the artiste see what the world is up to I's that tension between being therein the world and (focusing on} painting ~ i's so engaging and thiling and dangerous, ‘and measures your truth the whale time, You have to beep vigilant anc apen toi.” ntnargaretlarham.comPopshot Quarterly offers an escape into a literary world: short stories, flash fiction, poetry and much more. QUARTE mas any y ENJOY FOR £7.50 delivered straight to you door Rh exclusive story by author Lydia Ruffles THE DREAM ISSUE Enjoy a special trial subscription with FREE access to our digital archive containing more than 500 storiesArtis i Our columnist LAURA BOSWELL on being realistic with your creativit during the crisis Bowel, Rea Fal, ince, 690m hen the bes thing we Waeee inthe ht eins Gone it stay rome, youd hint wastheprfest time to escape into making art. In realty things aren that simple so accept that your creativity wil take 2 -kncek as you learn to adapt to this new ay of lving. | know Lam not alone in struggling to concentrate | work trom home, so life in selfisoation hasnt {changed much for me and yet my COLUMNIST productivity has dropped significantly ‘over these last few week, For now. 'm fndingit helpful to focus on projects that Ihave already partly started, or at least plannes, ‘ollowing through on work rather than Inventing more. Ifyour energy low, this might be 2 good time to fick ‘through sketchbooks and revisit ideas for projects, rather than inventing work fom a standing tart. ve so learned, in these early daye, to set my targets low. try to complete one Useful thing a day; today tis writing this column. That gives me a goal to achieve and anything else is @ bonus. usualy achieve more, but worry less. Making the effort to maintain @ ally routine has helped me a great al, farts your hobby, sticking to ‘as near to your usual artistic practice as possibi ls probably better than ‘expecting your artistic ereatiity to sudden fil your days. t's fantastic if you are swept away fon atide of invention, but ty tet that happen naturally rather than trying to ‘ore it and risk it adeing to your stess levels. There are marvellous art ‘opportunities springing up daly rom vietal gallery visits to online lasses, but take your ime witn these to. Dip in and out ae it sult you, rather than setting ambitious goals. Now is also the time to be generous with your art and to share sore of your skis wth trends and tami, ‘whether in person or online. Ityou are selfisolating with others, you ‘may have no choice but to share your cteathty, 50 best to go with the flow wherever possible. Whatever you do, focus on being kin to yourself ana felax; wo can all work on golf Improvement when this fs over. Laura co-hosts a podcast, Ask an Artist LUston to new episodes at wawartsts andilustraters.couk/ashonartlst 66 Accept that your creativity will take a knock as you learn to adapt 99 Ariss @ Wustrseors29Pd Chris Rivers After touring the world and playing drums alongside the likes of Bon Jovi and Black Sabbath, this Manchester artist has found solace il the tockdown that has WW reciireon on outreak has provided time for menyor-ngaee ‘uth create praises has severe cual grand arise plans, Manchester-b0m painter Chris ao Artists & Uuste Rivers was all sot to stage his first London solo exhiition a the Pontone Gallery in May, but at the time of ‘writing those plans were curently on hold. “We've taking it day by day at ‘the minute because everything Is changing so quickly anyway." he say his studio, as STEVE PILL discovers Tbe astonished if it happens, by ‘the sounds of things nothings going ‘t0.be open fora longtime realy" His plan isto launeh the collection online for naw, “i's @ shame that the ‘ctual physical show is going o be postponed untl things get back toTOP RIG Chery Japanese 26044700m normal but yeah, Fl just go with the low and weil make something work aut ofthe situation cealy” ‘While Artists & lustrators normal refers to visit an artist's stucios for this feature, the current restrito ‘mean that Chris is instead chatting ‘0 us over the phone porto starting ays painting, He has been tying tostlek ois routine in between coling his fouryeerold 's har to paint now, re distracted than anything. everything going on att You're obviously worried about the whole stustion for everyone relly “But yea, in general m eracking he ads. “Im coming down here 8 couple of times a week when | can and I've got a home setup as wal Irs just about getting into a arterent ‘thm to what you are used to." Establishing a groove is particule important to Chris. given that he spent more than a decade as a drummer in hard rock bands. In. 2005, he moved to London after auditioning t Join Hurricane Party and within months. the five-piece were touring with Status Quo. “That band evelved inte IN THE STUDIO ‘another band and basically between ‘the age of 20 and 30 was a tulime touring musician in a band,” he say That new band, Heaven's Basement, released a debut album in 2013 and shared stages with the kas of Black Sabbath, The Darkness an =i his hometown of Manchester Bon Jov it was a crazy period of ny if, he recalls. "You know, we ental over the world: Australia, 66 It’s hard to paint now. I’ve felt more distracted than anything. You can’t help it with everything going on. 99Lert srawveny tesa trek rom hs pointing BELOW A bis eye ew of he stucoin North America, all over Europe, ‘everywnere basicaly. We never realy ‘earned living from it, butt didn't matter because we didn't really nave ‘any responsibites either.” While Chriss reluctant to share any Juloy stories about rock star excess ~ “everything needs censoring.” he teases ~ hes also philosophical about the realities of a musicians fe ‘on tour, one that largely constitutes 2 single hour of excitement on stage ‘and 23 hours of wating around. “Tobe honest, it was ike ving ina bubble ne says ofthat pero. “Itidn't realy matter what day ofthe \week or what month it was haf of the time, We used to say every nit was. he aFrcay night: you's be playing a ig, there'd bea rider with beers and 80 0n. rs quite a weird iestye [miss playing drums but ther's alot ‘of other stuff that | don't mise a all” Iwas during his time on the oad ris reconnected with a ts C’hilshood love of art. Ona day oft in Chicago, he went toan art shop and bought a set of ol paints to entertain himself on the tour bus during the long crves between gles. He made his fst painting on an old drum sin ‘ane later startes working on ot oF broken eymbals as well, enjoying the ‘way the oil paint looked on the metal Doodles soon turned into more Iustratve works and new cites ‘would inspire paintings. Chris was soon stashing art supplies inthe bhena's American lock-up and spending allot his downtime atthe easel [Aset of portraits of David Bowie followed, while a series of character based illustrations were adapted into ‘wo children's books, Zak and Jen's Astronomical Adventures: The Petal Pranet and Tinsel Town, ust persisted at [painting] and it paid off to the point where | could call ity fulltime Job,” he says. "Money ‘wasn't my motivation for doingit fe paint anyway regardless of what Iie fo jb, but guess the music inaustry taught me to throw ‘everything nt and take a risk: Intact, his previous career as helped in more ways than one. Unike many artists that are just starting out, Chis was alive tothe need to be ‘setting up a website and promoting himself through social media, just ae he ha done withthe ban. think there area lt of artists who miss a trick wth that and t's a shame, You see a lot of amazing painters ut there and if they put a bt more time into that stu, be worthwnil, ‘Chis was quick to fnd a “practice room’ as wel his stucie at Falean > Five years ago, if someone would’ve told me | would be painting every day, | wouldn't have believed them.IN THE STUDIO ABOVE Moving to Fcon Mil alowed Christo workona FIGHT A Koment in Time and Space, olen canvas, 190«170em {OP RIGHT Acta ‘rom Lostor wy ing, snowing the cherubs ins work [Mit a sbstorey former cotton mi on ‘the outskirs of Bolton, Lancashire. While the mil is home to many lca businesses, ane floor is reserved {or 3 dozen artists’ studios twas a game changer for me When I maved in to her,” he explains ‘Before this, me and my wife were Jvingin a small parements0 1 was painting in there realy restricted what size of work | could da, et painting being messy. When | got here it ealy elevated my work.” Artists & iustrators frst became aware of Chris's work atthe Landon Art Farin January, when one of his paintings, Steamberry Skies, was ‘causing something of a botlene We stood and watched fora while as one visitor after another spotted from afar the seemingly abstract burst of blush pinks and siky turquoise blues, only to step closer and see more clearly the tiny cherubs apparenty floating in space. tis a clove confident and beautiful painting that could have been sold several dezen times over had it not already earned a coveted red dat "At the end of the day, people ook at paintings with their eves and that's ‘the intial impact that you want to capture ~you lke what you see," he explains. “Its not essential fr people {0 know the story behind a painting, Is also nie for them to make their ‘own interpretation of what they see. ‘You dort want to ve too much away.” Nevertheless, the intial des for Strawberry Skies and the other works Inthat series came from locking at Italian Renaissance paintings filed with nappy, joyous cherubs floating In the sky. “Tikod te idea of taking thatand shaking up, tke physically shaking ono of the paintings and seeing everything fling down to abit ofa darker plac Unsurprisingly fora rummer, rhythm is important to Chris's art. He listens to music inthe stuco, everything from me Hans Zimmer soundtracks, while even is most complex compositions have an instinctive sense of balance. He likes al paintings in a series tobe Uniform teo, each one the same size ‘and colour palette “m quite OCD with that sort of thing” he chuckles.IN THE STUDIO Aside from his art GCSE and ‘watching the odd instructional video late at night on YouTube, Chrs is entirely self taught. He does, however, like looking at O16 Master paintings ‘plage to see haw they were made. He nas a love ofthe colow palettes ‘ofthe Rococo painters, while recent favourite discoveries neluce the of French Romantic painter Eugine Dolacraix and his rend, the Turneresque English artist Richard Parkes Bonington "You cant help but 9 toa museum, see loads of great paintings and then want to get back Ingo your studio and create something ‘amazing. and I'm sure subconsc everything you see sinks in While the doors ofthe wort's Cony in the virtual realm t ould be forgiven for being litle downbeat yet he admits his head is ‘buzzing with new ideas anc he is also ‘proud ofthe progress he has already ‘made, “Five years ago someone ‘would've told me | would be painting ‘every day, | wouldn'thave believed them, no way. I would have thought the music, being drummer, that was. itor me forover. Yeah, but you know, life's ful of surprises.a r= Mee Artsts ILLUSTRATORS i Conkennporary meet PORTRAITS ran OTe Seancrontacns ee —< a - = PAINT LIKE ) R M T wee od Dr A SPE c PN the. Shc With Quentin Blaffe and David Hockney Price The best expert advice and inspiration£1,000,\0F JACKSON’S ART SUPPLIES VOUCHERS Stock up on art supplies during lockdown with 10 prizes worth £100 each from the leading online art retailer ‘This month we've teamed up with the leading online retailer Jackson's Art Supplies to oer 10 lucky readers the chance to win £100 ‘vouchers o spend on products fram the company’s own range of art materials. Jackson's is passionate about fne art als, soit follows thatits vast collection of own brand products second to nane in terms of quality and diversity Whether youre a watercolour, acrylic o ol painter, of your medium of choices paste Jackson's has your unique needs covered, The staf ean even ful your framing requirements, and stocks a wide range of ‘easels catering to every painting situation. The company’s ethos isto find the best products, offerthem et the best prices, and ‘eliver an exceotional quality of service. Jackson's now ship to tens of thousands of anists around the globe and the company has come along way sine starting in a galery basement, sting ahanctul of products, 20 years ago. Jackson's wanted to spread as much joy as possible in these testing times by offering 10 Icky readers the chance to update their art supplies and equipment. View the full ange at www jacksonsart.com Ten winners, chosen at random, wll each receive a £100 online gift voucher that can ‘be spenton products from the Jackson's Art ‘Supplies range at wwwjacksonsart.com/ brands /Jackson-s Enter online by noon on 12 June 2020 at wwwartistsanditustrators.c0.0k/ ‘competitions. Alternatively lin the form as eee LC Ae or JACKSONSART.COM | PRIZE DRAW mai Telephone: ‘above and retun it the folowing adress Jackson's Prize Draw, Artists & ilustrators, Chelsea Magazine Company Lt, Jubilee House, 2 Jub 9, London SW3 3TQ Prie is non-transferable. Voucher fo Jackson's ‘nn brand products only. No cash alternative 's avaliable, For terms and conaitions, please ‘sit www.chelseamagazines.com/termsFELICITY HOUSE kicks things off with a look at how to develop good routines vst when we thought our enforced stay at ome would ‘mean we had plenty of time to make our art, we discover how ficult it is to be motivated. A lack (of motivation is Familiar to many of us, especially when worying thoughts fil our mind and we need to get over the task avoidance. ‘Away forward found helpful was to estabish a 15 minute-a day routine of drawing, setting myself a particular time to do this everyday. Regular Grawing practice improves our coordination and abservation sls, ‘and 15 minutes is an achievable ‘amount of time to set aside. ‘Start with afresh new sketchoook, 80 many different drawing tools ‘are avaiable, but recommend reacquainting yourself witha pencil ‘There something very calming about pencil drawing, t's €257t0 forget how good soft graphite feels lon paper ~ a 28 oF 48 would be great Draw something small, simple, and tahand, should also be something youlike~a leaf or two on a plant, half a tomato, a shell a sofa cushion. ‘Theres no need tobe too ambitious. You might draw a family member watching TV. A petis another great subject. fhe orshe moves. lot, ‘ake several small drawings on one sketchbook page inthe 15 minutes, Begin ight, making marks as you see thom. Draw over these softer lines wth harder marks to corect or Improve the drawing. Bld up tones Usinga series of close marks. Seta timer and always stop after 16 minutes. Get used to what can be ‘achieved in that time. As you begin to draw faster and more accurately, ‘a confidence and fluency develons Stay with pencil or as long. as you ike before mauing oma another drawing, tool, such as a bio, a conté pencil fora tnetiner pen. Keep it up, 18 minutes every day the habit quickly establishes and becomes a part of the day you cant be without. Having established a regular warmup drawing routine, ada into >‘AovEFticty the day a quick. hourlong painting in House Juget pastels, oils, gouacne or watercolour Creom pastel on When choosing stil ie subject, oper 22.25en —Loften use a simple formula of tree particular things. Firstly, choose a “surface” might be an interesting piece of fabric, a pleoe of attractive wrapping paper, ‘ora familar tablecioth. Next choose. ‘ container ~a favourite cup o mug, perhaps, or an interesting jug, basket ‘or patterned bow. Finally choose at calla “natural” objet, such as aruit or vogetable, a shell ora sec ped, maybe some fecthers or flowers. In selecting each af te three objects, "rm always looking fr shapes anc patterns that work well together, as wel as colours that elther contrast orharmonise. ao Actos @ Uustrators Set tings up by placing the surface fon table, the container on the surface, and the natural objec in ‘or around the container. Move the components around untilyou notice 2 grouping you like enough to paint. Looking through a viewfinder helps here ~ even just looking though a ‘makeshift rectangle made from your ‘thumbs and forefinger allows the eye to false a composition. Seeing through frame helps you to choose ‘more interesting composition which ‘may bo off. contr or involve items boing eropsed. Next use the viewfinder to roughly plot your chosen eompasition on the support Rest the viewfinder and paint the composition you plotted. {ke to use sott chalk pastels often ith tonal watercolour washes for an Lunderpaining ona support that is genoraly no more than 20x25em. If1use cl paints, go smaller stil In time, you can use this formula to tackle more complex stil fe with growing confidence. Ourhomnes are ful of things we've tked ane bough, been given or kept as a memory ‘ith some forward pisnning our daily food preparations can be paused to provide othe lovely subjects. 1m particulary fond of domestic. Intoriors so lockdown provides time to give a whole day to work on a more ambitious picture ike a kitchen view fora dining table. The challenge of relating one item to another makes for an absorbing day's work veo flletyhouseartist.co.ukPAINT AT HOME SELF-PORTRAITURE Quick paintings of your own likeness are a great chance to experiment, says PETER KEEGAN \eseltportralt isa popular show personality? Srould you hola nai fascinating to see not only T Challenge for some artists anda particular expression? Questions how my style and approach has Central tothe creative practice such as these are why the kes of | _changed and developed, butaso how of others. Whether depicting Rembrandt, Freud and Kable have ‘ve changed physically over the years, themselves with brutal honesty the turned to self-portraiture asa form Once you get beyone the despair of gon Schiele or hiding in larger, of self-expression and discovery, 2, wrinkles or hairloss, they narrative paintings lke Peter Paul IMynn journay with seltportraiture become signposts along your creative Fubens, the gente of selfportrature started at school, when | would paint journey ane go some way to provides on artist with a unique ‘and drow sel portraits regulary ‘explaining your own unique story a3 ‘opportunity to evaluate who they ae, Since then, have made a point of an artist. Try not to worry about your convey a message or story, reflect on producing at least ane seltpervalt@ appearance and paint something Identity or mortality, oF to simply play year In ary medium or style wish youre not Be honest and paint what With new ideas, tools and materials, and naw have acollection spanning you-see ~it wl 190k a lat more For many of us, a self portrait tho last 45 yoars. authentic and sincere. ‘occurs when there are no other Over the year, Ive painted myself Seltperrature can bee tine to try ‘mode's around. Witha wellplaced at different andmarksin my fe, uch a.dfferent method or approach, ike @ rmiror and the bravery to depict what 2s becoming fulltime artist or new set of colours oa different style Ispresented introntofus,we are surrounded by my new famiy, as well actualy ended up painting two sifted a numberof unique challenges, as also ustoreatingselt- portraits portraits, one sombye, halT-length Farely found in other forms of painting, for simple visual challenge, sucn portrait and the other a smaler, ‘Poste Pao ‘Should you later yourself? Should as one mage in homage toe Freud quicker study which |wllshow you Peter Keegan, Se you copy what you see onthe surface exhibition lenjoyed and one because how! painted below. Porro sty ol orlook beneath? Should yeu tyand simply liked my new gasses. wo peterkeegan.com lonpaper 40x80em #PaintAtHome CHALLENGE 2 A Quick Self-Portrait Grab a mirror and prepare to be brave Begin by applying 2 wash of. luted Yelow Ochre tothe poner using a large lat hog brush to take ‘anay the intensity ofthe white surface. Don't paint al the way to the edges as It keeps the maris visible at the end. Use a dituted mix of Cadmium Fed and Nory Black with a size 2 Abert brush to map out the major shapes. Avoid looking fer detail nere and focus on jst the main, structural ‘rome ofthe heas. Drawing only with straight ines can help this. Ris easier to paint face in warm Vig Use @ warm bulb to prowde an excellent range of highlight, mic ‘ones and shadows across the face. > Ariss @ MustrtorsaaPAINT AT HOME DECORAT ETTERS EMMA LEYFIELD suggests a creative way to keep in touch. inspired by the Victorians love affair with itstrated letters began as corespandence between ‘myself and my grandmother, varying between humorous cartoons and ‘exquisite ilustrations for the simple eligi that receiving a etter can bring Ada this tothe surprise of belng ven something so beautiful crafted {and the time spent making it by hang and soncing a decorated lettor becomes.a unique gift thats infiitely ‘more personal tran a text or email The letters themselves are ajoy to create and enclessiy inspired by the concert. Fitting anilustration into ‘the confines of an envelope ~ and ‘exploring the relationship between the artwork and the address ~ is 0 fantastic challenge. Then there's the physicality o a etter ana the abit to ‘enclose small things, such as tickets lor scraps of fabric, which might also be at home ina sketchbook Obviously, eter artis by no means ‘2 new trend, Originating as a pastime ‘and means of keeping in touch with loved ones, surviving correspondence ‘mastly comes from unknown Victorian ants whose letters remain 9s ; snippets ino the ves of everyday ada people. Wit the introduction of Creer) postage stamps, ad ater the penny Perc iar post. more people began to explore REMOTE the placement ofstamps and peer oer eetariets ‘tustrative potential of envelopes. arene re ‘More recently, notable artists who ener reenter have cabbles in decorate tere PUREE include Lucin Froud and Yes Saint on Laurent There ae many beaut CSE | exaies inthe Smitnsonian's ete aoe chives and tne Washington cote Caligrophor's Guid hols an annual ane) “Gracetl Envelope Contest and past somthing that makes ia pleasute to PUREE winners can be viewed onits website, lookat. An ilustated letter does just enna ‘Asan artis, strive for beauty that. tot onl lps you keepin OEE REM crm work.tdoesnthavetobe touch ith iends and fami, but also AROVETHe® of eee conventional beauty, butan image brings joy your loved ones as Wel. Emmis inane ‘must sing wth that undeniable wawsaleian.couk wash ovlapes Ariss @ Mustrators 46en Bromley PTR ay Feet Brand New Products NITE stom your favounte brushmaken ave Pro Ate wave Daan by, vary uy Following the icunch of we brand new products, Sablane end Saniesque, eto another recon offering. Utility Resins nan ae emer ey winson ee eore ca zeae FIRIO. Pro Arte, Pork Ml Brougham Set V4: 2023 20 na ut more and enter opine ataupplies o.uh/eovercomp "el 01756 792929 « Fax 01754 700009 ‘odmingproce.couk + wv proarte.co.uk @ stow us on sogiom Sprcarsbnuhos I] Follow usen rotate Ee Rum Cen eT cl BRO eer eae PMI escent dMake great art during the lockdown with FLORENCE SHEWARD's five studio tips You don't need a huge space to create a functional art studi. There ‘might be more space in your loft or garage, but if it's draughty and damp you won't feel as creative. Keep the oom wel ventiated, particularly f you're using soNents. Get a chair that you wil be comfortable ating in for long periods of time & Again. this isn't about the size of the oom, but rather allowing yourseit ‘a space to call your own and one in Uahich you ean leave things out [Nothing kis creativity tke packing « everything away a the end of the ‘evening. Lkowise, cover surtaces "necessary, so that you can be ‘expressive with paint and not wary you accidentally splash overyuhore, Natural lights ieal, sure, but we on't all have a lant spare becroom with north-facing, oorto-cling windows. Replace the bulbs in a celing or amp ight wit daylight bulbs, which you can order oniine. Position ita good distance fom your canvas or paper. Avoid bright ints ‘behind you and also spotights— you're aiming tora gente wash ot light to hep view colours accurately. You'l be surprised what youll ind PAINT AT HOME around the house to help make a temporary space for art An old ceutiny tray makes a groat way to store pastls. Repurpose an old wine ack to0~ cut the tops of old plastic bottles, place them where the wine ‘would go, andfilthem wth pens, brushes and more. Don't forget that~at time of ‘iting many online art shops are eotinung 0 tae during th locksown ‘0 you can order extra art matorials easily and stay creative. your local newsagent i closed, you can also subscribe to Ariss & Mustators online and well deliver every copy eet to your door nd out more at ww artstsanallustraters.co.uk.PAINT AT HOME. Co SEA SAUT BANANA CARAMEL TRUFFLES Gh PacisPAINT AT HOME Stocked up on food for self ( isolation? OHN MAR WIN has some tasty challenges {sen unusual time as we come dedicated to tinned fish, condiments toterms with a global crisis and and battles of various descriptions. : 7 Unprecedented measures that Household items may seem : : restrict our movement. Being confined mundane asa subject matter c : toourhomes nas become the norm but painting them helps you to ae : but this need not hinder our creativity. understand many basic artistic re “Many of us are concerned about concepts such as proportion, t 7 possible shortages as we selfisolate perspective and volume, ‘ ‘and food may nave become a Start by taking lookin your preoccupation, However, i's possible kitchen eupboards, your pantry torretrame tne senge o gloom about and anywhere else you store non. 90 filing our kitchen cupboards and turn perishable foods. Check inside the y tan itinto something creative. {ridge and see what items are lurking aman illustrator and designer, _at the back Take out an review the ‘and m known, among other tings, various ars, tins and packets you en for painting and drawing food tems. find. Look atthe varying textures and Rae When I started my sketchbook Sizes of tems, such as re lentil, practice, Wasa stayathome mum taglatelle nests ar matted milk i f With atodder, sod tty to snatch —_—seuits. Stack up items to create Sees pockets of creative tine while she efferent heights end ada interest. : err Leronn Marwin, had aap. Because ofthe limited _Pethaps gather packaging ofa single t LEngish Packaging, time avaiable, 0 paint tems around colour ~for example, a red Ritz <égialiusvation my house to build up both my fluency _eracker box with some red OXO cubes : with watercolour and my general and Kitkats~ and paint or draw them BELOWOMN Mar technical ability. Using only that colour and black. c Win, Avery Engin 14 often select itchen items for For further inspiration low my ' ‘Store Cupboard, this as that's where Ispent most of challenges inthe box onthe right. f Ants & Ustrstons 61867, gounene ona TOP AGHT Lancet Clovsseane Stu paper, 21x44 em Imeror view, creating a subgenre of their very own, If we start to think ofthe window a ur subject in this way. possibilities for interior and stil fe sel ups. Perhaps you might want to Inolude the window frame or part fi, stl giving prominence tothe scene ‘outside, The next step isthe fuzzy boundary between interior and stil ite painting, as we expand our frame to ‘nolue part ofthe room surrounding the window. Unike landscapes, you have contral over the interior aspect ‘the composition, so you may want ‘w arrange props or subjects that harmonise withthe scene outside. Returning to the ever-changing, nature of window views, don't fee! testited to painting inthe midte of the day. Much variety ean come from down or dusk, diferent weather conditions or even working at right. ‘matle an invcanel- nash drawing from 2 window at night that provided an Imoresting challenge in tonal drawing, ‘Asa subject, the view from a windo ean be revisited repeatedly t00, We can look straight through itor treat t asa key part ofan interior, and w ‘an explore the ew at aiferent times. I hope this has given you some Ideas to consider while you gaze out t home. like to end with afew tips and tricks tat ve picked up to help you along the way + Ifyou are tacking a larger scene, tis 8 good idea to frst identify tne and place itin your picture. This can help you judge the scale of all other elements againat ‘that, and also means your picture is less likely to spil ot tne page + Rough out the contents ofthe rest ofthe scene earyon Even if you Just daw loose rectangles for ‘uleings ana blobs for wees, you can ‘quickly arrange subjects in a busy scene. That sa, dont be afraid to ‘adjust them asthe picture progresses. + Save the deals until last. Adding sms always a temptation when our ‘e926 focus on something and we strug to pull away. Keep thinking ‘ig to smal” ~ start with larger elements and progress to the smaller ones, + Likewise, can also nelp to work = nea to far~ think of tas if you are rawing into the page. Subjocts closest to you will obscure parts of ‘ore cistant ones, 30 observing these overlaps can adda greater sense of depth,fo Working in his studio, ROGER DELLAR tackles a complex scene in past how to develop a found composition and balance multiple light sources in one pictureor this mastercias, | decided to paint 2 valin workshop. | was intrigued by its colour, ight, activity and clutter When my students are working from Ife, Iam often aware that they are checking ‘and comparing what f In font of them By making a painting of a painting, | avoides this, nthe studlo, one is nat constrained by Can nasa Lsteat an.underpainting | bogan by applying a Burt Sienna acrylic wash te my mountboard, then I blocked in the main tonal shapos using a mix of Burnt Sienna and Utramarine Blue acrylic. Rather than copy the orginal composition exec | moved the comer ofthe window anc wall tobe nearer to tid of the way across tne lotr also tried to create a sort of wiangle Inthe centre to lead the viewers eye around the picture see overiay), then started appring Cerulean Blue ‘around the whale painting to connect ‘ferent areas together. |oreated neutral greys by mong Cerulean Bie, Burnt Sienna ‘and Tianium Whit, bofoeintracucing Yellow Ochre and white mic for highlights. MASTERCLASS timo and accuracy itis as if were able to work en plein air without restrictions Italso gives a sense of freedom. With the studio painting, I decided to change proportion, postion, colour, tone and ‘even perspective to make a beter picture | deciged to block in the composition quickly with acrylics to gle myself @ tonal and colour base | then laid down a coat ot transparent pastel primer paste. | wouldn't usually put pastl ontop ofa non-absorbent acrylic base but using the paste primer fives ita good key Whether you use acrylic, uache or nk. creating an underpaintng fora pastel work |S uselul for several reasons. Fst it gives ‘2 more stable foundation by avoiding the bull up of an unnecessary extra layer of pastel pigment. Also, he crop of in colour 's loss and you are able to achiove moro ‘varied colours inthe darker areas than you ‘would i using paste alone. vo cogerdella com -—— 2.Prime the painting. 3.Begin. with pastels Having allowed the acrylic layer to ary, Itnen added a coat of pastel ground primer. You can apply this with a rllor or household paintbrush, luting the primer to your personal taste, depending upon how much tooth you Bke for your pastel surface. ‘Apply the primar randomly, but ensure you sll have 8 thorough coverage, then allow itto dry ‘Generally, my aporoach is aways the same fora pastel painting: begin using soft pastels, such as Unison Colour and Sonnelir, laying down @ hase to produce a patina of paint with very litle tre way of line work early on, Some artists start withthe harder Corté-stve pasta, but ind this leads to me not being able to overlay the pastel on tp, owing to the harder ano greasier nature of thee binder. Ail am tying to achieve at this stage Is a tonal blocn, eting the colours build up and ‘ne with each other. then eventual eo imo sing harder pastel to hatch in, losing edges ‘and adding line work4,Contrast colours, Using soft pastels, | applied darker shades of ry source colors. Isqunted my eyes tohelp ‘me better nd the tonal connections between ferent coloured areas, These areas wil ater become aminture | S,Lose yourself. of eitferent colours bouncing otf one anather ‘Ateady variations are developing. vo used | The next stage i all about losing and finding edges. koto bring neutral, purplish greys in areas such as the | tle definition and line work int play a this stage, but atthe same ‘upper shelving to contrast wit the natural | time reducing some edges by softening them too. light emphasising the yelow and purple Jalso continue developing colour, echoing the fight from outside in ccomplementaries ads this. Likewise, tne | the blind to connect the insce and outside together. Vibrancy can be earthy browns othe worktop and vilins | ereated either by placing complementary colours together which have comrast withthe blue-greenselsewnere, | the same tone o ay contrasting similar colours with varying tones ZSheck your progress. As | worked, kept checking the painting in £2 mikor to look for anything that makes 2n ‘awkward or overpowering shape, | corrected ‘these mistakes by elther deepening the tone forthe edge around the shape to help it sit thin ts suroundings. Indications of window bars went in next, 2 well as marks to sugges light on the wal The edges ofthe bind were lost and I startod Having lost bit of definition by softening those edges, Ifoelthe need to restate things rotionally suggesting tools, boxes and other ‘ail | eth by making the drawing more accurate, checking perspective and creating | objects on te far workbench Ind when ‘2 suggestion of the hanging violins and other alled ki. Suggestion fs the key word neve you make a drawing orhatching mark, is, These were not meant to be fully realised depictions of the objects; the odd ine neipec worthahile considering making a mark in toindleate the form of an instrument. As | added tines, also checked the negative shapes | countering rection so that It does not ‘that surround each object for both accuracy and aesthete value ‘become too much of a mannerism,2.Use optical mixing Let the light in loften tke to include abit of optical mixing, Ido this by adding spots of complementary colour toan area, Rather than physically mixing he colours, these inclu dts wil ‘appear to blend when read from a distance, This technique was very much one favoured by the Impressionists. I used it in the shadow areas in the upper corner and alsoin the drawers tothe right ofthe seated ‘man. Use the technique sparingly and ifyou 6 overDoaca, natch over itlater. Light was ‘suggested behind the standing man and on ‘he lamps onthe workbench. | wanted the standing man to be lost against the incoming ght. ld this oy drawing the claylight over his arm at an oblique diction to suggest a ip between the muscles. This was then countered bythe narder edges of, some of the instruments in the foreground, used Conté hard pastels to work into the softer paints below. This has the advantage of removing unnecessary pastel dust Hatching hard pastas into sof also gves ‘an excting texture tothe rendering. MASTERCLASS 10.Fixyour progress, Often at this stage of painting | use an ‘2erosol fixative spray to secure the work so far. Tis helos give added resistance forthe ‘inal layers and also ves confidence that pastel from previous layers wil fal away. Using tative can sig darken your picture, so you can also use it selectively to darken a passage ofthe painting and make it appear to recede in importance. | rarely use ‘uatve at the end ofa painting, preferring to ust remove surplus Gust by tapping the board gently an the back (drawing on board rather than paper makes this easier, 00) I,Pick out details ‘Smaller marks were added to suggest the form of faces, accents on the vie, the bench, the lamp and the distant violins hanging up. Trese marks were overstated to help susgest form. By contrast. the clutter inthe window was left vague, encourading the viewer to work things out ane put their imagination ino play used oft white hard pastels forthe lit window, hatching into the patina betow. At his stage, I Yet the picture had a reasonable balance 'betwoen hard and sot (or lost and found) edges, wnin i important. 12sEinishing touches. The far workbench needed work. The play (ofthe warm lampiight was iluminating the area below the hanging violins, and | neeced te work ont without introducing too much etal diffused the lamplght by hatching through the ight beam to suggest atmosphere, Vike to mul ver an almost finished painting fora wile, looking st therm in a frame or sometimes upside-down to see how ‘hey look, I helps to judge where final aterations are needed. Remember nat to overstate things here though or you il kil the vitality ane energy you've captured.Every year, GRAHAME BOOTH travels the world teaching art workshops. This month, he looks back to his last visit to the north of England to share tips and advice for capturing local colour he Lake District fs undoubtedly T one of Englana’s most popular regions and | jumped at the {enance to tutor a workshop there with ‘Agha Painting Holidays. The last ime {had visited the atea was during my honeymoon many years ago when we hha five unbroken days of dawn to ‘dusk sunshine in Maren. Pure luck, was tld. On my retum, we also had temperatures, began to think itmust never ran in the Lake Distr, The potential subject matter 's plentiful and pleturesque with ‘mountains, rivers and exvemely paintabie villages in adtion tothe lakes. Being based in a hotel on the shore of Lake Windermere gave me plenty of opportunity to study and paint the lake, even fit id raise some interesting challenges not least the fac that any lake isnot 3 ‘emily interesting subject by tse Iti after all just a large amount of woter but what makes it interesting, to most artists isthe effect of light fn the water and the relationship Pay etait ag ates a between the lake and the surounding land. The relative stiiness ofthe lake contrasts nicely with the busier andseape and choosing a sutable and interesting foreground roally helps to create a harmonious and Interesting whole. you ae painting a lake, that foreground interests probably the ‘most important consideration. Look ‘for ricely sheped trees and shrubs, orlettios and walls which are usualy fairly common features Ifyou ae fortunate enough toting someone ‘ishing, this. also pravce imcerest vith the added advantage of them probably remaining in postion for some time. With the view I setied on, the Ite gazebo on the lake shore was an obvious possibilty, but stl spent quite a bit of ime walking up {and down the lake shore fst to ind wat I thought was the best aspect Alltoo often I find that painters do not ook around enough before starting, ‘you are working tom @ photograph remember that the ‘camera only captures an instant on the water. tis bettertopainta general feel ofthe water movement rather than a precise instant. Take plenty of photographs. There is ‘othing more annoying than to realise that a slighty different shot would hhave been so much better Lake Windermere 00 intorprtodt howheLANDSCAPES IN DETAIL DRE emu tr) ees Se ane) Cee es | esate eon her en? ir ‘ Carn reo Ce ee een Cee Ree ere es (nthe back of ay lightweight Eocene eee HOW TO side ofthe Veleto, The painting board eee ec es PAINT... Coe ears REALISTIC WATER A simple lake shouts begin as & evacuated wash, Usually the water wil appear darker the closer tat itis to you and the colour will ary to reflect the sky and surrounding landscape. | used a mix of Winsor Blue (Green Shade and French Uttamarine for ths. ite th origina lako wash was wet dropped in sort strokes cof stronger, darker colour to suggost the wel, Arter allowing the wash to dry, I fted out a few ligt reflections Using the edge ofa damp brush, cleening the brush after each stoke, ‘To frish, | added a ew fow ines oth witha strong. dark blue watercolour mix ang algo Permanent \Wiite gouache, (PUTTING IT INTO PERSPECTIVE WHY DRAWING LINES LEADS TO FLAT WATERS Perspective can help to ensure your water remains fat. Waves wil tend be parale! to {the shore and although the shore may not be perfectly straight, simpy it in your mind so that one or more vanishing points will come into play “The ar shove ofa large lake can be considered asthe horizon and location ofthe Vanishing points though technically the horizon will actually be marginally higher). Trese perspective lines should not be slavishiy followed but instead use them to guide the placement of your waves and ripples. feteve/nozon Ariss @ Mustrators 69LANDSCAPES IN DETAIL FINAL PAINTING GRAHAME BOOTH, LAKE WINDERMERE, WATERCOLOUR ON PAPER, 35X26CM GRAHAME’S PALETTE ‘Cadmium Red Winsor Yellow Winsor Biue (Green Shade Cobalt Bue @ French Utramarine © ouinacridone Magenta Burnt Sienna Permanent White gouacheLANDSCAPES IN DETAIL Be ree a icing a ue 4 ence reece ean | ee a wash over te gazebo and wall ee en ee ety eet enue oad Seu es Sees Raa oe ons QiuDo you struggle to loosen up your drawing skills and create meaningful abstract paintings? CHRIS GILVAN-CARTWRIGHT reveals his seven practical steps to success —ESTABLISH AN ETHOS B when making abstract art, the ‘most important thing to remember Is that you can't go “wrong” My students are often concerned. ‘that when they are drawing from the ‘igure, the whole history of formal ite ‘drawing 's weighing upon them and ‘the rignt or wrong way to 40 this can haunt them. They will often have a ‘ied idea about what mekes a good ‘or bad drawing and arrived a a point ‘where they feel their work has bhecome too rigid. I this sounds tke YoU and you aiso wish to loosen up, it's important to establish the ight mindset, one that takes the pressure off having to produce a perfect, extibtion-ready pees, In order to do this, like to ive rnysetf some tenets to work by ~ things I can bearin mind during the creative process, such as “concentration is essenta’ “in order to draw you have to start from Innocence’, or “ityou know what you're doing, you aren't doing it property’ You might want to write your awn tents out and pin them to your wall while you work, IN DEPTH 4) REMEMBER TO PLAY being playtuis the most racial thing you can do find that in order to successfully start making an abstract artwork, Ihave to be open tall the possibilities and directions in which ‘the work could take me. In deine so. lam allowing the process of making work to govern tne outcome, rather than being overly analytical and ‘ertca of what am doing Give the analytical side of your brain a rest and try to access the instinetve, intuitive side, Ty to nat ver think wnat the final uteom might be and attempt to be fully present when making painting or drawing Enjoy the process es it leads you fam ane decision to another. Pay muse to help stract rom any ver analyteal thinking, Don bully yourself or te hard on yourself, be led bythe work. As Pablo Pleasso once said, “In order to drew, you have to close your eyes and sing” SCALE THINGS UP D working irge teais the such a statement to make, Using 10-metre ralls of paper or canvas pinned toa walls a great way todo this ~ they ‘can be ordered onine trom most {00d at shops. The physical action of making piece that is lager than ‘yourself wil challenge you but the rewards ae grea, as you can start putting down bold forms with large household brushes. a keep t simple inthe frst Instance, so use a limited palette of one dark colour, ane mid tone and ane ight colour Let your intuition _ulde you and, above all, ue sure to ge something of yoursel tothe work A® HA FIGURE Fscar by making warm-up deawings end intial shetches from a ive model - aka friend of famy member, perhaps. The ide it bull up a number of studies that you be able to use later as resource materi ‘Stand up to craw if possible, ideally with na a dozen Ad sheets of paper dligped o an easel. Use monotone dy seaing materia sch a8 cherco! low or compressed), poste, con crayon e rape Bencl Make a number af ick three-minute cravings, eal tree per sheet of paper. Draw them ether LEFT Hate Boa, s90x320emIN DEPTH BELOW Ain Fen ftom the Sk, ‘one on top af the other or side by sie, allowing fr instinctive gestural responses that reference the basics lof the pose without focussing an too ‘many details ‘Mterthose are done, try to make ‘ continuous line drawing, Keep your ‘rawing materia touching the paper atl imes as you search out the farm ‘ofthe figure with ane lang ine, a if ‘made from a piece of sting. Work fast (Once you've got the hang ofthat, try the continuous line drawing again but this time avoid looking at the age. focus only the model. Stand to (na side of your drawing board and make a quick, two-minute drawing, hile observing the pose with ful concentration. ‘When youre fished, look at the ‘rawing. You should fn the tines confident ang assured, rather than being concerned about anatomical correctness. The drawing has captured an essence of the pose andthe abstraction has beg. ER TRY A DRAWING Ochatte Another challenge | set my students Js 0 make a quick series of ‘sequential drawings that show the ‘made! asi they were moving, ‘Ask your model to take a step forward ana then hold that pose for £12 minutes, then move forward again {and hold the next pose fora similar time, and so on. ifyou don't have. ‘access toa live made! you could pause a TV show at cifferent stages)“Make the drawings on a concertina lke suetenbook, You ean make one by folding a largo strip f paper into sections. Use materials that allow you to make a quick, mmesiate tne, 50 something ike graphite, charcoal, coloured pencils or black ink with ‘rush Think about haw you ‘abbreviate each drawing as you ‘search ut the model's form with line, tone and mark making. ‘final drawing challenge to holp you work in a more abstracted way Involves drawing with 3 brush attached to the end of a stick. Tape & large length of ining paper the oor (approximately two metres wide) and attach a brush othe end ofa long Stick, Dampen the paper witha water spray bot Dip the brush in @ black orawing Inkand begin to draw your subject, ‘low the lines to bleed organically in the damp paper. Keep spraying the ‘rawings with water to allow less contol over the work. eld white ‘acrylic for highights if necessary ane ‘mop up any excess water with @ paper towel or ag. Drawing witha long stick takes ‘away the element of total control and allows you to become more ‘expressive and loss analytical, while stil revealing the presence ofthe human form, KEEP THINGS FLUID From these inital studles you should have a bank of resource Imagery to dra upon that you can Use 8 starting points to further eveiop and explore abstract figurative paintings. Consider working wetin-wet. Add a thick inl layer of Titanium White (or vellow-tinted white] to your canvas oF board. This creates a buttery, painterly surface into which you can ‘work, with new colours mikng wth the white to create a secondary tone. Spray the paper with water from a spray bottle as you want the surface tobe uid and open to quick responses. Itit becomes too foosed, take another piece of paper and place itor top to print off some of tre ‘xce88- often the pints more ‘exciting than the original. You can ‘also use @ window cleaners squeegee oF a plece of card to drag ‘across the surface of your painting, paling the paint inthe style of Gethard Richter, WORK ON / muctipte Pieces The act of makinga painting is Important: one decision leads to another as the work becomes twalised. [tend to develop 6-10 paintings in the same session, maybe ‘working on each for only ive minutes ‘ata time before moving onto the next to heap the mark making fresh, This perio is all about process, ‘method and materials. Fully engage with your paintings laokingto define ‘old forms against ine, texture ana tone. Try to always be responsive to the painting and where its taking you ~ avoid aver working anything, Draw fut the subject by using what's at hhand: brushes, chareoa, rags, and even ngers. You wilfina there ate periads ven certain paintings go off on an unexpected tangent. This can be {nallenging, and you may experience double, Dont give up though. These ‘tekior works may turnout to be the best ones in the end. Chris's next course, Intute Plating Pracess and Imagination, rns from Chichestor. wn.thobarongvan.com nove cance Wax Depostion, canvas, £54650ct) Choote the right... PAIN EDIUM Aa paint medium is a great way to add variety to the surface of oils, watercolours or acrylics. Find the right one for you with our guide below WHAT IS A PAINT MEDIUM? ‘paint medium isan additive, usually ‘an ollora paste, that can be mixed with your paint alter the properties oft in some way, It should not be confused with references to the different types of “painting mediums” Uahich are the types of paint, such as cl, watercolour, gouache an acrylic. WHY ARE THEY USEFUL? Pint mesiums give artists greater control over the application end fish ofthe paint Different mediums ean be used to variously alter Ue consistency, texture, sheen and drying time of your paintings ~ or chosen sections of thom. ARE THERE DOWNSIDES TO USING THEM? Some paint meciums naturally have ‘alight yellow tnt to them. Ths ean havea sight effect on the tnsh ofthe painting, particulary in the lighter colours. “Non yellowing” paint ‘mediums are usualy labelled as such Paint maciums can also cause Issues when layering paints (particulary ol pains) as the drying times of etferen layers can be affected. AS Such, itis important toobserve the “fet over lean" ul, \which means using more medium {and so less pigment inthe lower layers, so that they dy frst and prevent the top layers from cracking. WHICH MEDIUMS ALTER A PAINT’S DRYING TIME? Most ol pains are made trom pigments mixed witha binder, which | usually linseed ol It follows that if you want to slow down the drying time ‘of ol pant, you should theretore aca ‘mare linseed ol In the 1960s, Winsor 4 Newton éeveloped Liguin es 3 synthetic alternative to linseed of that has almost no effect on the colour. itis made from alkyd resins and milder solvents but cannot old as much pigmant as traditional ol mediums. Wile technically solvent and used for cleaning brushes, turpentine can also be added to speed up the crying time of ol paint as it ‘evaporates quichy = its particular useful on your base layer ‘As watercolour tends to dry aute quickly anyway, watercolour meduums tendo stow drying times instead. ‘Gum arabic is wateroolour wnat linseed olis tol paint, so adaing this medium to your water pot slows ping times further. However, it also Increases the luminosity of colours and recucas staining properties, ‘making washes less permanent. Blending Medium is less ttansformatve alternative, which slows drying times even more and can be uted with wate or used neat. itn aeryte paint, a Fila Retarder helps to slow the drying process. WHICH MEDIUMS ALTER ‘THE PAINT CONSISTENCY? Liquin and Linseed 01 both bring @ silier consistency ool paints and fry toaglossler irish. Stand Oils ‘another good alternative here too. itis linseed ol extract that is lteall lett 0 “stand” so it thickens toa lovely, gooey consistency. Addit to the paint to create honey’smooth brushstrokes or mi with turps for 3 rich medium that is good for gazes. Michael Harcing’s Resin Oil Wax Medium mixes stand ot with resin ‘and beeswax to slightly theken ol paintanc give a pleasing satin sheen, Glazing Medium fsa popular choice for zenlic artists, a it lowers viscosity and enhances the glossy finish of paintings tends to enrich colours too, adding extra impact. Flow Imorever can also be used to create ‘a more even, settleveting fish, Ifyou want to thicken watercolour ‘and reduce the Now oft, consider ding Aquapasto,a translucent gol that allows for impasttke marks to 'be made. For the opposite eect. (x Gall Liquid improve watercolours ‘tow and leads to smoother results Ox Gallis also a wetting agent, ‘meaning that ithe the absorption of water on sif watercolour paper. WHICH MEDIUMS ALTER ‘THE PAINT TEXTURE? Acrylic paint leads the way when It eomes to texture enhancing ‘mediums. Granular Gel and Pumice Gel make coarse, gity marks, Fibre Paste creates a finish similar to ough ‘paper, and Crackle Paste breaks up ‘the top layer of cried paint ke the racked surface of an Old Master painting, Liquitex’s Modeling Paste ‘meanwhile is a gel medium made {om aerylie polymer and marble dust, hich roally thickens aeryic paint to ‘clay lke consiteney that can be sculpted to great effect ‘less dramatic version ofthis is Impasto Medium (sometimes impasto Ge, which s avallable for both ol anc ‘acrylic paints It thickens the aint. ‘meaning thatthe texture and drenton of your brushstrokes remains more visible, Texture Medium has a similar ertect on watercolour, albeit tess thick. Some watercolour pigments ‘naturally granulate, which means that they ceate a motied effect when applied in a wash Ifyou wart to replicate tis effect with ootours that are naturally smoother, adding ‘8 Granulation Medium wil aid ths, © Ariss @ WustrsorserDraw Brighton tutor and best-selling author JAKE SPICER concludes his series on the bu ach Weenesday night forthe last 11 years, Ihave run dropn ite drawing classes in my studio. A few weeks ‘go, | stood at my easel in the back comer of ‘ busy class and listened to retied plat in 2 deep discussion with an Alevel student about the merits of coloured sugar paper {and nalfsticks of srt pastel. For all tne ‘epposing ie experiences, in those two hours of crawing thoy were entirely united by a shared purpose, They enjoyed the comradery of shared struggle: an attempt to commit to paper fleeting impression of @hurnan igure, Lite drawing is desorited as a historical practice by those whe might exalt it as an eo Assists @ Uustrators ‘dealised lost art and simultaneously by anybody keen to denigrate it as outmoded, Both camps are mistaken; fe crawing, remains perpetually curent. Priot to the lockdown, the informal fe 0 Ariss @ Wustrseorse@FIGURE DRAWING RECORDING TIME Easilbelitictoneiiianm eer of good figure drawing. Her etchings speak about Unik @ photograph, which ie rawing from a photograph, but the batiagr espero snapped almost instantaneously. a drawing wil be disingenvous: 8 pose ee ety rawing preserves ime inits marks that could only be held for two ee ee like @ mosquito trapoed in amber. minutes, for example, might be drawn rere tet Tne fleeting nature of ife mode's over the course af an hour. ere, ose Is recorded in the urgency and To make the most of the time you ad ected ea repetition ofthe drawn marks so that have, one must develop diferent Aare aes an observer with a practiced eye rawing svategtes for atferent alae kl srl rmightbe able totell how longthe lengths ef pose. Hore are three sa egies pose was held fer suggestions of approaches that IRis not abad thing to make a borrow from a constructed structure. 4. Limits of the body and ine 2, Skeletal landmarks ‘of action (40 seconds) (A minute) Renn eee ern yt SO ae ‘3. Gestural contour (less than 2 minutes) To Artists & UustratorsFIGURE DRAWING £ i {.imitsette body and 2. Skeletal landmares linet acton 30 seconds) (mit) we a hh 4 ‘3. Simple forms 4, Developed contour '5.Tone and form (2 minutes) (3-5 minutes) (7-9 minutes) Anists @ Musteators 12FIGURE DRAWING Pon a am eS \ \, \ ¥ (/) 2. Naga paces 4. Simple forme $. Devoted contour ‘dminte) ‘amines (2 Smuts) {6 & 7. Tone and form (7-9 minutes) raArtsts @ Uustrators“JpRoapway S FESTIVAL '5~ 14JUNE 2020 ‘A Celebration of the Arts in the North Cotswolds De eens ee ee ee ey Sea ae rs Open Art Competition - Main Prize £1000 Closing date 26th April - Entry details on the website ‘The opening weekend showeasing some of Britin’s top otsts, designers and artisans f demonstrating their skills and selling their work BEAT teininas suite + Coramics «Texter Bee dowel sl Wood 5-7 000 Tickets goon sale on Good Friday ot: ARTISES’ Wan LU) = eal Simba ert ee eee MUA SCR ent ee res Great value! big savings! If you are an Art Society or Art Shop and would be interested in receiving a demonstration please contact us for further details. * The new product ranges include Professional Quality Luminance permanent and Museum water-soluble colour pencils, Pastel Pencils and the extended Graphite Line including RGB quality Swiss-made products. There is a charge of £100.00 per demonstration which lasts on average 3 to 4 hours. *Subject to local artist availability in the area.Coerneni "Valetta: ABOVE Tuners erie: Looking Lngoon at Sunset surourded by ‘ony oun rapid colour studies RY ates ma tog sheoes Perrine musone oh cote tects arangaeriewethon rasta 2 corpo - het Ss conpouteafuse owen arangng mea rote re Ech oma porter Tuner nse sued pcemon orem aon Saws eso ane wreak ter Cr clu to ence! avn cess tholageon at ise toy vermont sor toe Asa visiting artist researcher at Tate Britain, TONY SMIBERT has spent years studying the work of JMW TURNER. Here he shows you how to recreate his rich colo rs panel of water below. The glowing warmth ofan evening skys strengthened with a deeper warm at the loner left, while the coo! blue of ‘the sea is strengthened with a deeper 00! tone ust below te horizon on ‘the sgt, Warm elouas inthe upper sky have been cooled slighty with blue, and the fshermen’s pier and ‘mooring posts painted usinga deeper ‘mix of warm and coal, Conzequently, they ‘communicate’ vieualy, inking sky and sea. Meanwhile, winere the sky and water meet, a distant lancforrs sireiches, also painted in a colour that ‘raws on cool and warm, The colour harmonies are simple, yet complex. ‘Tho exercise that follows wil give you experience in some of the ways that Turner used colour The aim is ‘not to be imitating his brushwork or other techniques, but rather his colour, ight and tonal principles. Because itis tiny, this watercolour exercise won't take long, Later on, ifyou choose twill help you to attempt more complex works ‘orto make studies direct from Tuner’ own colour beginnings. In the charts of exercises [top right ‘he sketches are all qt tiny ~ eliveretely so because the idea {to experiment quickly, identity ‘ponniques, and move on.Aaove Ano nic Charts of exercises Irroducing Nt BELOW Tony Sibert, study for ‘Church onthe Cit, paper, 20:29 EXERCISE 1 Laying a creative wash In wanting to ty Turners techniques, you may already have some ‘experience of panting in watercolour, ‘and know something about fat, raduatod and variogated washes, reserving white, iting colour an scraping back, and understand the tlfference between acy brush and But even ifyou haven't painted ‘before and don’t know the basis, by following the instructions here you shouldbe able to leap straight in and be pleasantly surprised at what you can achieve, ‘The exercise ofthe next three ‘pages covers a lot of ground. It won't leave you with a complete painting of ‘2 subject, but it wil introduce you to some ofthe processes you wil start te recognise in Turner's colour COLOUR THEORY Make a flat wash on ery pape. Angle the paper towarcs you, toad your brush and make horizontal strokes down the page. Excess paint il pol atthe bottom of each stroke, Joining the next. Reload your brush after each pass and continue. >COLOUR THEORY Now compare this to way of ‘swooping in wash often favoured ‘ by Turner: load your brush and sweep f it rapidly back and forth onto ery } paper. Where careful strokes were critical tothe previous apareach, speed is now of he essence, 3B esrins anced your tran with clean water and continue withthe same rapid strokes to create a lighter toning and gradation ofthe intial colour results Peeioas Beer Soa eirentCN eta Neri Neg Rinse your brush and load it with ‘warm colour, which will mingle with the cool biue above as you continue the same brushing process own the page. started with Yelow cine, then moved to Cadmium Red, allowing the colours to mingle where they met, Next, char with some darker values. Here, | used the warm grey mixed earlier from Cobalt Blue ‘nda itl Light Red. The exact colours do not matter.COLOUR THEORY Next, I strengthened the darker neutral tone witn Cobat ive and continued building the coloured ‘masses. Then take 2 dry tissue and lift out some of the pigment to bring light back into certain areas. ‘Another important way to bring beck light" isto wash away pigment. Take a wet sponge and set ta work ona lower part ofthe wash, Letitrun off the shoet or it wth aussue. Continue with tissue ~ dabbing, wiping, iting paying close attention to what the resulting marks suggest (cloues, waves?) ‘When the study dies, should appear visibly lighter. This experimental process is a creative fone, as wel preparing you for further colour studies. This is an edited extract from Tonys new book, Tuer’ Appreatice: A Watercolour Masterclas, published by Thames & Hudson, £16.96, Artists & lustators readers can save 20% off the RRP by using the offer code TURNER20 at wavthamesandhudton.com