WIN A SUMMER PAINTING HOLIDAY rtists ILLUSTRATORS Tene They We \ J I tel Vey ty Of Botanical Artists TESTE PORTRAITS | Why subtle washes are key s *Paint touta stil ite to creating striking images " ~Draw with ix ,Exhibitions MAY’S BEST ART SHOWS LONDON Posy Simmond Sumotuous landscapes, BeLOWLEFT Ein | Acuning plano stage a Edvard Munch: Love & Angst A Retrospective farcens and iarave scenes | Hodghin. One | retrospect of the Szotsh 11 Ap 21 uy 2A Nay ta 15 September by the Valencian mast. Loman Quartered. | pater and pitmater. TheNorwegianers’s mast Look back t50 years of atby Nationa Gatery, 1972, 01 on ‘Wis Museum ond Salnbury famous pnts guaranteedto the Tamara Dreweilustatr. waenatlondgalryorguk | canvas, 15428en | Gallery, Basingstoke bea Seren, House of stration ‘wuwhampstiecuture. og. Bish Museum \whouseatilutrationorguk Anish Kapoor \wwtishmuseum ong Unt 18 August Masters of Japanese Prints Sean Seu: Sea St New miro soubtres n Nature and Season ald Soni 13 apr to 11 aust Sieh Soane's recent 18 Mayto 8 September Painting Norwa New sees ofRothho-esque —returishes former home. Uke ents ining ttt 2 Jone astracs ingted ty Taner. Pluhanger Manor nd Gal. Hokusai tamous Grea Ware Wier landseapes with a National Gallery wwacpanangarorguk or Kanagawa. acter rendoring of att, wat nationally re uk Bist Museum and Art Gary modulating. The Renaissance Nude ‘ewubistolmuseums.oguk Datweh Picture Gallen, Sorta: Spanish Unt 2 June ‘wu dtwicpietre aster of Ugh ‘See Raphael, Mentone, Harold Giiman fallerzorguk ‘Un 7 uy Titan ané more in the fesh Beyond Camden Town Roya Acadomy of Arts. Unt 9 une \wwnrovaecademy.o1euk Soanes of uban Hf indebted BROUGHTTO LIFE: 10 Van Gogh and Sickert, ELIOT HODGKIN REDISCOVERED. am Gogh and Beta Patant House Galles, 25May 1920 October 27 Naren to 11 Augist, Cnienestr wi palin. og uk Flot Hodgkin may be themesttalonted, 20th-contuy Bish | Bobrngvincont's tine here anistyouenowerheard of Bom in Berchire in 1905, he and love of ritsh ct. Huguet Catand sted at Byam Shaw School oF Art and staged isfistsolo | Tote Brain. wun tate orguk 24 May to 1 September show aged 31, ver the next al certury, he hat more than ‘Mist Ux museum show fr the 00 paintings select forthe Royal Acaceny's Summer Henry Moore: Hlmet Hess Lebanese paiterfamed fr xnbtion yt tures down the opporunty to become an ‘Um 23 une vast ool abstrans, ‘Academician. Instead, he focused ns onmeticuous stile |The sculptors cebtw the Tate Stives, Coma compostions, pained wit an almast botanical accuracy. museum’ armour tection, ew tate.ora.uk ot may neve have received the etal slim heaped Walace Caecten fn his cous, the abstract painter Noward Hodgkin. yet is wnninalacecolecton ore ‘an Earthly Paradise: work was hugely popular an so most of his best works Mors an the Than quick cisappeared into privat callectons. hisweleome «ENGLAND ~ SOUTH Una 14 Jy {gathering of almost 100 paintings, te fst major show in tzaboth Blackadder: bude the ts & Cras ost 30 yeas, proses tobe a ae tres nde From the Aris's Studo designe’ gorgeous hanc- Wadéesdon Manor, ylesbury. word desdon.g.k Unt 12 une Sraun textile attr, ver and Rowing Museum, Henly on Thames sum co uk Seaside: Photo 25 May ta 8 Soptember Includes rate photos by war artist Pa Nash, Tuner Contemporary, Margate ‘ru tumercontempora. org Unt @ une Last ehanoet se rare show ofthe wateecourist's terDaintngs and cravings Norwich Castle Museum and ArtGalery, Nowich. ‘aw. museums. norfolk go. Ce epee) Lun 8 Septomber Drawings and suka rom the artist’ Hertfordshire years. StAlbans Museum ana Gallery ‘ww stalbansmuseums ou ary 6 Apt 2 une Teurig At Cour cotecton Of prints by Matisse, Hockney, Foy and more. Tome Abbey Museum, Torn. wwnenseouncleoecton ou ENGLAND - MIDLANDS. toe Petey Unt 16 June Atts who flaunted tf of the re “never work th citron orenimas Compton Vrney, Warnick ‘wwncomptomemeyorg.u ‘28 December Dante's ery feurative ravings in an atmospheric Nona Tus setting. ‘Wehtwiek Mana and Gardens, Wovernamptan nwounasonatius org.uk? lghtiek manor and gardens fore er ees eer ard Unet9 June 90h entury pein panting ‘hom bot ses ofthe Channel Wilverhamton At Gay, Wovernampton. ‘ww wolvertamptonatorg ik ENGLAND = NORTH Doren un Ld 29 une Freua, Auerbach and arts ‘abot rm Nan Europe. ‘bet al Art Galery, Kenda, Cumbre, won abbotelorz. uk Ce eee Cts Unt 26 August ‘rtNoweu iusratons, staine ass and more Water Ar Galery, Lierpool. won verpootmuseumsrg.uk Cees Cee ed Time of European Turmall Unt Augist (Outsider atts wt scathing takes on socks undebaly. The Whiwortn, Manchester. woewtworn mancraserac uk ety Un 36 ne Whipery Tames noctumes, ‘and Toile beach scones ing Ar Gallery, Neweast vw aigartgaleryor.uk Cer Concer’ Un May ‘Bucale scenes fam the local arte cehooled in Pati. Galery Oldham, oldham. wu galeroldnam org. uc See ee eo June ‘An atteptt ft 1,500 coma ‘ned aro ito one space Teuetstones Rocha Mt Galery, www contemporary forwardrochdaleatgalen og coed eee ny Unt 23 June ‘Ow relationship 10 the cerlionment i exporeé via waterotours and cravings. York Ar aly, York, wmyortartgalley org.uk WALES: een en osc corres Un 2 ne ‘etmace onthe remot island of South Googla MOWA Mactynit, Poms. wu mone mactylleth ou Ceres es 3 May 01 September Wood caring ana crawigs in ‘is half centr revospectve, atonal Museum Carat, Cant. ww museum wales ‘SCOTLAND sree 25 Mayo 27 October Conceptual project conted on chatcal drawings. Sontish National Poralt Gallo, Eanburgh ‘wn ntonagaleres ow Cee Comets) Machine un 2 June Colas and screens. Satan Mltional Gallery of Moder At, Edinburgh ‘wn ntonagatenes og Cree) vt 2 June paove sours alia arranging hr ai 1000, of on cardboare, 495195. Ten inemationalantsts who se cravings total stories. ‘he Hunern, Glasgow. vga. v/ntarian IRELAND gad nut 15 September Foous on cary 20t-century ‘omal rintrators ster Museum, Belfast. ‘evn. com Cd nut 3 June Proneering painter who tuned her hand toate sts ‘Cranford At Galley, Cork. ev erfordertglegle ee Peer) Pei Unt 30 ure ary modern palneretehes fen bw or erage Netona Galery of rtand, Dubie, wnw.natonalgaery.ie Artists @ Mustrators 4Fresh my Inspiring new artworks, straight off the easel eaen cu, Atong Lunch, cit on savas, Taxsaem Nick Botting If yourmental mage ofa working artist a ‘wouble Soul working ay fut in 8 dak drat and part spatere stu, think again. Rocearoh fr Nik sting’ test exhiion at London's Prtang Gallery tok hin tothe Carbbean Island of Barbados. The Cif Beach Ch, A Long Lunch was pantedina top-end restarantusta mile down the coast fom the Sandy Lane ror equented by Simon Cowal on Jon and varus ether milanares, wanted to get a sense of poople enoyngthe most glamorous setting t's possible to experience” exlans the artist. “Te artists famed fo painting the high He both at home tn London and abroad, and whe the Carbhean sounds the a particulary enjyable chaterge, there were stil just 28 tmany crethe prblers to resche. "Tis was a very diffu panting because of he structure ofthe bun” reveals Nek, “There wer a series of eed terraces with tables and was cif to see them lt ale dete them, tut vas to make sense ofthe people, he oor nooded to make como sonse ie. Likewise, the bright colours of Barbados, patel the rich emerald blues ofthe Caribbean waters, were in danger of foking false cut of conte. Its bt ke pathgan exceptional sunt: you doubt people wl beeve you" ne say. "lahrays oo my best oe preie with what see regardless of what lnk shoud se, because thats probably the bet way to capture a sense of pace” While notevery arts wie able to pant such a amorous sete theres no sense of Nick esting on he Taurels,nowever. He has staged successful scoexibtions almost every year since 1992 ane continuos to hone his eran every doy." g0o galeries alot and loa at now atts ~ particularly the Ereat painters ~ pant. ne says “do lite crewing every weak and draw poaslsin my stetchibodk allthe time” Most racety he hes been most couples wit eagturg how groups of people erat. “mat realy hard and wl keep me rustated ore” Nick's next exit uns frm 21 March to § Apr st Portand Gallery, London SIE. wn portlandgallercomNorfolk Painting School Summer course dates available now. Our 2019 program is full of exciting oils workshops for painters of all abilities, from Beginners’ Oils to our 12 month Diploma. Our remaining 2019 dates include one off workshops taught by Martin Kinnear on Colour, Landscapes , Luminosity, Visual Impact and our Contemporary Masterclass. See online for full details and book early to take advantage of our lowest BEN e Ney iMm oyu abet aes Cons Inspiring and instructing oil painters since 2007 NORFOLK PAINTING SCHOOL E: Jane@norfolkpaintingschool.com T: 01485 528588 W: norfolkpaintingschool.com{80 Kensington arene erie on canvas, 50x40 Martin Thomas Uke many artis, Martin Thomas uses paintings 8 ‘means of exploring his immodiata environmont For the past 12 years, ne has been based in Cornwall and working in pictures that depicted the county's mary itl vilages. ang harbours. He recertly Gecidad to switch the southwest forbs native Sussex Brighton Is parioulary fu of interesting places ana opie and | tke the blond of old fashioned seaside town witha busy modern cty environment and a ite bit of urban decay” ne says ‘Although im sil near the sea, Brighton for me s about the vinran buzz of people a culture and think stucyne, ‘anc capturing this in my paintings has boon a big part ot that adjustment process.” The move, ne admis, hasrit always been easy thoukt. Tttook mea while to adjust to this much mere urban environment, personaly and creatively” You wouldn't now this to ok at Martin's mast recent paintings however. Kensington Gardens, tor one, bams with fe and colour, depictingas it éo2s one ofthe busiest thoroughfares in Brighton's city centre. ‘Its such a narow MARTIN’s TOP Tip pil tse size 0 and 000 Po Are Aer ointoe 8 mary ot etal workin? Paintings” u and busy street that it was dificult to stop long enough to take some phatos, let alone st ena paint picture It grt to bo able to work from life but sometimes. it's just not possible, especially in town.” Colour isa major part of Martin's work, yet he uses a restricted palette of ust eight pigments: Titanium White, ‘Burnt Umber, and a watm and cool version of each ofthe three primaries (Utramarine Blue and Gyan; Yetow Ochre ang Cadmium Yellow; Cacmium Red and Magenta). "You ean make any colour and shade with those eight paints,” he says. "Matching a colours eally bout playing around and seeing what works. | really enjoy this part and the more you do It the easler ig ‘Ang now after capturing Brighton in all its vibrant colours, he wilde welcoming the aca intahis stusio. lreny weekend in Mey 2 pat of city's popular annual ‘tists Opon Houses evert. “My studios rightin the idole of town so its in a great place to show 2s many people my work as possible “Martin wl tak part in tists Opon Houses, which runs ‘very Weekend from 4:26 May In venues across Blghton, vc martnpalatsplctrescom{2808 Paesand Gi, lon pane evzzen Rosso Emerald Crimson ‘lave of drawing cartoons fist sparked artiste insoration In Rosso, but following her ist childhood forays into Iystration she didn't pick up art again unt her thirties. Her relntecuctan revolved around informal classes at various community collages and, aftr iscoveringthat her passion was for furatve work, she enrolled at the Landon. ‘ella of Representational Art (LARA), During this three ‘month course she leamed the basics of portrat anc figure raning and has been developing her style inher London studio ever sce, Tha talian artist's favourte subjects are people, and she partculaty enjoys portraying the female figure ~ something that saw her selected as a contestant fr this year’s Sky | | Arts Portrait artist ofthe Year sates, She was arn to the vereatity of oil pointing cary and, while she experimenting witn thom for many years, sho feos thore is plnty yet to siscever about her chosen medium. The subject of Paku and Gale ae fiends of the artist and sive wanted to portray the pat’ “beautiful” relationship as father and daughter. The piece was executed mostly in Winsor & Newton artiste’ Oils, ewitehingto student grade iis or covering te larger areas in the heckgrouns. Rosso bean by sketching the faures on paper before teansferrng them ento an oltprimed wooden panel. Se then blacked n the main colours, shadow areas and tonal stapes, She applied the paint dlretl from the tube with largor lat brushes, boforo workingher way down to smaller flats and fiberts to achiove the finer detals. vow attistsandilustrators.couk/r0ss0[ARTIST] EX[SWIss MADE MUSEUM AQUARELLE \Wth MUSEUM AQUARELLE, Cain dc fers nono apeoad tthe rtf attesour in the fm of pence high oncetation of pigments an excl solubiy ene tht MUSEUM "AQUARELLE fonts rely ste te both wtrelur filing ad attic deign Madein Genes, they se aalblein colton 12,20, 40snd 76 penal and ue sluscld did (Caran dhe, Sis Made excellence since 1915, CARAN®'ACHE Genéve For dina ifornatn nd toch plese contact JAKAR INTERNATIONAL Lid 410 Cente mil reve, Certenni Puk Eee WDE 31 «Te: 20 B81 7000 «Ema fips cnc comLabier tty Society of Botanical Artists president BILLY SHOWELL has dug her own path as a plant portraitist, favouring expression and invention over following the rules, as JENNY WHITE reveals {280 Pik Sumer, watercolour on paper Artists & Mustratorspaver ty howell is no normal botanical artist. From tne dramatic shadows of roses, traling down a sunitwal tothe voluptuous splendour of magrolia blossoms set against a dark geen lawn, her work has energy ane ‘reodom while stl being botancally accurate. bubbles with fun too: sho is knawn for creating paintings of ‘shoes! made entely of fowers, ane ‘or amanging ner subjects Into omer shapes too hearts, spirals ang reckiaces. Her creative approach reflects her unconventional ute inte botanical ar, Bly graduated from St Martin's School of Art witha degsee in fashion design ond lustration but soon decided she “wasn't cut aut for the world of fashion, wasn't good at name dropping ‘and wasn’t ambtious enough, 80 | stopped, anc then started working with my husband, who was my boyfriend at that time,” says Bly, who went onto settle and raise he family In Tunbridge Wells, Kent. "He did ecoratvo paint fishes so! started painting trompe-eel, especialy ‘lowers ~ doors covered in ose boughs, for example.” Soon enough, someone susested she do the same on canves, Tis was serendipitousy timed: Bly had just yen bith to ner frst child and spending more time at home made BILLY SHOWELL Cdnen you look round an exhibition, there’s always someone better than you... One of the barriers to overcome is self-doubt) > teaser to getto wins wit watercolour Next, she was offered a slot teachingan adult education cass In botanical ilusvaton "started teaching botanical lnusteation aecause it was the only slot open inacult education." she confesses, “foun a book by Shitey ‘Sherwood [the Iconic votenicl ast with a namesake gallery at Kew Garcons} but | wasnt formally taught, 801 brove all the rues.” When Billy exhibited her work in London forthe fist time, plenty of people commented on ths ~ but they also acknowiedged that her style Worked. She quicky estabisned 2 reputation for pushing the noms cof botanical composition in new and creative ways “Sometimes when students fst start botancat ilustration they ae so ‘overntioimed by what they tink they should be doing. they miss that > Aatists Mustrators 49p90ve The ‘there are only so many plaoes Dressmakers available for artists working at Fomers, botanical gardens; most have to sell watercolour ‘heir work, and the only wey you ean ‘on paper o thats coming up with interesting, beautiful images that people wart to put on their was, fall more onthe painting side cof tings than the illustration side, ‘so can always do what! want she des. “fou love wnat you do, chances are that people wil see that Inthe work~and 1love shoes!” ‘a0 Artists & Musteators She counts the 17th-century Duteh stilfe painters as an influence, but when itcomes to inspiration, she casts her net wide. “I spend a lot of ‘ume looking at modem art bocause| really tke composition. m always looking fr diferent ways to portray lowers in a modern way. and istart leach year witha theme ~ white ‘lowers, for exemple ~ and then look {orthings along thoso lines: Having fallen into botanical art ‘almost by chance, Bly proceeded to make iter own ~ and as part ofthis, she continued to build her career a3 2 teacher, nt only face-to-face. but ‘also online. Her website offers tree deo tutorials, alongside memborship ‘schemes that alow stucents to ‘2085s er ful range of tutorials Meanvile, she teaches classes both in her garden stadlo and Internationally. She creats her students with ping to enrich ‘wn relationship with plants. “Ive ‘aught all kinds of people cocters.layers, gardeners, botanists realy started outas artists. "t's quite a Clever people; veleamt alot of my welcoming artform. dont tink there botany skits fom my students. have boon barriers. and you set your ‘Stil, she confesses that she sno own targets. You get better with every expert at Horticulture, "I grow alot of show you goo, because when you Plants but have ost alot alongthe look round an exhibition, there's way fave something precious, lke always someone better than you. anorchi, that know! can't keep One of the barriers to overcome is lve, | petit then pass ton to {your onn set doubt, butt al comes someone who can. have acutting = BILLY SHOWELL back to painting wnat makes you happy. If there is something that you ‘ind particularly inspiring, tcan take youn a joumey.” Billy joined the Society of Botanical tists (SBA) in 2001 and she was elected president ast year. Tis. comes at an exciting time forthe society, with thelaunch ofitsnew > ence ond cose me nove () Dwant people to feel they could Lhe pick the flower off the page, One of the things Bly loves about botanical aristhatitweicomes ==» SO: I’M Combining realism wi opie from a huge range of beckgrounds,notustttosewno ~=--s M MOVEMent, light and shadé@) LEFT TulpCeebration, Aatists @ Mhustratorsansso The open membership. "We are @ Dressmakers professional body but aso, we want Inspiration people to come in and learn how to ‘watercoiouron gt there. Our existing members, who paper Jumped hoops to become members, ‘are now elevated to Yellows’ and others can join as ‘open members ‘thon progress to fellowship. you ‘want 19 be a fellow, you apply witha portfolio of work, which is jude by 2 panel of felow members. With the ‘open membership, anyone can jin ‘those who love the art. buyers, hobbyists and professionals” ‘The SBA willbe returning tothe ‘Mal Galleries in Loncon this summer ‘ma Artists & Mustrators after long absence with the launch of ts 2019 annual exhibition, Pianta, n un. "We wanted ta be ina recognised ‘ellery space, and with the new ‘membership, iflt the time was right {ora new venue, fthas certainly sparked some intorost” says Bly. ‘Besides working on this, the artist hha found time to make progress on her ffta book. Her rst four books. Inclucing her 2010 debut AZ of Flower Portraits and 2014's Watercolour Fut & Vegetables, have been translates into 15 languages, ‘and the chole of worcing on her book ttes was rather deliberate. “Vehose ‘portrats’ because I didnt want people to think ofthe work a botanical ilustration. she explain. “Ifyou want to be a botanical Iustrator, there are pathways to Perfection, but most people dont ‘necessarily want to take it down that road ~ they just wantto paint beautifully. There are so many paths yottean take itdown, it seems 2 ‘shame to bax its botanical lMustration. The SBA exhibits botanical jewellery, glassware, ‘sculpture ~ whatever people want to co under that umbrela Al that is required Is atthe plants. recognisable ard in preperton. Bly nes 3 special soft spot for work ‘that is expressive and fluent. "tis ‘excting when yousee someone who cen capture the essence ofa plantin ‘afew stokes. In my awn work. I want Itt look efortiess. ike to capture ‘movement, and the feel ofthe plant, ‘Soi t's soft and elegant | want to create 8 composition that reflects ‘hat. | a's0 want people to fee they could pick the flower off the page, ‘s0\'m looking fr realism, but also combining at witn movement, ligt and sh Bly paints wetin.wet using ‘Sennelier Aquarolle Artists! Watercolours end she currently favours very thick Moulin du Roy ‘640gsm hot pressed paper. She particularly enjoys working withthe paint within a very controled space. In order to keep her work fesh anc avoid geting fated on precision, ‘she continues to experiment wth ferent papers, inks and techniques, ‘endis never neppier then when immersed inier work. When tm painting, fm not thinking ‘about anything else justthe painting and enjoying the process ofit.'s not ‘an easy process because you are constanty tying to improve your {technique and anxious for itto bea ‘successful painting, but when you are ong it thats all ou are thinking ‘sbout -it's completely sesh “me-time. love that ~ and aso, there Is always the hope that your next painting wl be your seminal piece.” “The Socety of Botanical Artists" annual cxlbition, Plantae, runs 59 June at "Mall atleres, London SW. ‘wails. comOne destination MISCELLANEA -tvositaninny Venus Superb Bespoke Interio & Bedrooms 1 unique one-stop shoppingThe Wiltshire-based painter and Brotherhood of Ruralists member reveals his techniques. Words and photos: ANNE-KATRIN PURKISS ‘The stuslo was orignallyanol6 Quaker Meeting House, built in 1700, was derelict ora longtime and, when the area was redeveloped, they didnt know what do witht, 50 they offered it to local artist | ought It from him about 15 yoars ago and, withthe help of fiends and the architect. Mi Long, tansfoemed it nto 8 studio ano ing space ye aluays ved and worked in the same space. When | got nny frst teaching postion at the art school in ist in 1966, | ved and painted end sleptin one room, it was the ‘same in other places later It sults moto lve and work tike that: you never switch off, you" slwayson the lockout for something, Everything is integrated inthis one space. Seve 42 tat hog bushestor Yes; It does. My usual routine Is that et up at Tam, anc 1m ready to paint by Gam. tnd it hard to make a start later one gets too easily aistracted doingother things. | work mainly indoors | tend to being things back inte the studio an then work on ther. | know the countrys ‘round ner the Vale of Pewsey, Marlborough Downs and ‘Silbury Hl. Ive spent years looking at tand absorbing it {stl nay rawing, but not realy from a paiatng point of ‘ew | used te do drawings and turn them into paintings. For instance, Inad done a drawing ofa house and a gardenLiving and working in the same space suits me... You never switch off {and | nad put a Aguretn, ust to gve it @ sense of scale, By chance, | met someone who was talking aout ome ola badminton equipment in thelr parent’shouse, and | thou, that's quite 9 good idea, and became e painting, The Badminton Game [now part of the Tate collection} ve always boeved that chance is the way to move forward. You don't know what's gong to happen, the most Important thing is that you're epanto possibile. Literature and music. At one time, | was interested in he \work ofthe compose John lreland, who was buried in St Mary's Church in Shipley, Sussex | went there and took photographs. | had also read Thomas Hardy's poems about people ining an inthe churetyard through the plants. The combination of these two became a painting [19726 Our bays Were @ Joy ana Our Pots Through Flowers]. 12180 reac al of Hardy's novels at that time. | was imoressed by the wayin which he used landecape as a metaphor for human emotion. That was realy the key to everything do, You have to find out who you are. t's about your personality ‘ana what kind of personality you are and that dictates the kin of work you do. I went througn lts of cifferent phases, but they were all just gestures, and you cant go on doing that forthe rest of your fe, took me along. time to ind @ rection and a way of working that satisied me. Yow ld you find your twas during the time I spent in Bristol, just road Hardy {anc | had levied to div, With 8 alter friend, Aired ‘Stockiam. | used togo down to Dorset alt, a look at the landscape and just absorb stuff ~ we both found a crection {or ousenes at about the same time. can compose better ina square. My landscapes used to Just dsappear out the edge ofthe canwas. When | use a ‘square format, | can compose tne landscape in such a way ‘that you are brought back into the picture. All my work is elon canvas. For years ve used a particular primed canvas on the ral, Bird & Davis's No, 13, ncn has been discontinued ts taken me a utile to get Uses tothe reerest altemative ~ iis quite @ diferent way of working, vworw.dovidinshaw netOSU US SAU eg ES SL eeets pee oe ee rs 3 5 4The Wogking | Photography isn’t ‘cheating’, says our columnist LAURA BOSWELL. Used correctly, it’s a vital tool for developing an artwork, he question ‘Do you work from photographs or can you actualy raw?" came up ata talk recently, BE wnio tam pioased to say that | can actualy draw, {o also rely on photography when | am gathering ideas. The question came from a perception that using photos when making artis some way ‘cheating: I disagree, believe checking in with realty via photography isa very helt ul pert of making et. Cheating does come into the picture in the form of copyright, 80 it's as wel be elesr about using photographs you haven’ taken yourself. isa breach of Copytigit to copy somebody else's creative work without permission nctucing pnetographs, However, this is notto be confused with looking at photographs for inspiration anc ideas, just 2s you might Study the workof other artists, Photography has been of great service to artists since the process was invented. You only need to look at paintings of racehorses before and ater the advent of photography to soe tho impact of freezing a moment in 12 for close observation. | use photograpty for reference in this way great deal. | always beck up sketches with & sa0vE Ma Febrsry "noc, €6x50em seties of accompanying photographs. Sketches five me my focus, my composition and reveal ny presi, Photography allows me to revisit the scone in dotal for ‘sual accuracy, making tne process of tumingof my sketchos into a print an easor task There may be times when working from a photo, rather than direct observation, is the onty option. The tick here s to teat the photo as a starting point not an end in itself. In tis stuaton,Istudy my photo carefully and then ignore tently while | make a series of thumbnail sketches. [recommend trying this It helns youte focus on your eas, rater than relying onthe photograpt’s vewpo! It 280 frees you to change the composition, move things aroung, and to simply or emphasise certain aspects as ‘eslred, Working in tis way wit several protos s even better, allowingyou to chery pick ideas to develop into single image. I suggest shelving ary worries about ‘geting thins right” until you come up witha drawing that pleases you. Once you reach this point, your photo (plus any other reference mages) can come back into play to act as a reality check While you work towards frished artwork Checking in with reality via photography isn’t ‘cheating’... It’s a helpful part of making artThe far-reaching effects of childhood illness and an unusual choice of paint surface bring extra vitality to this Ameri artist's engaging portrlay 30%90em vaterotour on clay, 28435em B= gummiy, seemingly ‘submerged dep insie inky pools of turquaise. Women lie back in washes of magenta or volt. ‘Thon the focus changes as ifthe lens of camara nas been switened and there's 3 paisley headscart in crisp etal, or the sepia back ofa git witn long dark plats, Al Cavanaugh’ paintings, which almost exclusively feature women ‘and charen, have a luminous quality, anothorworily glow, and yetthoy are Powerfull real. They embody an acate sensitivity and seem to offer amps into ahyperceaity. ‘More than 200 ofthe Missouri-based artis’ pieces ‘are gathered into a new hardback book, Modern Fresco Paintings, showcasing ner working lfe overthe past 11 years “Iti a milestone and encompasses o bigera in my lifer she says of the Book, which is 2s dense end ight and Inviting and secretive as her paintings. ding that she wants to enjoy and reflect on this feat, before getting back tomakingnew work. Whethor crisp photoroalism or the ewer, reer porvalts, her figurative paintings all boast 2 rare quality that makes he stand out, Alost much of her hearing a the age of two having contracted spinal meningitis, and itis this paucity of @ ‘major sense that, she believes, might have contributes toher ultimately honing one of her others: wsion The hearingioss foroed me to depend largely on lip racing and body language to communicate,” she says ll “As | grew older, | naturally gravitated to visual interests. {started pointing porvaits in my teen years and knew that | wanted to goto art school anc: make painting my career” After graduating from Michigan's Kendall College of Art ‘ane Design in 1996, she was kwited to stay on and teach Inthe continuing ecucation programme. Iwas here that she and another instructor decided to setup thelr own atelier teaching “eporentices” in an old church withina vineyard. However, afte several years, All wanted to focus ‘completely on her awn painting, The clay surface that | paint on is forgiving... | can blend and soften and then add more pigment to build up depth ®TALKING TECHNIQUES usrswsy cy, 20x25em snow rT evermore, ay, 76«102em oH ce, ay, 20320em And she di, feeingher way unt se happened upan her own technique, the ane she has remained fascinated with - and fathfl t-for ‘ore then a decade. Watercolour on clay Is unusual for a portrait artist, ard a far ery trom the methods she seg in her early career when she ‘aintod mainly in ols on wood. “A barter in 2006 forced me Into painting famiy portratin watercolour on paper” she recall “By mistake the art supply store gave me an extra sheet of paper. \Witn that extra paper die some experimental stucies. [painted some simple monochromatic figures. The success of those studies led meta painting 2 whole seties on paper. The interest my watercolours was ke nothing 'é ever had betore so at tat point| began to take watercolours seriously. It was around this time that Al was faing up 2 house in Santa Fe, troweling plaster onto the interior walls. “Tis gotme thinkingabout fresco” she recalls, Wasn't fresco just water-based pigment on wet plaster? found kaolin ‘lay before dlscoveringa company making kaolin ay panels for artes. | immediately ordered some.” “The technique she uses is very much lke that ofthe \wadtional of resco secco - essertiall apoling pigment to cured plaster. However, all of the materials are modern: ther Holbein oc QoR watercdlours on @ panel that has a polymertorties clay veneer. “The surface tat paint on is ‘er forgiving” $2yS Al “The polymer makes the pigment 6 to lit, The watercolour blooms, and does Lnprecictabe things, but can remove the areas that | do rot like. !can blend and soften and than adé mare pigment to bald up dept. Her chosen palettes aro serene, a caretul consideration cf colour and tone. The paletings are calm too - even ‘bose with e black background, o that ave puny Books (14 2 “Bolonce is everything Te compose a painting the artist the white clay surface has to dence gracefully wen the paint nthe format ofthe panel. cannat lve a formula or explanation as to how | creates a luminous effect) 9 bolanoe colour just something! fel wo Artists & Uustrator.y leyering transparent washes of colour onto tre white clay surtaco, it creates a luminous otfect whon seen inthe flesh 9st her paintings are backlt almost. A final ayer of LY varnish is applied so that the watercolour can be Aispiyed ina frame without glass. Like many painters Al's work is anchored in drawing, use watercolour ina drawing-based technique,” she says, which has resultedin people mistaking hor work for coloured pencil drawings. However, she doesn't warm up bysharpening pencils for spot of sketching frstand instead launches right in. “My vision is prety lear Instead of havinga sketchook Ai uses her phone 2s a igtal journal, taking photos of things that inspire her or might be useful to her painting later down tne line. Each laruer painting takes roughly a week to complet, although sometimes much longer thanks teahostaf variables > LEFT Tho stator, fay, 46386emfay 203200m eA lust Inclucing the unprecietable nature of watereolour a {medium and whether a keness is caught early. ‘The soothing nature of A's paintings are at adds with ‘the busy life this mothero-twee school-age children Innabits. Her daly routine Involvesia 6am start for laundry anc the schoo run, then koopingon top of ner emails before setting down to start pointing aftr lunch. After breaking for dinner and fami time, Cavaneugh wil etum to her studio fr afew more hours before bed, Life is busy, but one gets te impression this Is exacty ‘2 she'd lke it. Although she has two studios, she tends 10.60 most ofherwork in her home studlo~a ght, open ‘space with little more than a desk and an easel and countless vessels including empty yoghurt pots as well 2s white cecamic bles which serve as her palette). However, [tls nota space she considers private or partcularly tranquil. “Ive got another table and cabinet set up fr the kis. Ther ereative process oan get very ‘messy attimes and can very quickly take over the room, but Iwauldn’t want any other way. Thelr presence room inspires me and keeps my studio fl of enerex ‘Ali definitely practises what she preaches. One of her ‘optips for fledgling artists is exacty what she nas done carving out one's own niche “One of the easiest ways to set one's work apart isto {develop techniaue, oF to apply the paint in unique way she says, “You shouldbe looking to create your awn recipe. t's your trade secret and twill be that something ‘special that sets your work apart” Despite naving alighted on a vary successful technique Ct ner own, All nas strong ideas about how her work might lerolve end she's hoping to experiment with encaustic painting - the process af ming nlgment and heated beeswax with pigment to use as palit. “I's good tobe in ‘ constant state of micro-evoution, so Fm looking forward ‘tw challenging myself and making new discoveries. A's now book, Moder Fresco Patigs s published by Unicom (RRP £35). ww.alicavanaugh.com theA SUMMER PAT HOLIDAY INWORKSHIRE Enter for youehance to enfoy four days of painting "et the Staithes Art School on the Yorkshire coast The Yorkshire coastine is one of Britains hidden gems, a landscape painted by everyone from Tumer to Hockney. For this man’s prize draw, we are offering ane lucky reacer the chance to discover for themseves the iylcvilage of Stathes through paeting withthe Staithes At School Visitors tothe choo! can enjoy a lang \weskend utlsing the many opportunities the village offers for painting en pen alr under the guidance of experienced tutors. Tho piercing Nart Sea light, toweringelifs and ‘mcdy seas of Stathes have always tracted artist, wale the winding ath that weave between lctwresque cottages offer animmense varety of perspective. And no ‘matter ow long you spend in Stathes you's ‘always ind a wealth of subjects to pain, ineluding the traitional fishing boats bobbing in the harbour, For further information about Staltnes [Art Schoo, please cal A Mines on (01947) 841840 or vist www.stalthesgallery.c0.uk/ staithes-art-school Our weiner selected et random wil receive place on a four-day painting course with Bruce Mulcahy RSMA at Stathes Art Scion! 09 18:21 Juy 2029, ‘Tho winner wil stay in either fn The SSmuers above States Galley or the beautify converted Wesleyan Chapel where he or she will enjoy complimentary breakfast and clnner prepared and served each 6ay byan awardvinning chet for te hole painting group to enjoy together rE Enter online by noon on 34 May 2019 at www artiteandilustrators.co.uk/ competitions. ternal, lin te form ‘ang return ito: Stathes Schoo! Prize Draw, Artists & tustratos, Cheloea Magazine Company Ld, Jubilee House, 2 Jubilee Place, London Sw3 319, The winner will receive place on the TING Postcode: Teephone: i | | eat: | | 1821 July 2019 course, ona cinner. bed fond breakfast basis. The prize s on‘rensferable, No cash equivalent Is avaiable Travel to States isnot included, For full terms and conditions, visit wow.chelseamagazines.com/termsot Ahead of the Royal Society of Portrait Painters’ annual show. the society's treasurer reveals his search for kindness and a love of charcoal. Interview: RACHAEL FUNNELL Approaching the society frst erossed my mine in 1988 when a6 27 and had just won a major prize during my ‘rst opportunity to exhibit | became a memiber in 2002 ‘and Ive been on the counel ince 2004, We make decisions with regards to ensuring the charity ‘and the traditions ofthe socety are best reoresented in the work we do. Though wet informed ats, we're amateurs when t comes torunninga charity, Rinvaves lots of work, especialy when selecting artist to feature in ‘the annual show, but I gt to mest lots of interesting people and itrealy feels like being a part of something of value. ve always drawn, | would sketch copious amounts from ‘about the age of 5, and I can corroborate that wth the fact | nave an idertical tn who also die the same, That was a pattern maintained throughout chidnood, but wasnt Until turned 17 that jumped into painting. Lactuaky ‘aught myself and have never attenced a class. ‘The most important wats honesty and so | never Rater anybody in my work. t's important to search for personal truth and wore with kindness, and Ibelieve that a Kindness ‘towards paint can transform at. When you have something in front of you, there is an Imnmediacy which encourages you to wore quichy.l often do public demonstrations in which Ihave two hours to complete a painting and fm usually abe tots in that time. There's a certain electricity that comes from painting {rom if ~ heightened quality when compared to working ‘rom photographs cr other sources. Often I wil nave an idea Inspired by someone else's work ‘thati've seen or pemaps a famaus historic piece and | vl ‘ry to arrange them in a similar way, but It et them find ‘their own position within tht. Thie meane thay remain natural but within a set context. First, I meet the sitter to spend time getting to know them. Ten If make some modest drawings, in chercoal, pencil or sometimes colouree pencils. With my drawings. ny qoalis nat to resohe the composition ane etmospiere tte plece completa, ut to familiarise myself withthe éubject and inform my parting wil algo take photos, ritthen step baok and analyse te various reference ‘materials boforo committing paint to canvas. Ill apaly the paint thoughtful. but try to remain open to aesthetic possibilities and not resolve the panting too early Excossive contro wil alvays limit a painting, but excessive ‘reedom won't allow you te develop an idea, so you've got ‘000k to your instinct for guldanoe an find aaence. Yes, think your practice evolves athe tine, whether you want ittoaF not ve Become much more focused on perception, reading the surface of thngs such as skin and hair in tre case of porate, but algo picking up on ‘atmosphere qualities. Everything Ido is reacted through my concern forthe lok and fe! of the paint surface. | mostly workin Michael Harding ol paints ana! would be hard pushes te cone without the qual of tose. | alzo use 2 lot of wilocharoosl when makina my inital sketohes ~ Itereates the most gorgeous drawings and is such an ‘expressive materia, You can use ina totaly Sberated way | nonestl thinkit's the best colaction of portals exhibited inthe country each year, because ofits diversity. It's also evident how mach each artist has invested in thet work which is ceflacted inthe skll ofthe brushwork and painting \Whie portraiture somewhat marginal in the context of wide culture, think I's @theving ane noble artform which has maintained a very precious tradition as a skful and poetic creative activity. The Royal Society ofPortralt Palnters Annual Exhibition 2018 runs 9:24 May a Mall Galleries, London SW, wwwtherp.co.tk There's a certain electricity that comes from painting from lifeVINCENT VAN GOGH was a Dutch master famed for painting France, yet he spent a formative few years in England, RACHAEL FUNNELL explores his British love affair ahead of Tate's new show Goth, Stary Night var the Rhone, 1888, clon ‘cana, 72102cm WF invent von Gogh isthe most famaus Dutoh artist ’ nights and yellow houses painted in the south of France, However, what lesser known is the Brief yet formative time he spent in the UK, abeorbing Bitish culture and way of ite, ‘Anew exibition at Tate Gttan, Van Gogh and Britain, ‘focuses onthe experiences of the young artist during his time in England, and how his exposure to British art and lterature would shape his later works. This wil also soe a umber of worc-tenowned artworks return to the Tate for ‘the frst time in more than 70 years, since a posthumous ‘show in 1947 whieh attracted 8 record-oreaking erowe ‘and was dubbed ‘he miracle on Milbank’ Born in Zundert, the Netherlands, in 1853, Van Gogh ‘irs came to Britain as an art dealer rather than an artis. Af) in exe word are tamec for is ceptions of starry Having worked inthe Hague forthe International art dealer Goupll & Cia, tne 20-year-old was transforred to the company's Landon offices in Covent Garden. His employers were pioneer inthe field, and Ven Gogh's career introduces hin to the Booming trade of photography and art reproduction. The company’s success ‘meant Van Gogh received @ good salary which brought ‘uth tthe opportunity to enjoy midaleclass pastimes, and he was a regular visitor to museums where he sdmied the works of British artists including John Constable and John Everett Milas Nearly all of what we know about Van Gogh's time In tain comes from th letters he wrote to his brother, ‘Tho, which speak of his tine spent abeoring "London andthe English way of fe, and the Enaish peoole themselves." His cary letters touch mostly on themes. of workand love, having endured an unrequited love for his landlay’s daugnter, out tne realties of me oy soon began to dampen his temperament. Poverty was rife in London at ths ime an the exploitation and exclusion ofthe lower classes preyed heavily on Van Gogh's mind.apa al i " i ML he her adie ddl bere ry AidFrom childhood Van Gogh had been an avid reader of English Iteratue, with Chars Dickens anc the American ‘autner Harriet Beecher Stowe being paroular sources of Inspiration to him throughout his Ifo. Wo soe this in his portraits of his fiend Marie Ginous. Lvlésienne, oe of hich apens the Tete exibition. Van Gogh made this particular vorsion in the last months of his fe and it ‘features books by both ofthese authors on the table In ‘ront of ner. His appreciation for iterature endurec and. Guringhis time in Loncon he found consolatic inthe ‘ther-tadical works of writers such as historian Thomas Corie and author George Blot. Tair uncedying themes cof crama inthe everyday would later be reflected in some ‘of Van Gogh's most poignant artworks, which depicted ite Innarsh realty and wore considered shocking atthe time, [Nowhere s this more evident than The Potato Eaters, ‘the 1885 painting in which Van Gogh uses harsh lines anc we Artists & Uustrators (Gogh Suntowers, 1888, oon ‘enves, 92473em ‘ark colours to give a grim but authentic view of peasant ite, Intorestingly, while twos assumed IR would be Van Goss use of colour hich woulo attract vistors to the Miracle on Mibank” exhibition in 1947, it was te raw depiction of The Potato Eaters wnich drew the most sttertion from the postwar audience = notto mention postcard sales inthe ‘plier shop. With the memory of rationing stil fesh in vistors’ minds, ‘many established a strong connection ‘to this bleak but beautiful artwork Following his forced retirement ‘from Goupil & Cie in 1876, Van Gogn ‘moved to Ramsgate on te Kent coast to become an assistant ‘twacher. Hote he Ive alone ina erect house on Spencer Square here, despite his estrangement from his family, ne found himself to bein igh spints. So much so in fact that he aid not rust them, once writing to “Theo, “These are relly happy day, ‘the ones 'm spending here, day after ay, and yet i's a happiness and peacefulness that I dont trust enti, though one thing cen lead toanotner” In retrospect, his suspicion is easy ‘tounderstang. Having stuged throughout his fe with “attacks” that deeply affected his mental neath, Viscent would grow accustomed to ‘me turbulent nature ot his existence, In these uncertain times ne sought solace in iterature hich he told Theo possessed pages that contained, “realty more real than reality” and hae replaced the Gospels upon which he had once relied. Te works of Shakespeare made him consider that words could be ‘expressed as Images, which was eloar when he wrote of ‘he Bard, “his language and hs way of coing things are surely the equal of any brush trembling with fever and emotion." This revelation is perhaps reflected inthe iMustrations of Ramsgate he created during his short stay here, some of whieh wil feature inthe Tate exhinton, ‘As well as exploring the British intuences which inspired Van Goghis art, Van Gogh in Britain vil also touch on the Batish artists wno were inspired by his work, with a strongGog, Sei Porta 21869, lon canvas, 5T44em focus on perhaps one af his mostloved artworks, Sunflowers. This hugely infuential painting has been adopted by @ numberof artists with one ofthe earlest ‘examples being Britsh artist Frank Brangwen's artwark of the same name, in which We see the charismatic blooms epicted against a contrasting bie backgyound, Another British artist wha was @ frm admirer of Van Gogn's work \was Matthew Smith talented eolouriet who tained uncer Matisse. In his take on Sunflowers we see a single sunflower with large green leaves, which he created jst a year after seoing Van Goghis work nthe 1811 Post Impressionist exibition organised by art cite Roger Fry The exhibtion wil aise showcase a series of portrats byliih-bom, Brtish paint Francis Bacon, which wore inspired by the 1888 artwork The Painter onthe Road to Tarascon, seltportait by Van Gogh that was destroyed ‘uring the Secon World War. The painting was a favourite of Francis Bacon, despite the fact tat he never sew tin person ang insteae nad to work from colour reproductions. Im finding it very pleasurable taking a look at London and the English way of lifé = Vincent van Gogh VAN GOGH IN BRITAIN WALKING WITH VINCENT FOLLOW IN VAN GOGH'S Creat ny eee Peer eter ae pereriente Peeeere) ean Cents aa ee eet eens Peer ee meron ee eet Deed Ted rere Peete ey eect) Serre ncn ore ten Perrone eer Pe ELS ater seeing a painting cited ec eee ees Nec erent eer teed Peet) Certs Daur LoNDoN During his tme in Err ey Perea Pert nty reams eed penn eee Ceased ator cs Peery eee eet Yan Gogh's time in Britain came to an end when, following a ariet career teaching and preachingin leleworth, London, he tavelles to Etten, 2 small Duteh Vilage near the German border, to sperd the holidays with his parents. During his vist he decided he no longer saw a future for himsert in edustion and instesd moved to Dorareent Inthe Netherlands, where he worked in a bookshop, Though he never to returned to Britain, the infuences and Inspirations from that period stayed with him and we see this in his egalitarian approach toa. Uke the great waters and artists who inspired him {uringhis time in Loncon, Van Gogh sought to portray the rama in the everyday, ring inspiration for his artworks inthe mast unlikely of places. He captured tis sentiment beautifully in his eters to Theo when he wrote, “Even though I'm often a mess, inside me there's stl a calm, pure harmony and muse. te poorest Ite house, inthe tthiest comer, Isee paintings anc srawings The EY Exhibition: Van Gogh and Britain runs fom 27 Merch to ‘1 August at Tate Britan, London SWS, wwn.tateorg.uk, CaVvinei EFFECT BRUSHES la Ideal for water colour and all liquid colours‘CREATE YOUR ART We welcome artworks in af media and styles. ‘3 CREATE AN ACCOUNT Uploasthe chotos and write about your at 'S RECEIVE A PAYMENT ‘Arango this direct and post your artwork. SKETCHBOOK TIPS « ADVICE + IDEAS TAKE A.GOOD QUALITY PHOTO You can use a camera, smartphone er tablet eT 4 SHARE YOUR PERSONALISED PAGE Sollunimited artworks, commission fee. ‘6 CELEBRATE YOUR ACHIEVEMENT You are now offically a professional artstt SHARE YOUR ART Our Portfolio Plus service is a great way for you to reach a whole new audience Dia you know Artists & iustrators hasan exciting onine community of more than 18,800 reacers who currently share theirart? What's mare, foras ite as the price ofa cottes, you can join our Portfolio Pus echame and sel your artwork commisslenree to more ‘than 100,000 monthly visitors to “vas realy plessed to make ‘a gale within two months of putting In first work onthe sito” said Portflo lus member David Jessup, Since then Ihave had several mare ‘ales, but, more important, Ihave receled four really good commissions 2s a result of this exposure Follow the six easy stops opposite and sign up for your perscnalised online art portfolio today at ‘www artisteandlilustrators.c0.uk/ registerVoted Garden Publication of the Year aa Besa acs yo as J gr 2 . mn oie eet! ‘ f 4 y st re cee =F bin es re: eee Pa Coes seek or teens cena ct Ree ee estes ieee One year only £59.95 Watters nus oe eee © Expert planting advice and inspiration © Full of creative design ideas Special benefits for Artists & Illustrators readers © SAVE £1.60 per issue off the shop price © Posted FREE to your home ee eee eee et es © FREE welcome gift worth £32.99 See ed er bySKETCHBOOK NW Wass LINN GARI | Fae nonrn GRAHAME BOOTH on the basic Landscapes In Oil by Ken Salez building blocks of watercolour Califomie-bom painter Ken Salaz moonlghts as 8 magician at corporate functions. Thankfully wile the magicians code prevents him fram revealingthe secrets of 7) hisside career. ne has no qualms about doing the same in tne studio, Drawing onthe sublime, autumnal landscapes ofthe Hudson River ‘School, Salar breaks down works by other masters with cart he's particulary strong on palette schemes and light eects). before ending on tee demonstretions puling together everything leamed, Monscolli Poss, £30 ie graduated wash i a variation of the fat wash that veries intone, The brush must be kept very wet ta achieve the bead but instead of using the same mix forthe entire wash, wo wl vary the strength as we go own, aay Before each subsequent stroke, ad ite water to the mix. The result shoule be a gradual lightening ofthe wash, The key isa gradual change ~ each stroke should be only sligmty weaker than the previous stoke, DAILY PAINTING TIPS TOM HUGHES shares advice for creating quick. mini pictures i ‘Clear, bright mornings are a great opportunity to paint the ha-and half realty tnat appears when you havea bullding partially obscured In shede, Sunlight at the beginning and end ofthe day is warmer In temperature than It appears at noon, so the coolness of your shadow ‘mixes can be exaggerated hero to great effec. ‘vontually produce a mix thats too st ofan. cy ae eta | younced a lightto-dark ofoct, add alte paint bofore each stroke instead of acing water. Ensure you start with encugn water-and paint mb a8 adaing pant wiSKETCHBOOK EXPAND YOUR PALETTE PRUSSIAN BLUE eer ee tera cect eee eter vee) eee eee es Sees} een a wes one ofthe frst madom synthetic pant pigments and Se ct eee Ce acs eer. WHY NOT TRY... eres eee Dea enter oat Se ee ed ‘an interesting colour for applying in glazes. Prussian Blue Is Se ge eee ne eraty favoured by landscape painters for night skies, appearing in eto ere ea eee ee ee ene td eerie ae eee tat Ce Dn ee ae Sa ete Peers Sed paw ad EE bald Preece Ce ear esis Carer ta trees ee Pret nrc renee ree eens cones! eer) eee! The figures ee largely confined to the Serene ety ener Ce ee cy ee et te ors woman riding the goat, the eutsretched ee ee ees ee nena ‘emphasises this by painting each in a high eee een aey ee tery ee eos ree cos eee ee SrWAC Open is an internationally recognised competition for artists In all mediums - painting, sculpture, priemaking, photography And forthe frst time installations. Prize include a London exhibition, cash prezas £500-£2,000, artist mentoring and more, Shortlisted artists wil show in Walls Cathedral, Somerset sho welcome around 20,000 ” Visitors over the summer. Celebrate excellence and Innovation in contemporary art! E448 ANT CONTEMPORARY Hl South West Academy OPEN EXHIBITION 2019 NOV - EXETER CASTIE www.wellsartcontemporary.co.uk | J Bie TH Enter online at www.scuthwestacademy.org.uk | 2427 Moy 2017 | SPRINGFLIN (aero mao] brand new adventure!Soo FINDING FOCUS From a restricted palette to carefully chosen strokes, ALVARO CASTAGNET shows important to start out with a clear vision for your finished paintingaris is one of my favourite cies. fee! Inspired on every comer, and con't think | wll ever get tired of painting loften sitfor a drink at Cate ce Pars, enjoying good coffee and a warm croissant while sketching and watching people goby. Rue de Bucl is a beautiful street ~ short ‘and narrow, with many architecturaly rich buildings, creating an intimate scale, ‘2ccentuated by the awnings, umbrellas, tables ano people walking onthe street, allthase elements acd to @ woncertul fl | wanted to capture te Parisian energy lof ne street, so | led it witn people sitting ‘and standing, and the waiter crossingto serve his customers. | chose a rich red tone as away of urifying the painting and ‘making tappear to viorate, ‘There are no definite rues in painting: ‘each pictur is diferent and comes with its ‘own demands. Even witha straigtforward ‘subject ike this one t's important to have ‘a clear vision from the start. ‘Ty to poture the trished pairing in your ‘mind before you start, and this will help you paint with freedom. Then fram the moment you drop in the frst washes, youcan begin a dialogue betwoen yourself and the paper. Take your time to observe the scene and apply the paint with assertive brushstrokes, letting the techniques folow your intial vision until the very end, ww avarocastagnetnet MASTERCLASS. ‘Lhay.down guidelines. ised the paper to my board with masking tape frst and placed it on my table. drew lth a soft 68 ead pencil | defined the main shapes, placed the tables and people, and {red to Eve te umbrellas the right contour, while concentrating onthe relationship ‘between those elements when viewed from the narrow perspective of my seat. ‘When drawing for watercolour, you mostly ‘need good guidelines, rather man accurate tals tis best to draw without much precision to allow freedam in your execution ater so you can work wth generous washes ‘and not feel constrained by your drawing. ‘only includes detals on the focal pom and the waiter because needed to ensure the ‘roportions of those were right. 2Establish a warm base My sision was to create a warm painting. ‘0 started by appyinga rich, pure Yellow Cente wasn across the with ofthe paper ‘th my 2" brush. Walle the paper was stl Wot, | paced a wash of Pyral Red wth a touch of Pyrrol Orange over the awnings and continued this ever the lower section of the painting to echo the colour and create overall harmony. The challenge isto palnt this in @ ‘single wash to avoid things getting mud, ‘50 make sure you mix the right amount of Digment from the start. > Artists & Wustrators 47‘BRowand.wash, Before going ary further, | made sure the paper was dry ~forspeed at home, you could saa hardryerfor this. 1thon appied a wash of Neutral Tint witha fraction of Cobalt Sue ‘ang Pyrat Red to the buldings. By using the ‘same rd in mixes throughout, you can ‘maximise the gow coming off the annings | used water from a spray bottle to add @ bit of moisture and lute some sections. added a ttle Bumt Senna Ligitto the mx on the lefthand side to make it deeper 4Sreate negative spaces Using the same mik wth Burnt Sienna Light added, | worked very quickly wit loose brushstrokes, leaving many sma white areas to suggest movement and create negative shapes. | wanted to capture the effect of lgnt bouncing off people, tables, ane cutlery. ladced a bit more Neutral Tintin places to darken itup and create more dopth Itited my board to et the wash run down, accentuating the rflections on the tables. also picked out few faces with Yellow Oohre and Pyrol Red again. S.Develop washes "continued with the washes onthe rant hand side, creating shadows so the anings eppeared as negative shapes, working shvays withthe seme moture of Neutra Tint, Burnt Sienna Light and Pyro! Red. lestende the wash with a tte water, darkening the \elue around the people ana walter to capture the beautiful fel ofthe Parisian light. I went back wth mate Pyrat Red over the awnings, then tited the board while was Coing this to help the wash run over te borders ofthe awnings and soften the edges. S.Sonfuse the edaes. Itis not only important to use harmonious colours, but alsa to aim for interesting and appealing brushstrokes that connect torent areas of the painting, Here | workec with my size 4 nrush to produce free-owing, spontaneous‘ooking brushwork around the people and tables, also dropped in abit of neat water to create bleeds and break up the hard edges. Doing this causes the viwer atte confusion ‘lms, which in tur orests the sensation cof movement and things hapoening. Léigure it outs eoncentrated on the central waiter figwe here, as he was a crucial element ofthe picture. He needed painting with finesse. so the gesture ofthe stzokes neaded to accurataly describe nis ‘movements | made sure | used 6 totally 200 eoour on his shit ‘to make it stand out against tne warmth of te ras elsewhere. | ehase Lavender for not only because | ke the colour but aso becouse ithas body. As the water was Seen against the lent ~or contrejour =the colour needed tobe subdued, so | toned ‘dow the Lavencer witha tie Neutra Tint, Burt Sienne Lgnt an Pyrro! Red left on my palette. aio used a Yolow Ochre fan Pyrro! Red mivto paint his face and arms.Exploit the watercolour | kept workna{on the main figure, creating his logs with dry Brushstrokes to enhance the feel of movement. | vept tne same palette of colours for harmony, only darkening the mixture to ade contrast as this enhances end brings the focal point forward. used the same mixture with more water for his shadow, Ididnt wory about the paint running, as these litle incidents are the anes that add to the unique feel of a watercolour patting. AS ‘an ats, It is aways important to expat the vices and virtues of your chosen medium, pick out highlights, When | paint smal laments like the lamp or signs, Isuggest their placement inthe overall wash and then, once that wash is dy, go ‘back and pain inthe highlgts. inthis ease, | chose Titanium White mised with a Inte Yalow Ochre to calm the brigitness, Highlights are very important and need painting withthe right tools ~In this case, | ohase @ needle point or rigger) brush, Which Is great for tine lines. Synthetic brushes are best for this stage too, 8 te bristles have a stronger spring that is eeal fr the finer detats, @Suggest.and contrast ‘worked witha size 2 brush toads touches of coleurto the customers sitting down, usec Yellow Ochre with touch of Pyrol Red to create the orange with sparkle The smaller figures on the sect were Indicated wit usta single shape, using @ very contrasting value to the pale backerop inorder to enhance the fee flight. 12Elnishing touches, For the final deta | kept tothe same colour palette but with fferent variations inthe colour mix. | rsh te water's apron, hile aang afew highignts othe reads an should ofthe tgwes. Also note how lsd a fow rich dvbrush strokes to help nk up thesofter wets wet areas i painted cater fished by signing the paintingin Lavender to make it stand out MASTERCLASS 1OBubitup the right way. | worked on more thes to pulthe panting together, darkening ome sections and adding detals. | sometimes use my fingers to soften an overland brushstroke ar when want seme bercing to orc Your gers ar excellent oo to get dof hard eds ar cemove ony excess colourIn the first of a new series, AINE DIVINE creates two figurative paintings in a single session, while focusing on how you create your work rant, spiring colour snes of ares wo on T 2rirconcotte teen so ot te us wifi on reteset ne Shur ongnton tae sd pti an tere Meronmon hose row atroworestotewwllbetcine tu panivestnone ny eee tpi eure haond atte lt sture mre ta re ang nese abecuctsomamertandniasa tng Srrcomminepesne Rose ie hocourmeinanes eo Artists & Llustrators Watercolour is ideal for this approach as layers can dry wile you work on the other painting. but much ofthe advice could be ‘applied to works in ary media. | recommend you time each session to sultyou and the pave at which you work. As outlined below, ' began with one 10-minute session on each pose and 20-minute sessions theroafter. ‘The important things tobe consistent wn the length of each session, so you spend equal time on each painting, The dance between paintings aso establishes ‘alow that keeps creativity alive Saree ee er See ae coerce Fal & Lae eee erreur nec re ‘Paper peer ete ars For this fst session, | painted the singer ‘and actress Helene wearing a Turkish- Inspired costume. twas so much fun to ‘explore a ranoow of new colours in pelnting this cuttt~a ange that came about by faceldent as arrived at thie beautiul studio In Edinburg’ Leth Walk witnout my paints! ‘Trankfully the studio's owner Cait had a fabulous range of spare colours that perfectiy matched Helena's costume, Green Gold and Quinacridone Magenta in partcular piqued my interest, beautiful radiant colours revealed bythe fabulous natural ight here.PAINTING 4. SEATED PORTRAIT ‘As Lam alnays inspired by portraiture | was keen to begin by painting Helena’ nead ang shoulders. | gave myself £10 minutes forthe frst session, ‘As the painting progressed, I lowed the pace and moved. between the portrait and the fuF gure every 20 minutes. | stood at a's length from the easel ani held the brush ently, workingtrom the shoulder so that the bristles barely taxch the surface with each mark, Bane he er coerce fen er ee een er eat eee eee nt rT Ce rt ciency Se eee) eee er es tie) er eet sey eee, Iwas extinghaving all these now colours ta choose from, especially since Ihave so often painted Helena The new palette toughtin variety and mmade't a new edventure. I mixed various amourts of Bismuth Yellow, Quinacridone Pink and Green Gold to Point the shin in the eory stages, ‘eventually puting pure Yellow Ochre In te eye sockets and neck, The yellow headdress was my idea. wanted splash of colour and this vibrant yellow seemed just te thing, Painted with Green Gold inthe shadows and Bismuth Yellow inthe lgnter area, Sap Green made an appearance in the skin when | wantec ‘ocarken the shacovs around the ose and eyes. > Artists @ statorsPAINTING FROM LIFE twas only when the final dark areas wore fly established thatthe lighter ereas could realy sing out. The ‘unper surface ofthe lower eyelid is one of those important areas of light tat gives a feeling of depth in the eye area Aways ty to spend time looking at yoursubject with halflosed eyes - or ‘take your glasses off if you wear them, Wwintever allows yu fo view the sitter In asignty blurred way. Tis helps you te identity tno general areas of dark and ign, and by transiting these faithful, youTl have found the structure of te hes. People say the lights and darks are lke the bass in music you may not notice it, but they help the composition hang tether. ‘Once you have that scaffolding placing all the bump and hallows, you cen then enjoy exporing te full range of colour on dep.PAINTING 2 STANDING FIGURE This socond paintingot Helena, made on the same day celebrates the full ‘and colourtl costume she was wearing, | want to estabiish something of her stance, and the shapes and positon of all the colours. betore closely observing the head. |fnd sometimes I ean linger over the face and make that the focal point so here | wanted to honeurthe ‘ascinaton | hae withthe costume ‘and place that test. Pyro cd Ake tL eee eee er ad ee re nr or Seren eee eat eee ey ee ee oer eit eee ea In the opposite direction tothe chin hollow. eee ced Ce ey ee een es ee ener eae) reser Youll notice that he contrasts of tone in this paintingenced up quite dramatic - the nal darks are far ‘arker than any colours aid down inthe fest stages. ‘Some people lke to establish extremes of tones fst, whereas | find this altematve approach relaxes me going into @ painting of tricky ‘subject, as | know nothings set In stone ard | ust myselfto see enough in each moment to move from ther. That movement Important $0 walk that razor's edge with abandon and ‘seep atention > Aatits & MustraPAINTING FROM LIFE (Once the fl igure, including hoad ane shoulders. nad been observed {and placed, | found it necessary to cleanly place the darks. We can get 8 food sense of proportion when we see them in elation to one another How faris the nead from the banc at ‘the waist? How fer from thereto the ark boots? Where is the eu in relation to these twa? These dark landmarks allow usto see in an cexdory way troma distance. Stand back and get a fee forthe lengtinin relation tothe width the aris were less bol, it would be Impossibie to gauge te distance as easly when standing back, The Winsor Orange marks in the shirt and ‘the red dots nthe headdress aot as colour landmarks that have the game ctfect of creating order. as wel as the added bonus of exciting our senses. -Astho panting dvelope ararpea wth be push ae ul ot ‘gh etemets to mous more fly dnd wticntoleove os ey were Tis isthe ar ofthe painting ress to celebrate ond readin ol menaire qe (ve art are oa the “teenage” phase you must weather the som, ut wort Rite oe. oepingtne fat is essential ane romatter what hapens onthe pa, standing back and weeping otto at perspectie na must When etond bac, often fa easter to Geib what. ne. fat st the cose fr yout sed tre to eave the partinigioone sce ond sch back toworkingon the ote Whatver yu 6, always cetrate tne mac analet te vate pay A sgnteantpart inthe mark making Alow oon of ctu: to ‘ther rt spshngon paint toveak the edges of he ure anove of, nove in ara atow pce fr payto atte tho Siectonyoutoke. vnanedopaatings cauk Ora CA \ to teach you about \ compositionKen F poral Ss Draw & Paint on Hampstead Heath ‘on Sunday June 16th rear counts Ucar SeRCE OK WITH EVENTBRITE Ken, Brom Seer HEATH t CALL FOR ENTRIES i {serch for itu th Heath 2028 cll stead School of Arton 0207 7941439 DELIVERFINISHED WORK TO restone Pond, NWS LEA at 9.30ar '23 June tobe exhiblued ud {or full information on ranges, sets, prices. epee ie) LEARN TO PAINT & SKETCH WITH OUR ALL-INCLUSIVE STUDIO KITS unin Non HomeHobby. com 0000 BaaThe Society of Botanical Artists’ ELIZABETH HELLMAN has all the answers, from lighting tips and brush advice to whether your subject needs to be painted on a white background SeYOUR QUESTIONS Whore do yourfnd orsource some How do youl go about lighting your younged, as you would ifyou wore BELOW Lon Fewer, of your more exotic specimens? specimen so that you con see encugh taking reference photos. ican be very watercolour on Iimahways keepingmy eyes open for detall to paint? helpfulto understand all aspects of paper, 60x60 Interestingand inspiring subjects. _—‘fyouarousingnaturallight, be aware the subject and getafoelforit as cPPOSTE PAGE Ivisitgardens, love Nymans and that siadows will chane during the well as practising for he final piece, ventaiPony. Wakehurst In West Sussex, andthe course af the day. and some flowers con board, Walled Gardens at Melis in Somerset. _wllfolow the sun ound, or open and otanicalart Is veryrepresentatlonal. 0x60em |also browse frists and grow some close according tothe light Its far How fa can you stretch things In of my own plants and flowers easier to use your own igntsource, so terms of composition? ‘that its constant, paintingfrom He. Going tradtional votenical You mention on yourwebsite that When painting in my stuio, use painting, one has to make sure the Single palntingean take upto 100 adayligit bub, which gives amuch Image Is rue tothe plant. and hours yet plants ave able to wit, better qualtyof gt | usually botanical correct. However, tis bloom or change overtime. Do you photograph subjects in caylgntand__poseibe to arrange tings inte a more have any advice for waysaround ths? move tem arounc unt nd the best pleasing composition if, say, you con't Pants chaning overtime is ange and light. Digtel photography the how a leafs stickingout. constantaifficuly forthe botanical _- makes it easy toexperiment. It would be OK to work from several artst, nonce tend to uso ferent specimens and use the bits photographs to draw and pain rom. What sort ef things are you looking that you fnd the most attractive, |am a very stow paintor,but some forin your preparatory sketchos? as longs ty are stil botantally people seamto manage quite well. ‘don't ten make preparatory accurate, One can also use Keep plants and lowers in @ cool sketches. know other people find _issections or separate details (such roomif possibie, and make sure IRery heipful too this though asa seed pod) to either make a more ‘theyre somewnere safe wnere theyre especilly if youlack corfdence. Interesting composition or combine ot going o get knocked, or even Faadviso cokngatallthe details different pants in thesava image, > ribbed (cts love nothing better than chewing prize specinen, Ie iscovered). W's often helpful o take ‘Photographs for reference and make Preparatory sketches. ‘Are there certain pitas or things to consider when using reference photography? often paint almost entirely from [photos as some of my paintings take 0 long, Taking geod photograpns is essential, especialy you wilt be able to see the orignal specimen. I Using fr reference, rs acvise paying attention ta detals such as laf jirts ratnor than just concontrating or the ‘more engaging parts ofthe plant. Take photos in good ligt. and from lots of differnt angles ~ both tose Uupand ata dstance. Make sure you wil nave enough Information to understand how the plant “warks", For example, whether the eaves are opposite each other or altemate, what pattom the veins of leaf take, or how {the lowers are attached to the stems, Giants changing over time is a constant difficulty... | tend to use photos to paint from i @ PYOUR QUESTIONS saovevieage ae, 50x50 CHT Pens Pome 3 Tuga Paro, watercolour I don't believe that a work has tobe leolates ona white Background to be ‘true botanical artwork, athough traditional botanical paintings aro usually on white or offwhite backarounc. Vellum is atraditonat suppor for paintings and each pioce [6 unique with a lot of colour sariation, ‘Abizck background can also work extremely wel White backarounds do make it hard to.orrect mistakes when panting in watercolour It's common tahave to extend a petal or aca an extra lea it ‘one nas got some paint in the wrong place or gone over an edge slight, fusing watercolour you can take Itcan be really good for gottng tho ‘velvety texture of some petals, such ‘2 tose, anc find it easier if| want to paint very large works. It's also sd for doing backgrounds, se ols by bulloing up thin layers and letting them cry in between coats I's a lengthy process but worth persevering wth "am faity unorganised wth my paleto, but! gonerall group paints by olour~ for example, putting all the blues in one place. This i 2 very Inclviual thing though end a suggest Coing whatever works for you. | matoh by ey, which is something that become’ easier with experience. using watercolour. | often ty out a colour on a small plece of watercolour paper first tomake sure te night. do bull colours up in layers too, and so ‘ater the colour with afferent glazes. 1 've made a colour too dark, wil wet the page and bot some ofthe colour off, and then over pln t ‘necessary, One can eniy do tis 60 ten though, before the texture of the paperis spoilt. use synthetio Pro Arte Prolene Series some ofthe paint off anc lightenitby 101 brushes for watercolour rather ‘applying small amounts of water and than the more traditional sable. vary blotting the excess pigment, but you'll te size of he brush as needed, gone, ever gotthe paper back to white. awn toa 000 for ealy fine lines, ‘The Society of Botanical Artist’ 2019 . open exibition, Panta, runs from i 159 June at Mal Galles, London SW, ten eww alzabethiellman. cok Some subjects do lena themsetves better to either watercolour or ols | want to paint a subject in isolation ‘on a white background | wil usually go for watercolours. Watercolours more immediate (because of the short drying time), less messy. and can realy capture the translucency ane delicacy of petals. 1 paint, on the ther hand, has the advantage thet one can over: paint, so youcan disguise mistakes ‘and change things 2s you go elon.THE Ist Prize £4,000 DA eec0 SPA Open for Entry from Ist April Visit BuxtonSpaPrize-co.uk PRIZE 2019 TREVOR, OSBORNE CHARITABLE TRUST Bil & Sheila Buxton Spa Adrian Brown Barratt ‘Avomaties & Jean Roiiger 9 wom by ariisis everywhere Pro Arte's all round best seller Stocked by all good art shops! Everywhere Ce © Fotow us on iS aie eure re) Jengact on people's ives, inciuing my own Locking ta deiner APE SeB6iRMp in you local community? Get touch today www.creativeminds.art nemnsean lrnndean, @iacresierinssn ART ACADEMY LONDON Evening courses Weekend courses Easter & Summer Schools, Young Artists courses Got creative across a range of subjects, including Painting, Drawing, Sculptur Printmaking, Digital and Ceramics & Glass, ‘Our courses are taught expert artists in small gt ‘lving you the benefit. hands-on tuition, Visit our website or get in touch to wwwartacademyorg.uk “ shortcourses@artacademy.org.uk 0207701 2880 wyPainting a landscape isn’t all about working en plein air, MARK HARRISON shows how you can create a realistic yet fictional scene by focusing on accurate light and colour schemes Artiste & MustratorM Sex eraignene wna gig oe ime reev uy ao pl pes tht cove lgungeteoa itl ne ey peng Sauvarone Shroot nto sen cnc por Teton torneo et conan on ne rare eal ore inten porto hecermy ona So Me ies aes areata petuinto soar te iguana eo aca en suspend our cisbebief and make it!ook possible by using ~or exaggerating ~ the laws of nature. Things like porspectivo and cobvur should bo accurate, and one can play with relative scale and light sources to makeit lok more convincing too. Paringthe composition down to justa few elements can be surprising dificult as you have to make sure each elementis convincingly srawn and visual interesting enough to hold 2 viewer's attention, but you get Ieignt it can look very dramatic. The composition comes to ‘the fore to such a point that it can start to take on abstract quaitios. “The composition for Low Tide was based arcund a certraly-placed island so, to ensure an interesting picture, everything else was offset tothe right as counterpoint. The lines of the water onthe beach provided some lagonals to gvo the painting a bit more ‘movement from lett righ. vom palntngsbymarkharison.com SKETCHING OUT | drew the composition using a mix cof Burnt Sienna and Winsor Violet ‘thinned with Liaw use Liquin for ‘wo reasons: sty 26 a thinner for ester appiication and secondly to aulcken tne dryngtine. In the summer month find that paint with adced Liguin applied during a morning session wil have dried in time fora second coat inthe afternoon. Any mistakes or adjustments tothe srauing are made by erasing with a rag.and clean turpentine, I normaly use the “ule af tid wen composing plture but that would nave meant patting the horton a tied of to way up, too high for my Intentions ofa sky-based pictur. Forme, placing lower created a ‘more interesting dision of space In texms of general design. TONAL UNDERPAINTING. ‘Once the bare bones of the composition were sketched out, twas time forte tonal underpainting. Using tne same mix of Burnt Senna ane Winsor Volt thinned with Ligun, rubbed in the sky an iand with fr9g | then rubbed out any hignlghts required witha clean rag dipped In turpentine. Tha tonal underpainting i a eral stage of any painting, When the tonal masses goin they ge youa very PROJECT Cron ee Seen Eas Pea vnoy Beto ‘Canvas ror eed ee £000 idea 2s tohow the composition might work. Tis stage Is aso the perfect opportunity to make any changes the composition may requir before the colour is added andi wil save you time in the long run. FIRST COLOUR PASS wanted a dramatis sky with ‘he main cloud almost overbearing ‘compare with the rest of te picture s0 [needed to ensure plenty of contrast both in colour and tone. | made up mixes of al he Michael Haraing cotoure ang roughiy pated Inthe sky withthe two larger short brushes. tend to avoid using Titanium White in mixes as fing it tends to ‘make everyting look abit chalky ~ [always opt for Zine White instead as Its less overpowering and more transparent inthe mix, Anise & WhustratorPROJECT an tip Pee a pees om ADD AND SUBTRACT | made a second colour pass on ‘the sky to develo the clouds further before I moved onto the land mass. "kept on adingend subtracting cloud unt | was hapoy with the tribution across the sky, ether ruboing thom out or painting vor ‘em, | wanted to retain the area at ‘the base ofthe main cloud to suggest twas raningin the distance. [achieves ths efect by thinly painting ‘the yellow-lues so thatthe base Luncerpainting showed through. Its important to let the warm Lunce-paintng show through in small spots across the surface ofa painting. unites he whole pica, 2s tre ame voletorawn colour subtly appears inthe sky and ground. Ithelps here that most colours seem to sit wel on a watm orange brown unerpaintng, particulary the blues ofthe sky and water, due to ‘them being complemertaries SUBTLE HUES Sroughiy painted the water using ‘he 3/8" and 1/4" short rushes, Whon mixing colours, | usually noed a slighty desaturated mix which achieve by adding some of its complementary in this case | added some Peenanent Orange to the Utvamarine Blue and Uiramarine Violet (and a touch of Zine White and Lead Tin Yow Lemon) to knock it backa bitfor the water As painted | kept ceturing tothe ‘sy forte tweaks, such as lowering, the cloud base clase to the hottzon {ee ore drama and acing some of ‘the sea colour into the cloud base shadow. In nature, when the eloud base gets nearer to the ground it reflects more ofthe colourbeow In ‘this case tho soa. By obsorving those rules in an imagined panting, you can create an added sense of reals. Ants & Wustrator MODIFY AND REFLECT locked inthe island witha mi of Permanent Sap Green and Burnt Sienna @umt Sienna and Permanent Orange are probably my most used colours as | find them great for ‘modifying blues and greens in pantcula. ie obey the rue of thitas” by making sure thatthe reflection of the lightest area ofthe cloud sat tits of the way along the beach foreground early on whan | di th tonal underpatating. ‘The rocks were painted las after ‘hese water refectons were complete, ‘eirshapes and distibuton echoing the clouds in the sk.30 YEARS OF PAINTING WITH (WIN A YEAR'S SUPPLY TIPS « TECHNIQUES + IDEAS « INSPIRATION ‘ Winifred Nicholson a | E The artist's grandson explores her | Pee Soo ROYAL ACAD PRINT wort Flo pert Peasant THE A-Z OF | | OIL PAINTING iBeing honest with yourself is an important part of growing as an artist. Norfolk Painting School's MARTIN KINNEAR shows you how to tell if your painting is any good - and what measures to take to fix it im sure you know the feeling, Your headis ust full of creative ideas, so you simply have to paint However, while you're working on inpiration strikes, serendipty chips In, and you find yourself wrestling wth etal, managing abstraction. and string a balance between what you want and what you can create. They saya paintings never finshed, only abandoned, and there's run in 9. However, want you toBOE Martin arvas, 1225026 Kinnear, Green & the Colour, ‘122,020 consider abandoning your work to be a temporary separation, ta give you time to think haw things can change and get better Generally speaking, what ends up ‘on the easels mastikely nothing tke ‘the orginal picture you nad in your head, Nevertheless, it's important toembrace an tea and paint with passion fst, before then reflecting ‘upon how it might be Improved, Lots of artists paint with passion ‘ane conviction but erate work which ‘an appear seltinduigert. Converse, mony artists also paint very worthy but dull works wit clinical sil. [think there isa mlaate way, and ‘that Is to see your work as a dialogue between yourset, your subject ane your audience, Setfrtique ts the start of sett Improvementand a wey to defeat self doubt, sof youte serious about Improving your art | suggest you take It seriously, Start by acknowledging ‘that you aren't perfect, and that painting itself isan impertect process. Ie importantto establish were looking for better here, not perfect. We eren't mathematicians chasing certainty, but artists pursuing human truths, andthe beauty of at often les In ts imperfections and ambiguity. IN-DEPTH “That said, thore are some ‘measures against which one can og one’s own Work oF any work ‘forthat matter thet 've found useful ‘and would lke to share with you. How do | know these measures, work? Wel, cause youve usec them a thousand times yourselt. Every time youstep ito a gallery and 2 painting catches your eye, whether Instands out beceuse it's instantly ‘appealing oF draws youn with its Cepth, tien the creators ofthese works have explitec these principlos In some way. 'm not suggesting that better paintings simply about using ai visual wicks ~ artist integrity sand vision always come fst ~ but | ‘8m advocating that some paintings ate “better tan others for certain reasons. Here are a few to consider. Here's a fact you can take tothe banke most strong paintings have a goad value structure (what some might cll “onal structure) We don’ perceive the wort in black and white, yet contrasts the dominant force in human pereeptin, and our brain just can't got enough of it. While we love colours for thelr psychological impact, wedont > ieayaooco wane (When a painting looks a bit ur dominant fecus, So when @ paint looks a bit at. alte gutless ks structure than inoroase the difference between the rks and lights to make your painting contrast Is generally increased around the focus of your work, and rally redscod elsewhs Wherever you increase value contrast you will creat focus, wherever you reduce ityou wit lose ‘Value, then, i avery powerful Compositional tool. This al sounds imple ~ and, when propery appli tis. However, simple s not the same ‘so value manag make better value decisions. 2, VISUAL DESIGN Iplieve all paintings visual ‘and we al nstnetivey prefer a strong, Composition aver a vague, tent n begins when ye Start to see our subject in petri flat or lacks structure, value is almost certainly the problem ® rather than representational terms, Look at each object o passage in your painting and consider how it works a ert ofthe visual cesign, rater han ‘aga facsimile of your source. For instance, the sky in your observed landscape might wel be pale blue. but before committing to that colour in your painting, just peuse for thought ana ‘ometner transposing it jan terms. Is that the rghit i picture? If not change you are making has to be powerful and effective tim alway tures, and paintingsomething dul weak or uninspiring just because it strongest oat in creating str visual designs. However, tomake port this with optical variety and great colaur choices 3. optics Ptures that use te are inherently interesting because you can't got way from the fact that paintings are fat, anc the world isnt Use apie correctly and you can create a fat surfaco tat appears to have depth. nore them and you can aggressively pursue fatness in your work, Either way you need to make choice, and with choices come opportunites. ‘Strong works of art are often those fed in reresenting becomes part of our environment, soli and present in 9 way that fm, tachoose enother artform aseHouse Days, 28511220 Kinnear, The Red comparison, cannot be, To follow that loge, for paling to be a ts strongest. it needs to do something that photography, fm or print can. ‘which often means havingan optically ‘athe and ambiguous surtace. ‘By making your painting optically {ep or solly textured, you are showcasing the potential ofthe ‘medium and getting the best out oft (On the ether hand, you paint your work to look Ike a photograph, or create a fat unvaried surtace ten the chanoes are you are missing out fn visual strength. One way to add oatcal interest is through using the Principles of gazingin your work Even ityou don tactuay laze, then you can stil otis by expating the varying opactt of your material, particularly your various colours Yes, value might be fundamentally important, but colour is what mary of us love in paintings. Strong colour use starts withthe deceptively simple eemise that colour fs bot relative ‘and largoy accurate, This means that IN-DEPTH you need to put the right colours, in ‘the rignt proportions inthe right places on your painting. Again, tis is ‘simple to say and hard to do. Unsurprisingly, lots of colour arrangement systems exist for heiping youwith this, wich you can see used inthe works of great colourists such ‘as Keth Vaughan, ven Hitchens or Piette Bonnard, Fr the purposes of a short selfertique, the most common problem is usingtoo many and too varied colours. Cut your palette down, bring your saturation levels into tine, ‘and look for ways to manage your ‘value simultaneousty with your color ‘Tho BEC’ at odtor Wil Gomportz served that the most important bit of kt in any artist's studios a chair in hich to st and reflect upon one's Work, $0 make use of yours naw. Sit in front of your test painting and ask {oUrset the following three questions: 4L.Are my values compositionally ‘ound, and strong enough to create {focus and vieua stength? 2, Have | embraced the optical possibilities of paint, whether in terms of ts physicality or translucency? 3.18 my colour use clear and string ‘and does it support the visual design fang value structure? it me answers no to any af the questions, weak tnem accordingly Uuntilyou have a stronger panting Even with these techniques, eraft only {gets you sofer, and uitimately any aintings only as good as the reason Ie was created. Even paintings wth ‘od values, great visual desiens and anelegant use of colour can uldmataly fai isn't clear why they were made Knowing why you are cresting painting and ensuring that your vision Is conveyed tothe viewer are the most important aspects to establish inary ertque. You soon see that ‘technique only gets you so far, and in fact anything paintoc with convition, clarty and passion can get by with a ‘ew rough edges, Martin's paling, Burasal Winter, was warded a médalle argent atthe Salon st a specalstudlo opening on 26.27 ‘June at Norfolk Palatng School ‘wi norfolipalntingschool.com13 TIPS COLOUR Take control of your palette and paint better pictures in minutes with our handy guide to creative colour mixing CHOOSE PIGMENTS OVER COLOURS \Whte there are countess named colours 2eroes the mary paint brands, tis worth remembering that most of them are made rom round 30 common pigments. tis far teasier to predict how single pigment paints wll eact in a micas there are less varabes. BE STRATEGIC ‘Squeeze out colours at random al over your palette and you are in danger oft resembling an accidental Jackson Pollock. However ifyour plete Is orgenised, your painting wl follow suit. Devolop a strategy for laying out colours thet sult you. Ideas to conser might be laying ot pigments tonally ‘rin “rainbow order’. Consider placing the white atthe canta, as you wal mic almost al other colours with tat some point. IDENTIFYING COLOURS Accurately isolating and identifying Individual colours you want to recreate with your palette Is key to good mixngand it helps tobe aware of now lighting affects a colour Plein air painters ike Monet went to great lent to observe shifts in colour on a single subject throughout the day but simiar shits Cccur indoors. indirect daylight con change {the temperature and hue ofa subject. START OUT LIGHT In general tonly tees a very smal amount ofa dark colour to dramatically change light colour, whereas it wil take plenty of white oa lighter colourtohnave § much effect ona dar colour. Save time and paint by always adding dark painttolgitin ‘small quanttes, rater than vice versa. MIX LIGHTER TOO and acre paints almastakways dry sliitlydatker, Comoensate by making your mixes a shade or two ighter. The reverse is true of watercolour, whieh often appears lignter onthe page when dry. AVOID BLACK While adding black 's most people's Instinctive response when they want to “arken” amit ean quite easily duit a colour as wal Try a brown or dark blue Instead to keep some complexity tathe mix DON’T BE NEAT Most colours usec nest will appear too bright orsaturated 80 they should be refined to create a more natural or reals fish. Ty instead to tone them down witha touch ‘of complementary cobur (Le. one on the ‘opposite se ofa colour wheel) - darken 2 warm rea with 2 touch of green, for example, WORK THE WHEEL The brightest, most bliant secondary colours can be achieved by mixingtwo primary eolours that lean towards each other ‘onthe colourwhee!~for examele, a bhue- based yolow ko Prato Blue anda ‘ellobiased blue such as Lemon Yellaw wil create the cleenest, brigntest green. BEWARE HIDDEN BIAS While the bia of cortan colours can be ‘easy tospot in brighter pigments, t actually Colour mixing doesn't just occur on the palette... Try placing strokes of bright colours next to neutral one§) MDENG ‘ceurs in almost any pint. ory Black may appear neutral. yet in most brancs it reveals ‘a blue bias. Ukewise, Zine White has a cooler bias that can havea subtle otfect on mixes, which is why new artists often favour the ‘mete neutral Titanium Wate, Ouse ciEAN aaushes While there's no need to got the sink after every colour cleaning your brush Is essential o avoid fugtive pigments tinting your new mix youre using os or acrylics, ‘oop a shoot of newspaper oan ole ag hnandy tosqueeze out excess pigment from the bristles. Watercolouretsehould be viglant about changing city water pats too. 441 8% GREENS IN THREE Mixing greens is one ofthe biggest challenges ary arts wil face. One simple strategy isto choese a maximum of tree palnts for every green mix required: a bosic agyeen, 2 paint to shit the bias inte required direction (either yolow or Bue). and a paint ta neutralise (a red), Appy ths theory to _2Nold muddy mixos witn multiple pigments. 42 BE TRANSPARENT Make nate ofthe opacity of the Individual colour you choose. An opaque paint wi ays dominate a mixin comparison witha transparent one. As with ‘adding dark paintto lian, always add an ‘opsaue plgment toa transparent one rather than the ether way around. agmxornicatty Colour mixing doesnt just occuron the palette, How and where you place & colour on your support can also have a huge Impact on how tis perceived anc is known ‘a “optical” colour ming To create saded Impact try placing strokes of bright colours _yext to more neutral ones on your canvas or pose. o ight tones against darker ones. Aatists Mustratoes 68fb field LEADING ann OF , ART & ) a ILLUSTRATION WORKSHOPS } Annual programme by Ann Swan Thoroughly enjoyable, excellent tutor, feel as if | have learned a lot!’ GIFT VOUCHERS AVAILABLE 01433 621420 | info@fieldbreaks.co.uk www. fieldbreaks.co.uk HAWKWOOD er centre for future thinking : 7 Arts & Crafts Courses alte ah Artist Residencies Events Ce ane EIT) RS eee ae OPEN TO NON MEMBERS aeeeeee eectBACKG ROUNDS hats 0 background’? the motf ore drawn, butthere are certain it can be too tempting to Though oftenhear worried examples ~ ike when a moti is placed focus on the object and comments ike, cant inthe mide of @ room = where the forget the setting. YUKO ‘ede onabackground colou”.or “my backgrounds not the exact colour yu see NAGAYAMA introduces >###0unds always fi, the background Rather itis the colour as you imagined it auusefulway to decide, f.ZoazuchovSertutn waloanasua tise upon the perfect ‘express your feelings freely. There are answers: similar colours, grey, or based on backdrop for your art ‘times when objects that are seen behind light and shade. Each Is outlined below, SIMILAR COLOURS AS A MOTIF MAKE GREY MIXING TWO Greens, etc., match natural images OR MORE COLOURS @ wow D220 @ veent0.2 @ corateive @ Presson ene @ oe @ vetan @ Pusan ave @ wrion The ey colours shown below \were made by randomiy mixing ‘three to four colours in the palette. Weare often told notte mikmore mantae ous Howe tau @ comentae @ wien @_vornton awe — @covateve 0p the me calour direct to * + : the paper only one te, even a . Widen @ Frusionsue— @ const cron a Trarsucent @_ Sur unver fourcolour mix wl rea he ub. vetow tink that iis okay to mix as van clos 2 ke 2 ong bet eopy te med ode Sect your paper e@ e e@ © iri 2} erie | aes © tiniscioniss @ Frssionsive —@ Lavender @_Terveverte —@ compose Bue Aatists & UistratorsBACKGROUNDS. DECIDING ON BACKGROUND COLOURS BASED ON LIGHT AND SHADE Let's imagine while looking at a moti PE a er nee ---)- Po Pact} CT Crestor Iyeuintend to mate panunginetis tu of Ia eave wite pane ‘ss abacegroune. ms malas the bightest possible space, warm oe " i cols em Toa” ee ‘om ome oid raAntists © Waster ‘want to palnt It warm = on ~

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