FOR ARTISTS OF ALL ABILITIES TIPS - TECHNIQUES - IDEAS - INSPIRATION February 2022 £4.99 WIN! } £1,000 worth of art course vouchers | TAS LAAT ayer RA aun) sol ae) Byte} Gy wat PoB AN ~i7r Sy Improve your palette choices How to... Draw perfect eyes © Paint cloudy skies e Mix interesting greystee atta Tec ‘Nasana Congo La uae rose, Pie Pace tans W370 Teo20) 7240 300 ‘ro Ems Lye ton Mowry oD oer aa Sra le Ser oxune enous Beer om nen Etcenn EERE i tr ates ston not nnd offer Vick Gos Stns Manag Manage ret Wess roo bia Manger en sander ‘mteeeomagasne ony/stop STAY INSPIRI SUBSCRIBING Artists & Mustrators ‘Tel: 44 (0)1858 438789 Ema ats @subseptoncouk ontine: ‘mvmsubsciptoncouk/ felsea/solo Post: Artists & lusts, Subscriptions Department, Chelsea Magazines, Tower House, Sovereign Park, Lak Steet, Market Narborough, LE16 EF Renew: ‘mv subsoriptoncouk/ telsea/solo tra usesiae, Weta Welcome “Malking an aet magazine can be a disorienting experience at times, This is, alter all, our “February” issue, yet am writing to you in ‘mid-December and you probably wont read this until early 2022. Such isthe way of magazine dates that Imm never quite sure whether to wish you a happy Christmas, New Year, or Easter at this point What I do know is that the winter months ate a good time to take stock. often like to pull out pile of eld work, finishing up some ‘ideas and discarding others | find myself developing the detail ina forgotten drawing o revisiting portraits where I never quite caught the likeness, Theres even a pleasure in looking at something made five years ago and admitting that _pethaps you have improved after all, despite how it feels on those insecure days. ‘When I had the pleasure of visting the studio of Anthony Eyton for this Issue, he proudly showed me the fruits of his recent tidy up and in our interview on page 20, he talks ofthe revelations that this uncovered. Eyton is someone who seems delighted by the possibilities of at, Every reference photo is a potential subject, every sketch a creative path yet to be explored. He may turn 99 next May yet he talks ike a man who is only just setting stared, Art can have that elfect on you, whatever month you're in ‘Stove Pil, Editor ‘Send us your latest paintings, tips or artistic discoveries and you could win a £60 voucher: Info@aristsandtustatos.couk EA] @nandimagaine WF sarstsanatustators D erancimagsine FE onananagaineLetters Seal us your at and stores Exhibitions The URS top ar shows this month ‘Sketchbook {Quicktips ideas and inspiration Fresh Paint The Working Artist \With ou columnist Laura Boswell Prize Draw Win ve £200 course vousners Meet the Artist Wa ilstratorEoward Cavey staying create at the age of 98 Art History Discover why 2022 Is set tobe the year of Thomas Gainsborough In The Studio Popular printmaker and ilustrator Angela Hacaing at workin Rutland Masterclass _Ennance your subject with thi ssp gukds to making plture Principles of Depth ‘To conchae his series, Jake Spicer looks atthe effects of details Technique Hashim Aki on working with greys In-Depth ‘comprehensive guide to paints totes and washes in watercolour How I Paint Drushatokes are he key Peter Granans vibrant partigs fom ite Project Why a sual lary can be a useful wy tata rete every ay ? Demo LOG Leam how glazes of colour can add = a softness and depth to skies Drawing Workshop To drow beter 85, Laura Sth look t poral the gesteaca Several years ago, wile browsing in 2 lacal bookstore, | came across a litle watercolour postcard kt Ithad everything needed to start paling. (On awn, | bout. ‘ter painting the 10 postearas (mostly people, never mailed) | got the feeling | wes onto something. So, | kept going and eventually branched out inte acrylics, pastels {and drawing. Art nas been such an unexpected Joy for me and quite by 2ccident.m perfectly hapoy at age 76 tobe 8 “hobbyist” nd learn a5 | 6. takinga class now and then and ‘even participating in a local art show. Tank you for your magazine and for this opportunity to respond, Sally Ford, Montana, USA | thought your readers might be Interested to see what | have been Upto during the fst lockdown. made a sketch in 1989 and produced an edition of lnacuts from but my ral intention was to create an oll painting. The board was, primed, ready, and stood against the wallin my stuco, bu there it emained for 32 years, waiting for ‘work to begin. Commissions, and life in general, gotin the way Whon lockdown came, Lad ‘almost forgotten about tnt lonely Letters piece of hardboard it had become like @ part of the Turniture. was at 8 loss how to occupy my time, then Itjust hit me: why don't! do tat Daintng? So, 1 set to work The hardboard measured 37325" ‘and the drawing took me 20 hours. todo as there was much careful ‘measuring to do. | encountered several problems, the main one being the greens, and I was quite anxious, but told mysei to ignore this feeing and press on regardless = 83 hours and 10 minutes later the ‘opus was achioved Executing this painting has had a benefcial effect on my other work, asit has given me much more confidence knowing that apiece wil turn out wel Evelyn Friend, via emall "paint in watercolour and in the last couple of years | have aso started painting in ols. Forme the absolute pinnacle of my att isto be able to paint en loin arto pain rom life, and, when Iteomes to ols, toe able to paint ala prima, Ireligh the challenges have ‘faced andthe aavertures painting outdoors has given me. "have made the most wonderful ‘rlends along the way and have been able to create some great, ‘wld memories ofthe places | have been, een air painting is one of the ‘areas in art thats growing. and we have many professional antists from the UK who are great ‘exponents oft. Pein air sketches ‘and studies area great way to bulla up reference material for ‘creating more detailed work back Inthe stulo Inthe USA, plein ir paintings hugely popuiar and well organised, with clubs and societies holding regular outings, paint outs and ‘even competitions. There are ‘many benefts to painting en pin arin a “paint out” or ‘gathering wth group. ts healthy in that you are outdoors in the fresh air and it can be very sociable 2 well Iwas wondering i Artists & Iustrators could not give plein ar painting a boost by publishing 2 regular column which could promate paint outs and societies ‘that have active plein air groups ‘that artists could join if they ‘wished, a well as publish articles on techniques, ‘equipment or stories of plein air adventures. IRwould offer an addtional ‘dynamic tothe wonderful word of art and encourage people to. paint out n the open ai Peter McLeod, via email Artists & llustrators has been regularly supporting and {eaturing pln alr painting for many years, Peter = see Rob Pointon’s How | Paint esue 438) for starters ~ but would 2 regular column and listings ‘appeal to other readers as well? ‘Write tous and et us know. Wrléleus! 2 Jubtoe Place, London $93 370 EMAL: ofowartts The wr of ureter of the UK's lngestart, vematlatertona ‘Share your stories, ‘and get a daly dose of Artists & ‘Mustrators tips, ‘advice and inspiration by following us on ‘our social media channels... ekandimagasine EF Aistsanastators ‘andimaganne I AandimagasineExhibitions FEBRUARY’S BEST ART SHOWS PISSARRO: FATHER OF aon show alongside pieces by those ne IMPRESSIONISM Inspired, such a Caude Monet, Georges 18 February to 22 June Seurat and Pau Gauguin. Above al, noweve, Caml Pissarro is considered the father of ssa aheadofthecurve versity wil Impressionism, nat last as be was the only be undertined hee, rom the eat, chunk fat aristto show wotkinalleight“Impresiont” marks of Fam at Montfoucaut in Snow tothe exhiions in ars from 1878 to 1886, optical mixing of Vw om my Window [above Now lost 150 years late, pamings Ashmolean Museum, Orford spanning the French masters entre carer wil waw.ashmolean.or, 12 February to 8 January 2023, eter it's Peter Rabbit sneaking into Mr McGregor’ vegetable patch or Jemima Pudcle-Duck’s search to lay her eggs, Boat Pot illustrated stories have enraptured young audiences since they est appeared in 1901 Now you can be transported back to your cldhood with this famiy-tendly exibition which explores the artworks, conseration work and personal fe of tis talento watercolours, ‘Vletria and Albert Museum, London wwn.am.ae.kTate Moder, London. vwewtateorg.ukSear to February TIPS « ADVICE - IDEAS PAINTING = ALLA PRIMA Raw Umber Studio tutor LYDIA CECIL has five ways to keep things fresh when painting direct Draw frst Check the route before relying on your navigator, Use @ twansparent, quick drying midtone tke aw or Burnt Umber to wash over the canvas, then map out your plan in thin pint. tend to mark out ark areas versus ight ‘areas and determine ‘focal point. Organise your Use clean brushes palette (Once you have the Micuptne main colours bbs of colour arranged beforehand and organise on your palette, give each them. Ieep darks on one a separate brush. oneside and build up Despite best intentions, thetonal scale tolights there willbe inevitable onthe other Keep the colour entanglements on mixes separate to avoid your palette, but keeping, your painting becoming your brushes clean will Imuddier than afarmer's greatly improve your field inthe rain mark making, ate shapes malleabilty and ity ‘of wot paint makes this especialy tun. ‘Throw those shapes ‘and enjoy the fact you ‘can manipulate how ‘thoy interact with one another Wet paint allows you to create both soft, mergea ‘edges and sharp, deliberate marks for ‘action or vibrancy. consider thickness Start thin fr the {drawing and bull up the thickness of the point as you go, especialy fr creating points of focus and sharper marks. Use ‘a palette knife to lay paint on thick. help achieve that ‘expression that can be lost in longer, ra ‘ut paintings studios comSear to How To... ‘Wien painting simple object tke an apple, accurate shadows are key. First, dont paint a cast shadow as a continuous tone ~ itgets inter further trom the bect. Second, pay attention to flected light. The underside ofa shiny fut soften ightor than the core shadow further up. Fina, remember an apple 's nota perfect emooth sphere, Sight imegularties of tone wil adda sense of realism. asm arin our ey Perens eerereets eeernenns: crs ee ee eet os et ett tin ofthe woven pape alone providing their colour. Drawing witn Charcoal by Kate Boucher Tutor Kate Boucher aamis that this book was writen during lockdown ana F itshows - ina good way Pits This sa very personal rumination on ia) |) srawing.as 8 means to an end, teshea PeTIN; Core) Vig) 2th motivational “iasks' and dotted : with quotes from Aristotle and Thoreau. The addition of "What f.2” prompts encourage you to think more cexpansively about the subject too. ‘Crawood Press, £16.98, wwrwerowood.com Why not try... Derwent Shade and Tone Set opiate the sanguine hues of Renaissance drawing with this newly. curated mixod media set from Derwent Create ins with the black, terraceta and graphite pencil, while adding subte washes of muted natural colours via the dozen pars and mini a waterbrush,wwiedorwentart.comHurvin Anderson's 2008 ol painting Jerse, on display in Tate Britain's Lite Between Islands, shows atraitional Jamaican barbershop. The posters onthe wal stripped of detail and ‘rendered in black colours of various consistencies, bring an abstract quality tothe painting Life Betweon stands runs unt 3 Apri at Tate Brita, London. wie tto.rg.uk Enter upto two works by Spm to be considered for inclusion in the historic Royal Scotish Academy of ‘tang Architecture’ Annual Exhibtion 2022 this saving, vw coyalscattshacademy.org Ca Dont miss the closing date for entering the Royal Society of Portrait Painters’ Annual Exhibition 2022, which runs 6-14 May at London's Mall Galeries, vw therp.co.k Ea ‘There are more than 70,000 euros of prizes on oer atthe Royal Hibernian Academy's 192d Annual Exhibition 2022, so enter before Spm for the chance to exhibit and resources for artists on t Penne) Seen eat oer Stee eect) PoE emer is) Rees ur) MST YArt workshops for all levels RAW UMBER ET) tame ha Leste lol eo studios oe Painting the figure in Pers L [CS IC) area ea Painting the portrait in oils Pear Cae eet9 new artworks, straight off the easel Daisy Sims-Hilditch SXoling along the stots of London's Celsa, pat grand rede Vitoria noses, is not hard tobe transported back othe 19th century winen te area was an encave of acclaimed ats. Tonk ts brine traction, ed by former esdens suchas Jonn Inge Sargent JMW Tumer and James Abbott McNeill Whistler, is being kept alive by plein ar advocate Dale Sms Hd, whose inst patting of Chee ands surround (as wel as te snow-covered As) arto go on showin Januory atthe oy Potand Galery, One ats of ote who has fed more dct it Daly's atest work \s the Camden Town Groups Walter Sickert. A subte tute tote post Impressions ats in he depiction ofthe Pano Noble Galen forace painted les recent enon of his werkwas on dply neice. ‘Hels one of my abecite favourite painters explains Daly Iwas very pleased when te lady nthe red coat came tsi down onthe bench [wes captivated by Slker's we of eo expecially in his teste pictures” ‘ore apparent Daisy's deicteceserntons of lght anc shave, a contrast vestigate thoughout he pln a work. “Paitin sts the nly way to ffecthey nterret andtranlts the energy and freshness with my brush? she explain. “Light inthe rel world ia onset, ke thing which you must be therefor to capture nthatfeting moment.” avrg tidied at the famed Gnas H Cel Stuisin Florence, te London ot painter nas more recent been developing her plete shoes tobetercaptre the way light lnvson deren surfaces, whetherits the dappled lit on lemarrtued shop awnings ote auturn sunshine refecing of svergrey pavements, a sen nthe selexplanatri ted The Sctert Berton atthe Plano Noble Galery. other iter parila wel primed for capturing has ube varationsin tne that te changing ing bout enone Dalsy toes to copture isthe Fiver Thames "You begin to appreciate how ght plays onthe river, she say, “Over a day cn ange rom a een colour toa pul. Tothis ond use a ot of Burt Senna ach redih-row bain in both he rier nd on he bungs rung along wich ends a tutto harmoriing efoc, “Bath the River ames andthe lpn landscapes land themselves Aerarousyto« braver une of color? ads Deiy whose racial ttanpuation of paint serves axa reinder what being a conragoous can rentin Dany olen rune 1228 January tthe Portiand Gallery, Londen, wore dnosinahltch.comFresh Paint RUTH'S " TOP TIP “Placing cool colours over swarm is key o painting flesh - start cool and it 's difficult to bring back to ite" Ruth Fitton Yorkshire-based artist Ruth Fitton has had an Impressive couple of years. Since wining the Emerging Artist prize at the Royal Institute of Ol Painters exhibition in 2019, she has since taken home the Winsor & Newton Young Artist ‘Award at the following year's ROI show an the ARC Purchase Award in the Art Renewal Center's prestigious 435th Annual Salon. & copy of her painting Things Not Seen will even be sent to the Moon next year, as part ofthe Lunar Codes time capsule project. Far from letting such success goto her head, however, ithas seemingly hardened her resolve to push her porwat and fgurative ‘work further and have conviction in er ideas. Gathering Thunder is @ case in point. "look a model up conta the Yorkshire moors to make sketches one day last ‘autumn she 688 of how the painting Began, “The weather at ground level had been calm; up in the hil, it was wid found myself exhilarated by the stormy light the battle with the elements, and the bleakness of the landscape. | knew | had to ty and capture the charge ofthis pre-storm atmosphere in a painting” The resulting works far more than simply @ record of weather conditions, however. Ruth intended the work a ‘an emotional response tothe storm and a metaphor for facing life's adversities, wile there are suggestions of broader themes at play, such as climate change. ‘The final painting was developed inthe arts's studio outside Harrogate, where she also takes commission. ‘She built the composition based around plein ar stucies of the mode! as well as photographs manipulated on her ‘computer. il paint was applied not as traditional laze, but rather subtle layers of opaque colour: "This means starting fairy neutral and slightly warm, wth cooler, lighter ‘and more chromatic colour notes floating ontop.” Gathering Thunder briliantly captures the rosy glow of her model, while Ruth's acvie for painting faces is te avoid making the nose too long. “We've all heard the rule of vertical hires ~ that the distances from haitine to brows, brows to base of nose, and base of nose to chin, wil be roughly equal ~ but couble-chock that rule with this: the top edge ofthe mouth i often located vertically haltway between the tear-duct and the bottom ofthe chin” “Try it” she suggests, proudly. “Ifyou find you don't have ‘enough space left between the top edge ofthe mouth and the base ofthe nose, youl know the nose is too lang.” vow rutfiton.com ABOVE Ruth Fiton, Gathering Tunder, su81emFresh Paint PORTFOLIOPLUS Sandra Penstone-Smith When somebody reconnects with thei creativity, there's often an almost palpable sense of excitement as they contemplate the many directions their art could take. Currently on this precipi of possiblities following a 30,year hiatus s Portfolio Plus member Sendra Penstone-Smith Despite the Hertfordshire-based artist's optimistic outlook, it follows a foray into pet portrait commissions hich, due to a worry of not living upto client's ‘expectations, left her lacking in motivation. The change in ‘mindset occurred while attending Louse Fletcher's Find Your Joy workshop. “The course gave me permission to create," recalls Sania, who enjoyed exoerimenting with different ‘materials. “Mixed media appeals because it takes you one step away from putting paint down. I's not so direct and there's not s0 much fear af something going wrong forme” ‘Si: months on and Sandra has already developed her ‘own style, capturing the changing seasons of her local heath where she walks her dog, Milie. Mostof the artist's works have begun by priming watercolour paper with sso before strengthening it with newspaper and sanding Itdown to ereate a grainy texture an which to create. ther signature moves, as seen In Blackberries and Willownerbs, incuse using lin aller to apply acre paint to leaves collected on her day walk which she then prints onto the paper. The detailed marks ofthe foreground are then made with various tools, witha wax crayon-ke Stabilo Woody 3-n-1 pencil her preference {orth tangled mass of brambles inthe midgrouna. The paper for the collage elements, meanwhile, is taken from old sewing pattems land magazines. “I spend my evenings going through ‘magazines looking for pages to se,” she reveals. “Everybody sles me ther old ones. Ihave rawers ful of eferentcotage bits to use now” Maybe one day a page from Artists & ilustrater wil be icky enough to grace one of Sandra's masterpieces. vonartistsandiustratrs.o.uk/ sandra-ponstone-smith + Submitart o our oni + Enjoy exclusive discounts and more ‘Signup in minutes at iustrators.co.uk/rogist ABOVE Sana Penstore Sith Blackberries ond owners, mixes media on pape, 421200m PORTFOLIOPLUS Every month, one of ou Fesh Palat ‘antists Is chosen from Portfolio Plus, ‘ur online, art forsale portal. For your ‘chance to feature Ina forthcoming issue, sign up for your own personalised Portfolio Plus page today You can also: + Showease, share and sell unlimited artworks commission free * Get your work seen across Artists & Imustrators social media channels ‘extibitions| rtistsandton As he approaches his hundredth year, the Royal Academician tells STEVE PILL about what it means to be an artist and why there is a newfound urgency to his work 1198, Anthony Eyton would be forgiven for taking it e35y. The senior Royal Academician began Adis tne art stuaies 80 years ago, Yet he says, there is stil much to learn and create. He has others to help him today ~ his housekeeper and her son, plus his daughter Sarah, atalented photographer inher own right ~ so that ne can focus on the things that have kept him occupied al this time: thinking about, talking about, and making ar. We've barely made inside the malay of hie large three-storey semi, eet back ‘rom a busy road in South London, before Anthony is eagery asking ithe can show us his stuslo. t's only ashe climbs the elegant ‘winding staircase, adorned with faded posters from previous solo shows, that he brief shows his age, taking his time to reach the fst loor studio before that gentla ‘euberance resumes. Rosy of cheek and wiry of hair, if Tigger has a grandfather, itis quite possibly Anthony Eyton ‘The artist moved here in 1960 and his painting room has a wonderfull ved ‘quality: @ watt of turpentine hits your nostis as you enter, chairs and bare floorboards are encrusted with oll paint; every conceivable surface is piled high with brush pots and wellthumbed monographs. Even the most Visionary architect couldn't envision this space being anything other than a painter's stu, yet it is stil a surprise to learn that an ‘early spring clean has cecently taken place. “The tidy up has made a revolution, which also becomes syrorymous or equal to revelation,” he says, sagely.Toustrate this, © he reaches fora stack of photos arranged ina rack~ beach scenes, Indian temples,friend, the dim “the 1 that was in eference 7 the London Gree Perna) I’ve got to seize the moment and let my excitement about the subject galoanise me ” “Thoy were a realy independent. ays have been,” ne adds. “Flercely independent and rather marvellous to set them all toget Postwar London was filed with ‘opportunity for young. white, male painters, and with the camaraderie came creative ‘retions that spurred each other on. “I mean, itwas bound tobe a bit competitive, wasn't ie Artists dort talk about being against one 2, but really they're up for the game” ‘says Anthory "I wanted to branch out and be my own man, as it were” enrolled in fine art atthe Unversity of scription came in 1942 nt ofthe Second World War. studies five years later at rather Figorous tutelage of Wiliam Coldstream whe was a big believer in working trom ite and adhering toa strict form of “sight ‘measuring that volved plotting points on a round wich @ composition could be constructedIn Modernists& Mavericks, Martin Gayfor's recent biography ofthe mid-century London art word, Antony is quoted a saying he and his fellow Coldstream pupils. \ahich included his good friends Euan Uglow ‘and Patrick Goorge, were a “rather bigoted lot” too wedded to “the certainty of drawing” to fully embrace modernity. “It's always been a battle to break away from that accuracy.” he says today. "I stil want that certainty, and stil to this day ‘maasure sometimes, but painting 20 ‘much about the excitement ofthe subject and being carried away by that It's a battle between certainty and not knowing, losing that certainty and almost letinga Zen [state] come when you get magical moments ‘and accidents” Later in the conversation, he returns to tis point as he stops himself inthe imide of reminiscing. “Can I come onto the present?” he asks thetorealy, before continuing “I sudden feel more alive ow than I was with the London Group. more alive to change ve gotto dig ‘eeply into the extremes much mare, rather than pussyfooting about. ve got to seize the ‘moment an get tothe point of letting my excitement about the subject galvanise me Into going further, deeper into myself than "nave nefore. Painting. he says is primarily about tree fundamentals -“Who am I? What have | otto $29? And how am | goingto say it?" = yet ask there was point ins career uuhen he remembers having breakthrough Intems of ning the answers to those ‘questions and he just smiles: “Ive always wanted a breakthrough” In truth, @ breakthrough of sorts came In 1969 when he was imited to provide ‘maternity cover for an old Camberwell friend who ran the art schoo! at St Lawrence College in Ontario, Canada. He jumped at the chance as the campus was based in Kingston, home to the mother of his wie, Mary. “Hoved her very much and we took the children out there and that’s how it all began really. This went on fortwo years. We went to New York, several visits, and 1 was obviously very intuenced by the Abstract Expressionists~ Rothko and De Kooning and all those people. Tat was obviously going to change me alittle bit and then the vast skies lof Canada and the intensity of blue. How was. (one going to express that?" With 50 students keeping him busy during the week, his own painting was largely confined toa series of pein air watercolours ‘made on regular Sunday trips to Lake Ontarlo, watching how tends and family > THE BIG INTERVIEWTHE BIG INTERVIEW ‘yehaved on the beach with this marvellous, light’. Upon returning to England, a canvas based around his Canadian work found ‘success atthe Jonn Moores Painting Prize In 4972 ~ though not quite tothe extent that his gallery biography would have you assume. I dd get prize, but didnt ‘actually win "he explains. Euan Ugiow won it Butthe very act of winning a prize counted for something Establishment acceptance fralyarived In 1976 as he was elected as an associate ofthe Royal Academy of Arts, a decade ror to becoming a fll member. Though ‘Anthony's London Group peers hag once ‘opposed the institution’ output, selection carried added emotional weight as his ‘mother, Phyls, a Heatherley's graduate ‘and accomplished landscape painter, had “danced with oy” at simply having piece ‘accepted tothe Ra's Summer Exhibition in 1928. She sadly die later that same year, ‘an experience that stil colours everything Anthony paints. “Iam very much beholden ‘to my mother's paintings.” he says. “She was ‘such a good painter, and she was on the cusp of the wave of fncinghersel, think. Hook at her paintings every day I can't help it because they are up there.” ‘Several of them take pride of place on the chimney breast inthe sitting room, including ‘one which was unearthed at a yard sale in Tucson, Arizona and returned to him recently after abit of online detective work bythe ‘The urban landscape remains a favourite subject for Anthony. Over the years he has spent intense periods documenting theAnthony's mind has wandered 10 the piles of potential sub; in his studio: ‘T’m 98 now. I've got to get a move on 9 changing structures of Brixton market and the developing skyline around Nicholas Hawksmoor’s Christ Church in Sptatfieles. ‘as seen from the window ofa studio he once “Tis fascinated me how ancient were coming together and one ‘ofthe best churches inthe world shouldbe threatened” he recall feferonce point, he asks his daughtor to ‘Anthony's work features in Step and Sta, which runs unt 20 January 2022 at Art Space Gi London. wuwartspacogalla.co.uk66 All artists need to write at some point. even if it is just a quick social media post 99 You may need to polish itup atte, but that is easily done once you have your inal weting ished. Read your ‘work aloud to hight any issues tke ‘awkward sentences or overrepeated words that nee carecting. Follow that up with careful proofreading to check for speling, grammar and ‘typos. you can rope in some help with these checks, even better. Wirting needs to be tallored tt the task Think about why you need to ite and plan for that goal before you start. For marketing, social media and captions on a website, keep writing as short and simple 2s possible, Try imagining you are writing to 9 catty est frend on a small postcard with a fat pen: a reader in need of brevity, wit, and clear information. For longer pieces such as 0 ants’ statement ors description ‘of your work for an exhibition, Picture someone entirely new to ‘the information with ited time. This wil help you to avoid jargon, tell the whole story. and stay on pont. Imaginary readers realy help inthis, context; they keep it personal and ° The Workin fateh er ou having to we ‘Den dos your wing wl be stirred bor eer Tis se hate Vuh bu area one Wher ou tre shoring import oration, Such deta fan nition never make people hunt forthe informatio. To promote your art, you need to learn how to write about ‘The dates, times and address need to it briefly and clearly, says our columnist LAURA BOSWELL be front and cenve. The same goes {or your contact details and website re you a natural when it Here are afew'tips Ihave earned Better to repeat the information comes to writing? Allartists slong the way. Fist, be yourself. _saveral timas than expect people to willnees to doa litte wring Risimportant to relax and|let your navigate toa new page on a website fat some point, even fit isjusta quick writingbe authentic. you keep to hunt through a leat to fnd what ‘ABOWELaur2 poston social media, The way you simple and honest, you are most of they need. Last if you have a word Boswet, Winter at write can make the difference ‘the way there. Nonieed to worry about count, as Ido here do your best to Corgartnoaut. between catching your audience's _dvelopinga wrking style: you have meet itas closely as possible. ‘2ouASem attention oF losing it that already, even if you don't know it. abosnell.o.uk 28 Ariss ©\ £1,000 To SPEND ON A PAINTING» / HOLIDAY © ‘ ‘A voucher towards a seaside art break awaits for five lucky readers, courtesy of artist and tutor MARILYN ALLIS hen the lone, dark nights anc cole, wet weather ofthe British winter set in planning. painting holiday forthe year anesd is @ guaranteed ‘way to boost your mood an mativation, and you can be sure to make itane to remember in 2022 withthe art gotaways organised byart tutor Mariyn Als Throughout te year, Maiyn joins forces with two other popular artists to teach students different techniques and styes over the course of three days. Now we've teamed ‘up with the artist and tutor to offer ve readers the chance to each win a £200 ‘voucher to put towards one of these unique To Breaks inthe beautiful coastal town of Bournemouth, Stayingin a lnury searont hotel for Four rights and working in seaview studios, students can opt fora watercolour or acrye-themed beeak, with al abilities Catered for on every course. The workshops are run bya diferent ttor each day and involve five demonstrations ina variety of subjects, as well as expert guidance and feedback. Meanwhile, a three-course meal ‘awaits back at the hotel inthe evening Tutors making regular appearances ncude watercolourists Trevor Osbourne, Paul Talbot Greaves, Dense Allen and Phil Brice ‘as well a acrylic artists Jenny Atkin, Charles Evans, Lindsey J Cole and Stephen Yates. {As for Mail, you might recognise her ‘rom her time as a contestant on Channel's Watercolour Chalenge. A loose, Impressionist-stye painter, she's also the author of tree painting books and teaches ‘on cruise ships saling across the world’s ‘oceans. Fora taste of her tutorials, you ‘can find some one-off videa sessions on her website, with monthly and annual ‘subscriptions also available for those after 2a regular schedule of online courses and painting content. Tofind out more about Tio Breaks and the art subscriptions Marlyn offers, visit wr wmaritynalls.com, Five winners, chosen at andor, wil each receive a £200 voucher to put towards a ‘ro Break of ther choice in 2022 or 2022. MARILYN ALLIS ART BREAKS PRIZE DRAW Postcode Telephone Enter by noon on 17 February 2022, elther st wwwartsteandlilustrators.co.uk/ competitions or by filing inthe form above and returing ito: Mariym Alis Art Breaks Prize Draw, Artists & Mustratos, Chelsea Magazine Company Ltd, Jubilee House 2 Jubile Place, London SWS 3TQ ‘Travel is not included. No cash ateratives are available. Voucher cannot be used in conjunction wth any existing offers. For fll terms and conditions, vstThomas Gainsboroug With a major exhibition, the opening of a centre dedicated to his art, and the return of his Blue Boy. 2022 is shaping up to be the year of Gainsborough, says ADRIAN MOURBY ing George I and Queen (Charlotte; actors Sarah ‘Sidons and David SGartick;Jonann Chistian Bach, Admiral George Rodney, and Georgiana Cavendish, Duchess of Devonshire. The defining personalities of 18th-century England have been ‘xed in our minds by te britiant Thomas Gainsborough, the Suffolk portrait painter who would rather hhave beon a landscape artist. ‘Along wit his val Sir Joshua Reynolds, Gainsborough was rightly Censidered one ofthe most important Erish artists workingn Georgian London. In 1768 the two artists were ‘among the 34 founders of the Royal Academy of Arts. Reynolds was the 28 Ariss & Hs exponent ofthe Grand Ste, Idealising his siters without losing, a genuine likeness. By contrast, Gainsborough’s subjects seem more real to 2ist-century eyes. Compare his portrait ofthe Duchess of Devonshire wit that of his rival and they clearly depict the same woman, but Reynolds makes her a personification of beauty while Gainsborough makes her a person, ‘someone who might cause real, ‘rouble if she put her mind tit Likewise, Gainsborough’ charming 21759 portrait of his young daughters, ‘Mout and Pega, nas an immediacy aboutit as if dad has just positioned ‘them and they're wondering now long ‘this session is going t last Fortunately forthe girs, and indeed all his sitters, Gainsborough painted ‘quick, and the works of his maturity are characterised bya it palette ‘and easy strokes. With ts ar of historical unreaty, his fancy-dressed Blue Boy from 1770 ‘was a bit ofan anomaly. The portrait {is sald to bea riposte to one of Reynolds’ Discourses on Artin which Sir Jost deciared that a painter ‘Should not amass too much blue in the foroground of a picture. Recent research has shown that Gainsborough actually painted this young cavalier (possibly his nephew, ‘Dupont long before Reynold’ dictum was delivered (the discourses were dolivred regularly at the Royal > aademy and published together inthe 1780s) but the story is characteristic idact versus the poet with a remarkable faciity for Tienesses. The eyes of The Blue Boy attention wth just a touch Despite being @suocessful and role portrait painter, Gains 3 da gamba [a pment] and walk of to sweet village where can paint Tandskips [landscapes] and enjoy the nf life in quik= ri fusing the two sides of his output = the creative and the commercial ~in 2 series of very wellrecalved portraits ‘that placed sitters not in their own rawing rooms nor his studio but in cramatic landscapes that he would ‘ave Bebop o bain Wiha foreground figures at all, had there been a market fr such images. Typical Gainsborough portraits such 1s 1746's Lady Lloyd ana Her Son, Richard Savage Lioya, of Hintlesham Hall, Suffolk, 1787's Mrs Richard rincley Sheridan and 1780's highly popular Mr and Mrs Androws, which Is now in the National Galery, London's collection, situate his ‘subjects within a definite English landscape. They are often moody and North European intone but sometimes verdant and iyi as in the case ofthe Suffolk arcadia that surrounds Mr and Mrs Andrews) Compare these portraits withthe equally accomplished work of Reynolds, and the President of the Royal Academy seems only to paint indoors with just a stage cloth of antiquarian countryside as backarop. By contrast Gainsboroueh's sitters ART HISTORY appear to be sitting on a specific bench under a specific tree, even if the artist added in those alfresco elements ata later date. ‘new exibition atthe York Art Gallery links much of Gainsborough’s carly work tothe Flemish landscape painters who inspired him asa young ‘man. "Ifeel such a fondness for my first imitations ofitle Dutch Landskips (sic) the English artist arte in laterite when recaling how he would copy the work af Jacob van uisdael, Jan Winants and Ruisdaet's apprentice, Meindert Hobbema. > ABOVE Mrs on lsply at tneART HISTORY Despite being a highly successful portrait painter, Gainsborough gained greater satisfaction from his landscapes nove Landscape Ironcaly this connection nas only recently been traced following the ‘eatrbution of 25 sketches in the Royal Collection. Quoen Vietria ‘bought them from the estate of Sir Ewin Landseer after his death in £1873, believing they were Landseer's ‘own preliminary works. It tuns out they were unsigned drawings by Gainsborough, providing a clea ink between those “lands” he copied ‘and finished rural masterpieces ike CCornard Wood, near Sudbury, Suffolk, painted when the artist was only 22. tewas money matters that drove Gainsborough away from landscapes and into portraiture. After traning in London, he had married the iegitmate daughter of the Duke of Beaufort atthe age of 19. The annuity Beaufort had settled on his cia provided a certain amount of nancial security foran artist whose scenes of rural Suffolk were not bringing in sufficient income, Even in 2767 when he was the mast famous portrait pinta in Bath Gainsborough was Unable to find a purchaser forthe frst version of his painting The Harvest Wagon and so he gave it away tothe ‘man who would transport his pictures te London for exhibitions (tis naw ‘owned by the Barber institute of Fine [xs in Birmingham), ‘Moving from Bath to an impressive house in London's Pall Maltin 3774 brought Gainsborough into the orbit ‘of many successful businessmen and powerful aristocrats. His skils asa portrait painter led him to become a favourite of George land the royal tami, but when the post of Principal Painter in Ordinary became vacant following the death of Allan Ramsay in 1784, Reynolds threatened to resign fom the Royal Academy residency if the King appointed Gainsborough ahead of him.In his later years, hi financially secure, Gainsborough ‘egrown returned to painting landscapes and there fe more artifice in these works than might at frst appear. When he could not get into the courtrysie to sketch, he would create tablet landscapes in his studio. Paintings such 98 1780's Gypsy Encampment, Sunset (ow in Tate Britain) and 3TB6's A Market Care were mast Hke'y created in his Pal Mal studio using pieces of coal as rocks, miror shards of water, and broccoli for en had an articulated of a woodeutter that he would place into these art ‘then iluminate by canclight scenes and Such dedication in his later years Uunderines the degree to which Gainsborough loved his “landships but forthe boy who trained himselt to.copy Flemish artists many of them remained generic landscapes oft mind. Hardly any of them are titled attera specie place. Nevertheless, with Fellow Royal Academician Richard Wilson, he developed an informal school of 28th-century British landscape painting. The two ‘mon undoubtedly influenced painters ofthe next generation, helping the likes of JMW Turner and John Constable make British landscape Painting world renowned in the 49th century and bey In fact, Constable, who was bom in East Berghott only 15 miles from Gainsborough's Suabury, retained the same affection forthe Sufoik countryside, The young pretender said of Gainsborougt's landscapes, “On looking t them, ind tears in our eyes and know not what brings them. The Young Gainsborough rans wat 13 February atthe York art Galen ww yorkartgallery arg. uk Bove LacyThe artist behind some of today’s best-loved prints and book illustrations talks to REBECCA BRADBURY about the delights of the British countryside and dividing her time between two studios adventure seems quite 1 romantic as voyaging ‘around the British Isles on board a vintage sailing boat. From the wild sand dunes and windswept marshes of Suffolk to the towering sea stacks and wildlife rich waters of the Shetlands tothe hidden coves, precipitous cliftops and sparkling beaches of Cornwall, the UK's varied shores are ‘a ceaseless source of inspiration for a landscape painter. Perhaps the only way to trump this vision for many artists would be tohave a loved one at the helm ‘and a sketehbook to hand. And for printmaker and ilustrator Angela Harding ths fantasy is very much @ really, a8 she spends most of her ‘summers at sea with her husband, Mark, capturing the wonders of the ‘country’s charming coastline. “live about as far from the sea as you can be," explains the Rutland-based artist, “but we have a litle wooden boat we keep on the Suffolk coast, and we spend quite abit of the ‘summer on that, That's the watery lement that inspires my work.” "You always See nature very closely when you'r on the water with it she adds. “It gives you time ‘as wel, When I'm on the boat | ean really concentrate on drawing and thinking about the images that want tocreate” ‘Yet with a studio overlooking a fold of grazing sheep at the bottom of her garden, siap bang in the middle ofthe East Mislands countryside, Angela's more permanent surrounds sill feed into her art ~ anditis these ‘scones that have remained atthe heart of her output. ‘Asan art student inthe early 19808, however, it was the more gruesome aspects of rural fe that Caught her attention. Cyeling through Country lanes from her home in Melton Mowbray to Leicester > © srooting Stars combines silkscreen pint techniques © Argo tn hee victorian stye ocnatAngel's Fsning oter sretings cards and 02 towes Polytechnic (now De Montfort University), she would colect the carcasses of deed animals using them {a8 fodder for her crawing eactce Despite the morbid subject matter, her dedication to honing her raughtmanship laid avery trong foundation forthe signature graphic style inher linocut and siksereen prints. “dort tink all the ‘observational drawing did as a today because al that actual core drawing comes out in stylsed work,” she says. “You can tll when people haver't got drawing behind them ‘so feeding into her current practice ae the two decades spent priortising etching and drypoint- student is fost on wt ‘wo printing methods that ‘more realistic mode of mark making, It’s possible to spot their intuence in the lines and patterning of Angela's work. “How you stylise the imagery you're using becomes a natural sort lof expression of what youre trying to say inthe picture,” she notes. ‘And today the ilusrator is using her glorious artworks to communicate the joy and magic of "comtorting, English pastoral scenes”. ius, there's ‘an ensemble cast of eters, hares, Whippets and foxes, as well as menagerie of birds ~ al alive and wel Angola has become one of Britain's ‘most popular artists, but she doesn't just sel prints, Her images also appear on tea towels, notebooks, Jigsaw puzzles, tte bags, calendars ‘and more ll available to buy on her website ts demand thats grown since pivoting to focus solely on her ‘own art in 2008 (the year she also fully transitioned fom etching to linocut and screenprinting) and she nov employs a small merchandising team who work in a second garden ‘studi built next to her original one. Before turning to artful time, Angela kopt up her practice on the Side while workingin a varety of roles, rom volunteering ata rafts unit ina ehad centre in Banglagesh toteaching undergrads at De Montfort University and being a director at Leicester Print Workshop. ‘One exception was when she took 2 {ouryear break from printmaking while commissioning other artists for projects on board cruise ships. Yt. t ‘was this consutancy position that ‘gave her the confidence to turn her art into a career. “twas the other side, a5 you might say, but itwas actualy really informative [in terms of] how to be ‘a practising ats,” she explains. “I saw how people were making a lng rom what they were doing ana how they were using their practice professionally. t gave me a real insight into how you cent have to be an amateurall the time” Bookworms might also recognise ‘Angela's illustrations from gracing ‘covers oftheir favourke ceacs. Her prints front 22 new editions of cme novels by the author PD James, 3s, well as James Rebanks’ English Pastoral, which recently won the Wiainweight Prize for UK Nature Wirting, ane, perhaps most recognisably of al, Raynor Winn's rmuchoved memoir, The Salt Path, Storyteling appears to beat the heart of Angela's iltustrations, and although adaing a narrative is not ahways something that she's conscious of, could be a reason ‘wy she is regularly commissioned by publishers. Her evocative work has certainly caught the attention ofthe Lit, Brown Book Group, who she has ‘worked with to publish & Year Untolaing~ the frst book dedicated Solely to her artworks. ‘Along witn some personal prose, the itustrations take the reader onI don’t like illustrations with too much going on... I pre rit when there's something looking you in the eye 72 '8Joummey through the four seasons, ‘ving contextto certain pleces and revealing now ideas always aise from her own experiences, even when creating for a commission. As any freelancer knows, conficts of interest are unavoidable. For Angel, this fiction usually surrounds ‘the notion of what makes @ good image. “Sometimes you get a brie ‘and you thnk how am going to do that, as they've asked for so many element,” she admits “Icon ke it when there's too much going on. Is to jarring. Bk ituwnen there's more ofa focus on one thing, when there's something looking you inthe eye. Theyre the fones I think are more suecessful” IN THE STUDIO OQ sunmerrox of EreRawious © tetestne a edton of 75 What's crucial for this success {s the strength ofthe compesition ‘ut, when it comes to printmaking there are afew factors that cur the arrangement of a work. “Youre limite by te size ofthe press and the size ofthe paper” explains the artist, “but find that a erative thing. Even though you'e restricting your scale, t makes you more concise.” ‘So how does Angela plan her compositions? “Usually with printmaking, artists doa drawing. then gridit up and use carbon paper to trace it ut, but dont do that at all” she says. Instead, she will use chalk to craw iret onto the block of lno or vinyl “1 keep it very free. Then when Ive got ‘the drawing as I want it, wil go over ‘with permanent ink and then I start cutting. But often the cutting ‘changes from the erawing, so i's not confined by that drawing, ‘Once Angela has cut her design Jto the surface of this key block, shethen uses ittotrace and cut >IN THE STUDIO. © mneua progress other Q winter toes colour plete 66 = 0 All that core drawing I did as see oetel a student comes out in stylised estas work... You ean tell when people haven't got that behind them ° ‘a stencil for each individual ayer of colour ina single print. The stencils then guide where each colour of ink is printed onto plain sheets of paper. Each layer is overprinted before the origina key block roturns fora final layer of oil-based, black ink, adaing ‘a sheen that contrasts wth the fat, matt coverage ofthe water-based coloured inks The colour palette is another {ecture Angela nartows down in orderto give an ilustation strength When larger works are calle fr, with ner husband and whippetsinthe | @ Arges Pickingjustfourorfve perartwork, however, the ilustrator teams up with background), the focus is very much | istations the hues are aways reflective ofthe Dan Bugiat Yorkshire's Penfold fn the ominous gaze ofthe swan in feature ona British countryside, with a roster of Press. After cutting up the stencils, the foreground. | range of econt spring greens, burnt oranges. dusty she willthen send them to Dan,who “The character ofthe swan isquite | bookjackets blues and earthy browns helping to will perform the printing and formidable” she notes. "Ithink maybe | @ Soutnwo evoke the marvels ofthe natural world. edtioning up. the swan presents me” Swan pemaps The machinery behind much ofher One example ofa work printed at -—«—«Youcan seeher point Angolais | represents he outputs a modem replica ofan 1828 Penfold Press is Southwold Swan. a formidable talent and her rical, | _artst nese Harry F Rochat Albion Press, which though rch in both descriptive and engaging and exquisite prints inspire takes contre stage in ne studio personal detail that's Angel's boat the utmost of respect for her erat. ‘alongside a smaller etching press. moored in the harbour as she walks wnw.angolahading.0.kAKING ie Rather than just paint a pet portrait, TERENCE CLARKE wanted to make more of a chance encounter. He shows you how to take charge of your subject and create a true work of art + Paints Coen eae ee Perper enor eee eee ray Utramarne and Titanium Pee ee oar Soa eer Boren Se) peur {'s hard to define what itis about @ ‘subject that makes you chose it asa starting point. This painting of a cats ‘an interesting example Animals ae not my usual subject matter ‘butas soon as | saw this tay feline (ght, 1 knew |ad to paint her. Iwas on a walk ‘when she stepped out on tothe path. What was interesting was the purely abstract, ‘qualities of her unusual markings = there was a tremendous graphic punch tothe black and white. The very form of the cat's sleek body and ‘almost comic book markings on her face were very attractive elements for picture ‘making. | made one or two very quick ‘drawings then, obviously, took a couple (of photos to capture the constantly ‘moving elegance of her frm. There was ‘a personality and quirkiness about her that liked. was also a challenge to paint something that was unfamiliar. Doing something differents always a ‘geod way of refreshing your approach and veloping your openness to nev ideas ‘and subjocts. You wil see, however, that by using the ‘photo and drawings asa stating point, his ‘was very much a constructed composition. {An exercise in picture making: far more than just a cute ite cat wrtorenceearka2o.uk > ORIGINAL PHOTOMASTERCLASS "began by making a super quick sketchbook drawing of ‘ny frst encounter withthe cat using compressed charcoal. ‘ter a quick tine drawing onthe ight, then drew a pose ‘that | thought might work fr the composition, began orawing the image onto my canvas using thinned acre pli. used the compressed charcoal ina very uid way and | Because acryle dries very qui, tis useful for making rapid changes as drew without taking my eyes off the subject. This is almost | the drawing develops. | was working over a warm Verrillon-and Yellow Ochre Impossible to got right, but somehow trough experience you | ground with a mix of Pithalo Green and Prthalo Blue acrylic to draw with get something. This quick compositional pose became the | You can see from the line work how | was changing the position af the head basis ofthe whole painting. ‘and the drawing ofthe ear. A this stage, everything's fud and open. |was using tick, impasto ol paint throughout this panting applied -Ater more work on the aye washes, It the whole ‘ver the thin acrylic washes. You can see here how the drawing of the thing ery thoroughly before starting wth the ol paint. 'chose | head was quite weak. ts aficut getting to grins withthe unfamiliar ‘an underpainting that was very mictoned as this allowed me to | proportions of animal heads ~ it was lmost as if | was painting too much ‘come in with bolder more contrasted tones and feed them into | ofa human face here.This will need correcting as the painting develops. the drawn image. These subdued tones of the underpaintng wit | Dont be afraid of bitof a mess atthe begining though, let the help to old the image together as | develop the painting later on. | painting bull and develop.Hore I was applying thick Titanium White ol paint Uabich nas been mixed with a tle Yellow Oohre to soften ‘The background shapes and pattems helped to define the form of the the contrasts, cat | wanted the arabesque shapes to somehow suggest the movement of was alsa developing te painting ints own right, rather | the body, while the sweep ofthe tall gave-a sense ofthe lve quality ofthe than just copying the photographic source. The use of strong | actual animal purple shadows and accents of Phtalo green enlivened the | Athi point. | noticed some real problems withthe drawing of the legs and ‘background and gave a much more interesting context tothe | the head. There was an almost puppet-ike quality tothe face, which | did. space around the cat than my original photo. used a sketch | ke at all. t's usualy halfway through a picture thatthe problems arrive, and ftom my garden to help develop this idea too, YoU have to tackle them with courage. fai & | used a palette knife to scrape back the paint onthe left eg and "had somehow made the ltt leg far to long, 80 then used some thn Prussian Blue oto redraw the right eg. The positions | | decided to completly redraw the front logs. cof both legs were ust slightly aut but adjusting them made allthe dffeence | When drawing, it's quite comman to draw what you think to the actual pose ofthe moving cat. you know, rather than what you can actually see. ts always my experience that tackling the problems “head on’ ina somehow assumed that both legs were the same length but painting isthe best method for achieving good results. Never leave arything. | of course the photo showed something much more subtle. YoU know tobe weak or inaccurate ~ i wil ve in the painting forever and This redrawing also brought the front logto the very always disappoint you. ledge of the composition which was much bettertoo. >MASTERCLASS | continved to build the background, using thickly applied colour to define the tal. | also used alte artistic licence by adding ane small spot tothe markings. | agonised ove this, but inthe end the graphic necessity ofthat one spot was too important tothe composition. Utimatey, was making 8 work of at, nota pet portrait, 80 the quality ofthe mage was my primary concern This really shows how to enliven black as a colour | never use atube of black paint, preferring to mix one instead. Here | mined a “black” using Prussian Blue, Vermilion and a tle Phtnalo Green, This meant I coule modulate the blac, 10 push the mix ding signtiy more of one colour in places into subtle changes of hue. Black itses & beautiful colour but even a mixed black has tobe handled with care and subtlety oritean completely deaden a painting. La finaly reworked the head, gradually teasing the Grawing wth paint. This was a delicate process because | wanted to keep the brushwork fresh and lively, while also Improving the ferms. You wil notice thatthe paint quality moves from very thin twanslucent darks, to thio, fat highlights. Tis isa classic oll painting technique, Notice too thatthe thick brushstrokes ‘behing the nese suggest fur, rather than deserbing itn dell Essential to any successful painting is its abstract Cesign. A final foursh of colour adds to the spatial context and energies the painting The cat was primary black and white, so Ineeded to enrich the background. | used Vermilion and wth a touch of Lemon Yellow to sketch inthe geraniums from my garden. These sudden flashes of colour draw the viewer's eye across the ‘composition, adding to the sense ofthe cat's movement.6. Detail & Pattern -~ In this sixth and final instalment of his series, f Figure Drawing author JAKE SPICER looks. 3 at how detail can be used to emphasise a sense of depth in a picture ‘wanted to conclude our sketches imply space in a ‘examination ofthe principles crowded street scene, with ‘of depth by showing you now _detalled likeness picked out in the manifestation of detail nearby faces, ving way isto an ‘ean emphasise an impression anonymous patter of simplistic ‘of space on the picture plane. ‘heads and then tothe amorphous Informed by the limitations of our blob ofthe cond ise. ownvision, we expectto see more Like the effects of atmospheric detall and ciarty inthe nearby _perspecte, the Influence of detail elements of a picture, and less on aur perception of depth stems detail and clarityn the distant from our cirect visual exeerience cloments. ‘of the world but itean also be By introducing more individual manipulated to exaggerate or expression to cose subjects and underlay that depth, as well as allowing distant subjects to recede, being used to draw the attention first into repeating pattern then of @ viewer. Into shapes of unifed tone or Wiile photographs are often colour, we-can emphasise the limited to single point of focus, Impression of depth. ‘drawings and paintings are ftions This third principe of itusory bound by fewer imitations. We depth, alongside diminution and can use concentrations of detall atmospheric perspective, is often to draw the viewer's eye through @ overlooked because it seems so scene, presenting multiple points very obvious, Using concentrations of focus where required. of deta as a visual ove ls as ‘The more time we spend ‘uch about your choice of subject drawing a particular part of a ‘and vantage point as ts about subject, the harder we look at it ‘the mannerin which that subject and the more detail we tend to is rendered. ‘ee, while the areas where our tis this principle of depth hand and eye rest more Fahy through-dtall which informs the remain generalised or hastily propensity forlandscape artists rendered. ‘toframea view with foreground So, detail can simultaneously be foliage leaves hanging rom an indicator of depth, a device for boughs above or grasses Tip 2: Select patterns ‘As groups of similar subjects or masses of repeating shapes recede from us, they take on an Increasingly uniform pattern. Pattern serves as both a practical device for faster recording of the view and a visual device to suggest distance, drawing the attention of the viewer through the space rather than inviting them to dwell an the individual elements of that space. In this example, | wanted to fina a shorthand for groupes ‘subjects inthe micground ofan Image. The Individual leaves of the foreground receded into dashes of sanguine conte crayon in the miaground. The grass was suagested with a repeated shorthand of marks that speak of overall texture rather than recording specfe stems. Tip 4: Alter focus The principles of detail that can be used as an indicator ‘of depth can also be used to draw the eye toa particular part of a scene. ‘Our eyes are drawn to visual complexity. Photographers and ‘filmmakers use a camera's short depth of fold to ensure that the viewer's eye is crawn tothe subject, which appears in sharp focus while the rest of the frame remains blurred. While we can replicate these effects in our drawings, itis important to remember that they are not the effects of human perception, but an eloment of visual language that we have learnt to read through watching flms and looking at photographs. By spending more time on one part ofa drawing than ancther, we naturally draw the viewer's eye to that area of greater dail ‘where our pencil dwelt for longer, allowing brief mark making to replace the camera's blur as an indicator of detail as Anists & ustrators Tip 3: Unify elements ‘As we become unable to discom the differences between the Individual elements ofa distant mass, the shape of the whole becomes more important. Here the aim is to mass together distant areas of an image into simple shapes. Just as the coloured dots in a pontlist painting ‘mix optically as we stand back from them, colours and patterns Whioh might have nad individual ident up close become untied Into shapes at cistance, We see the same device regulary employed in come strips and fraphic novels, with figures standing ust behind a main character simplifed Into shapes of colour and the buildings and tees ofthe ‘background unified into single shape of skyline or forest.PRINCIPLES OF DEPTH EXERCISE Cee Perec aoe Se eer ts Srey eee pee Se eee eterna Se et ee Sere tet eee ee ee eo eed Ce Cee eas tenet etre ere tnt se en Centr ere ne Steen eae an) ee ete een Ce eee ey Saari? nee nea Coenen eet eed een ers ‘ofthe paper like a drawrdge. Make two Pe ee eet ay ead Ca ee ere ee ora ees eating Drawing READER OFFER - SAVE £9! Artists & Mustrators readers can buy Jake's new book Figure Drawing, fr 8 reduced price of £16, inclucing UK P&P. ‘Order by calling (01235) 759555 and ‘quoting the code: °9952100052". Offer ends 20 Janvary 2022, Ca ere et ene eee etry ene ee ere nen et ee ee et eta Peat i 4 drawing, you will ned to reverse the visual effects of detalln the ce eee ee ey ee ere eee ee ee ee ern te sees fat othe picture plane, making the image more about patter and the composition of shapes than about the illusion of depth Anists & Musrators4@Colourful Whether you choose to use pre-mixed neutral colours or blend bolder hues together, HASHIM AKIB shows how to create interest in the duller parts of a painting ioe ge in| Fy f es.hen you're starting aut on your painting Journey i ea8y to become nervous of bright colours. Less confident artists often rely upon certain neutral colours in their palette as they easly transform stronger tube colours by desaturating, tinting or darkening them. These neutral pigments include Flesh Tint, But Titanium, Warm Grey, Payne's Grey ‘and Neutral Grey and they help to create an carthy, naturalistic lookin a painting without bolder colour clashes. Burnt Umber is ‘another popular choice for less experienced artists, who use it liberally in mixes with other colours to create darks and neutrals. These are quick fxes though. A better Understanding of your options when it comes. toneutral colours ~ ana greys in particular = wil improve your paintings na end “The main issue is that these premixed neutrals can generally suck the life out of colour mixes and lend a at appearance to artworks. Most ofthe time this can be ‘isguised wth sharper drawing oran ‘emphasis on tonal ranges, but | prefer nn Ree Send ey to mix neutral, earthy and grey shades from pure colours. Tis way have more contro ‘over the temperature by austin quantities ‘of colour, That sald, every so often Iilinclude ‘anew addition to my palette to freshen up -my work. The latest was Neutral Grey from the Amsterdam range by Royal Talens~ it's ligne enough not to dominate mixes, yet potent enough to tame richer colout. Neutral colours are necessary as they help to.anchor saturated colour as well as create ‘a calming presence, but a reliance on the ‘re-mixed neutrals ean stifa your evolution 2a an artistas youl miss cut on exploring, ‘and pushing your own boundaries of colour Like most elements in art, i's about having the discipline to use the component parts sparingly to create balance. When using acrylic, is best not to heavily lute any neutral colour with water when it {is mixed with other colours as this will dul the results. Likewise, overly mixing can also ddeaden the mix. Try to undermix colours on your palette so theyil activate litle more ‘when appliod to paper or canvas. > TECHNIQUE A GUIDE TO GREYS Frat we have preined ayes tat you can buy off he shel of our lea ar shop. Using a soection of aterentpremlod ers st least alos you to vary the temperature ana hue of your ges, ater than jst ling on ‘mix black and white Preis ay can peed up your proses and also let teightr colours pop against them, Genera peer mixing my oun greys rom ‘2 simple bland of Cobalt Blue and Bumt Slona, This estima dark ey hat can ‘adap provide a range of neresting rs can igton his mt by ding Tarim Wht, warm up wth mere Burt sienna, ‘or 00 down win more Cobalt Be wre ‘Tho bve and orange ofthe Cobalt and Sienna aet as complementary colours ~ they are oppose each eter ante colour wheel and when combined they forma eye. You can ty creating all manner of ineresting court ey by ing together ary tw complementary colours. —TECHNIQUE iV EXERCISE For this Mata st rey to passi ‘manoeuvre brighter colours Into-a softer hue. ighy ny brush at any one time, so some mixing happened as the paint was appa Quantities of grey required wil vary and need practive to get rit but aim touse more atthe start of Your painting to create a better overall balanoo. You later by using pure vers of yourigntest light darkest darks tasluars wealencals ay ‘x0 Yolo Lemon, 820 Yellow Medium, Azo Orange, Pyrole Red, Primory Magenta, Utramarine Wilt, Permanent Bie Vilt, Greenish Ble, Brian lve, Pithalo Blue, Cobalt iue (Utramarine), Prussian Bue (Pha), Pitalo Gren, Yow (chr, Burt Sienna, Neural Grey and Tanlum Wiel Amsterdam Standort aryl Brushes Daler Rowe Show age fat brushes, sizes 1/21, 1.5" and 2° + Support ‘Stretched etton canvas, 60x7Sem Mixing tray «+ Water potTis sunny side street in Matta had some potent lights and darks. l used Neutral Grey to lnk the two by adding quantities to ‘both my cool and warm colours, As the grey ‘was nether too light orto dark, it acted ‘9 mictone and evened out the balance of ene, | was careful to only use small amounts cid dling the colour, and ranges with to een, blue and to create lively mixes for the warmer ‘areas, adding an occasional dab of grey to neutralise the colour. The Neutral Grey ran ‘rough jours that represented violets, early applications ware deliberately loose and frenetic to create energy but ‘to.avoid becoming precious about the (Once the colours had been applied, | could introduce more Titanium Into the mixes fr the lighter tints. Neutral Grey was also added in very small amounts The yellow highlights could have been: and Azo Yellow Medium p inthe mixes. Likewise, the c could easily dominate the light grey, so the tained more Azo Orange and sn for balan Brian Blue, Titanium White ‘anda touch of Azo Yellow Lemon forthe Hghtor part of the sky, ading a dab of grey as the sky became darker One ofthe advantages of usinga vibrant palette is that shifting colours stil retain much of their strength even when neutrals are added, | made tnt of eater mixes, ranging ‘rom Az0 Yellow Lemon mised with Titanium White to smal dabs of Briliant Blue. Away fromthe focal points, amounts of were add tints to make them less prominent, while the same colour helped to define the scafflaing. finished aside the greys and sing purer ‘exuberant iil marks sil penetrated wv hashimak. cokAND GLAZES Art Academy's ROB PEPPER introduces an in-depth guide to creating all manner of washes and glazes, plus shows how they can be incorporated into your next masterpiece ‘Awatercolour wash isa thin application of lament mixed with water there are many ‘types, each with unique effects. A glaze is hen a wash is placed over existing dried washes to strengthen colourand tone. ‘The transparency created by layering and ‘mixing colours is unique to watercolour painting and, wth abit of practice, can produce beutiful results. Bath washes and glazes require the same three ingredients: water, pigment, and paper. ‘The strength of a wash wil vary depending on ‘the proportion of water to pigment. For example, {ori colour you would add more pigment, or to.achieve delicate colour, more water is added ‘to produce a weaker mix. Glazes, on the other hand, are always weak and transparent, 8 thelr purpose isto alter subtly the colour or tone of layers thet they are applied to. The thinness of a glaze wil atfect the way it dies andthe effect ‘this produces. Washes can be applied to dry damp, oF wet paper this will affect the outcome, as wil the paper's texture, weight, and sizing, The smoother ‘the surface, the bettar i wil show detail, while ‘a rougher surface allows for more characterful MULTILAYERING WASHES ‘washes and looser detall. The paper's In this painting the artist has overlapped washes in @ ‘absorbency also afects the result, Heavier, variety of colours to bring out the subject’ tonal values. ‘more absorbent paper produces softer effects ‘The colours bled into each other, ading dimension and ‘than lighter paper, which dries more qucky. «depth to the face. Around the neckline, layers of at washes ‘You ean alsa contal the effect of your wash with more controlled edges complete the composition. bytiting the paner after appying a layer of colour. Rough paper often causes the pigment in the wash to granulate (form int partites), smoother surfaces tend to allow the paint to run trely in all directions when tited, 50 control is needed,TYPES OF WASH You can create a huge variety of effects by changing the amaunt of water ané pigment, the dampness, ofthe paper, using a rougher or smoother surface, and applying paint with a wat or dry brush IN-DEPTH + Dry brush washes oreate a textured effect by using very tle paint on the brush. Brush stokes look "broken", which rough paper wil exaggerate. This eects especially good for impressionistic epictions of nature and for creating a feeling of spontaneity Ina portrait ora sili detail ‘+ Affat wash isa smooth application of even colour, which is laa on dry paper with lots of paint loaded onto the brush. It's ideal for large areas of background, such a8 blue sky, but can also be uses for a simple foreground, as shown here, o for laying blacks of rich colour for strength and depth. + Graduated washes fae from strong to weak colour. This Is ‘2chieved by adding more water to cute the colour as the wash Is applied, end by tilting the paper to encourage te pigment to isperse. They are ideal for ereatinga sense of cistance In landscapes. Some pigments eve grainy appearance, adéngtexture + Granulated wash This technique works best on medium or rough textured paper. uses the natural granulation of pigment particles in the paint to {ve interesting textures to washes that may otherwise appear fat. + Wetin-wet washes are apple to paper that’s wet ether with clean water or another wash of colour to create soft edges. This is £8 versatile technique for both landscapes and portraits. The wetter the surface, the more the pain il spread and the less contol you have overthe outcome. aces ore usetufor “achieving one aratblonce + Glazed wash AAglaze enhances washes by adding or changing colour variations. ts ‘sucess relies onthe transparency ofthe washes. Keep to amaximum of three glazes to prevent the pigment from appearingdulled. > Aists & Musrators 68IN-DEPTH colours tiene eta eaen the tone + Variogated wash ‘This is where colours bleed into one another, Use a variagated wash fora frst layer~or underpainting ofa landscape, and for portraits, where light and colour effects can enhance character. tis particulary effective on a smooth paper surface. Separated wastes can ed lars ofeeptnto your work + Separated washes ‘Mixed plgments in some paints can separate into diferent colours vwnen combined in awetsn-wet wash, When used with bright colours, ‘the effects excellent for florals, stil fes, and even forthe Impression of foreground detail in landscapes, Different colours, brands, and grades of pant vary widely in thalr granulating properties. Cheaper watercolours, such as student grade pains, often contain less pigment so don't ranulate as wel as professional grade paints. greed French twang Mixof thetwo Maing certain pigments together can encourage granulation and ennance the eet 6 Ariss & TsIN-DEPTH APPLYING THE TECHNIQUES ‘A combination of washes in this landscape produce detail and depth. Dry brush washes ada small details on the land: lat washes depict large features such as the hillside a separated wash suggests shrubbery: while a granulated wash brings detal to clouds, and glazes ad tone, Here graduated wash ‘olga, producing refleeonsia the water that ve a sense of dain. at wean Vanegates wash Granuttea wash Separated washIN-DEPTH WET-ON-DRY Layering colour washes over died ones is a cassie method for building up a watercolour painting. Overiaying washes in successive ayers inthis way creates intense areas of colour and detail Painting wet-on-y allows good control ‘over brush strokes because the paint wil ‘not flow beyond the edges of the shape you've painted, making t ideal for ereating detailed and defines shapes. With this technique, you can ether paint fat, uiform shapes by applying wet paint onto dry paper, or you can apply wet paint over areas of dry paint; or you can paint shapes ‘of variegated colour that vary in hue, tone, ‘and intensity Working wet-on-dry requires patience because previously laid paint can be easily disturbed. Always allow each wash to dry and don't be too vigorous when adding new layers of paint. Hard, crisp edges are created when you paint on dry paper or paint, giving the ilusion of both nearness and depth. Areas of light ‘and dark are cleaty defined, as are the sharp edges, wich brings parts of your work ito focus, 4. To contol the edges of our painted shape, altfor ne previous layer of pain to dy completely before appvrg mor pant on op 2. Stop colours booing ito Surounding areas byusng ont te amount of water on your brush ead foro ge aly over the surface ‘Working weton-dry gives you more control ‘en blencing colours With wetin-wet, new colour laid into wet paint connects the two ‘as the fresh colour ows Into the fst wash, ‘With weton-ary, you stil have the control of ‘lat washes but wth added visual interest. Stortwith Kent valuos nd work tows darkar layers Keep overainngto 8 minimum 0 as no tw overnork or muda the painting NTENS ‘When you paint small passages of paint on 1op of another layer of ry paint you are in ‘essence using gazing techniques to create new colours. Layering paint in this way is useful for altering the colour and intensity of your painting and itis ideal for bulling up flesh tones or layers of foie. Where each new layer ovrans the opti mix HIGHLIGHT LAYERS Removing layers of paints a useful technique to create subtle highlights in watercolour paintings. + Litting out Using a damp brush, tissue, or sponge tit ut areas of paint will form a textured hight that adds dimension and visual Interest. Pints with staining qvalties — witleave some etout being Liting out when awash sy ives harder odes ‘man he atsed erect made when Sting wet pai. + Scraping out ‘You can achieve a sharper highlight by scraping of layers of paint as it cies ~ soreping out when the wash i stil 100 wet will resultin colour running back into the area, Reveal tne tighter serepedtayers Experiment win atterent tools to seape. Ty @ creat cara plate spoon, palette hte, and moreWET-IN-WET CCommoniy used with watercolours, this technique describes adding pigment or water to an existing wash on paper that has not completely cried. It is a musthave ski for watercolour painting. The wetin.wet technique creates a soft and sensitive effect in watercolours, and beautifully complements harder edges or areas of etal, Depending on how wet the rst wash fs and the consistency of pigment in the second wash, the timing of adcing the second wash is crucial to its success, ‘Suocessful paintings have a good balance between light and dark tones. To change a tone in watercolour there are two techniques: zing (see page 54) and wetin-wet. Wetin-wet allows you to contol tone before the wash dees and lightens, making it an effective methad when time is short. Fick wtor and wet paint into a damp wash te convoy heats and serlana Watercolour can have an impressionistic quality while retalning realistic deta. Wetn-vet Is 3 good technique for suggesting detail, such 8s comiieds, thistle, sea spray, and beaches, without being too time-consuming, Wecor damp efnes nea ils Using wet wash on sookingmet paper suggest distant its ing depth Paint dries much lighter when the wash is applied to a soaking, et area. To create depth, add the fist wash to soaking wet paper. As the paper dries, add the same mix to bring parts ofthe foreground into focus. IN-DEPTH Plgment to wet wash to darken,yersoten, Wot in-wet can create diffused, soft edges, which tend to recede, helping harder edges to stand out. Aim fora balance of both in your work too many soft edges can lead toa lack of any obvious focal pint, hile too many hard edges can make a painting look overworked. + Merging colours Use wetin-wet to merge two or more colours and achieve a Variegated effect. Some pigments maintain thelr hue, while others dominate or combine to make new colours. Tit the board t0 45, ‘degrees to achieve this effect. ano oP Is parscueny + Adding natural reflections A spray Botte can be used to add water toa strong damp wash, te create a very uid, dynamic painting. To create @ wet and misty effect, tr ting the paper before spraying se thatthe wash runs own the painting. by Daring Kinderaey. wuw.dk.com Anists & Musrators 39CoN This daring Glaswegian artist is a modern successor to the Scottish Colourists and here he shares his thoughts on bold brushwork. pigment choices, and knowing when to stop My ange of subjects takes me tothe south of France on a regular basis ‘and then also the north of Scotland =the Western isles is a big part ofthe work that ldo. Then there's (Cambridge, London, New York. Al the UK works continuing but the foreign work, that's been put on ee hold and Fm not traveling to those Countries at the moment, And then, of cours, the stuclo work has become the centre of my universe. That's been the progress. | always like to think oft as “progress” ~ you have to ‘ hhave a positive outiook, Because I've had 30 much time on ny hands, I've been able to look more closely. ve been painting for 40, years and | almost couldn't imagine | could ig deeper, but of course painting's all about eigging and finding out. W'san endless voyage >HOW | PAINT BELOW elu Vase, 86x86 of ciscovery and this lockdown sno different. You certainly start noticing the minutiae ~now important the ‘small decisions are within the painting and now crucial these small ifferences ara tot working oF not (ne ofthe paintings in the recent ROI show is called Bive Vase, It's large stil ife that centres around this, ‘beautiful Danish modemist vase. Ihwould normally hesitate to starta painting at this scale with atmited subject matter. But mith the subtiety of tne colour blue, Iwas realy able to observe and take my time and try out very subtle contrasts. m nota person who ‘usualy considers and carefuly plans ‘a painting, ike to attack a subject. However, there are down sides to ‘that, because itis hit or miss when you gp at your subject with the aia prima approach. With the lockdown, {have found a renewed ability to sow my thinking down and that| has broughtin that subtlety ~ Ive harnessed i now and tm very, very excited byt rm ooking for ign and colour, they lead to my ideas. For example, when ''m working outdoors, rl doa reecy {and ve got my favourite places! wll, return to. | particularly remember several years ago, there's a particular harbour that | paint inthe south of France at Menton and I ealy began ‘to paint the port morning, oon and ign. began ta notice the noon light was particulary exciting and it began tot all the eaves ofthe rooftops. You's get the ively octres and whites ofthe sides ofthe Busines blazing inthe suiight and then you's {get a band of violet below the pantie bright orange, and that litle beak betwen the very ight and the ‘shadow, that was a revelation to me. Hove buildings and love reflections so when the two things come togeter, I've gota readysmade ‘subject, then the interplay of ight brings in the subtetios. Do you know the work of Shirley Trevena? I met Shirley about 30 years ‘ago and we hada great chat. | Iiked the way she glazed to get an intensity ‘of eolout. My approach to watercolour is nota purists approach. | ike touse very strong, ch pigment, il tale it ‘n, and use the heaviest paper ~ it's the 850gm Arches paper, t's the heaviest that they do. dont stretch it butl can stlido @ wash ora glaze {and Im not going tripple the paper People say have an oll approach ‘to watercolour and a watercolour approach ols. use thin layers of cll and because they dry so quickly you ean glaze on top, you can get “under light quite quichy with ol ith watercolour, luse a hairdryer tm afro to say~ i's gotto be bone dry, ‘otherwise you cannot layer it ‘The watercolours are better when Tm traveling. Fm over in the States, will work exclusively in watercolour because you can get the stuff there. In Britain, Tm in nice interior ~ Ive ‘worked inthe Savoy and Claidges ~ and thats the only medium | could possibly work wit in those interiors. ‘ity the al, you've got to have the clothes, the ability to store the work ‘and transport it, you know? I don't craw my subject fst fin Perel. start with a broad brush and ‘sketch in my shapes using a neutral Colour— I might use the siennas, a light yellow, of Terra Rosa, something lke that. | Blok in what instinctively {eis the compositional positioning. | don't tke to give mysoit bits to“Allin ~M.come in wth a broad brush so ean then move things ‘around. The structure appears quite ‘uickly and, once tv got tin my mind's eye, then I can start anchoring, things. I's nearly al locks of colour ‘and instead of drawing ine, | will painta shape that wil produce negative lines which can be very Useful wnen describing an oblect. | quite ke the tue varnish brushes, 0 about haltinch or an inch wide. Using abroad brush gives you an early indication as to what the work ill ook tke. The craughtsmarship ‘comes more towards the end of ‘the work because iI tighten up too ‘arty, ose the paintertiness of my ‘composition and itcan become more ofa dawn work. t becomes ‘battle between the drawing and ‘the painting, Yes. nen | attended the Glasgow ‘School af rt, | was really lucky to benef from the focus on drawing, particularly Ife drawing. Orawing sits atthe core of what! do but I don't ‘xhibit that work. keop sketchbooks. ABOVE Te Balcony Table, watercolour lon paper, 30.40em {2nd ike drawing wth Conte (crayons). You can get that fantastic range of ‘mark making = the most solid black. right down tothe subtest soft tone. ng your eye in can sit down and make @ small sketch of a composition, but | almost wouldn't classify that as “crawing” {would cll that a ‘plan’, you know? Withdrawing, have consciously moved away from using a pencil or an Inkpen; Ihave moved to colour, and Painting as iit were drawing, which ives me as much information as "possibly can. When you're painting wth watercolour, you can stl draw with the fine tp of a sable and get alt of work done that way. 'm a bigfan of Rodin or Renoir in that respect - the Use ofline, a nice watercolour ine, Artists & MusratorseaHove the chisel work ofthe fats ~ that blocky mark making realy suits what lam tying to do. fm very Interested in pointiism, but pointilism is carefully planned aut What tke is working instinctively ‘but making separate colour statements onthe carwas, so you get an optical, pointilist effect that {sa feer way of using the brush ‘So might ay to you that use 2 sable for fine deta, and that is possibly rit, but als felt that something has worked, Il leave it Alt of paintings about recognising what has and hasn't worked With i, you can just work ontop, You've got that feb. pariculary wanted to explore the impact ofthe greenery ofthe leaves land the stems against a very hot background. I's quite optical, so had @ particular idea that | wanted to make that jump out. The background was done and dried and ready to paint onto. That alowed me to create that very nice éynamic that Tean't got when lam working wet| think you've just got to persovere andi you've got a nation, you've ust otto push it. | eiscovered an artist calle Matthew Smith, he was escibed as the only Engish colourst he's avery interesting painter and his works saturated colour, heavily saturated came across his work at an early point in my career and that gave me convisence because | needed role models in my life, and I didn't hhave ay. looked at Hen Matisse, ‘obuiously, but! did't feo his work connected enough to what | was Going at the tie, Yes, Barbara Rae was a delignt as 9 tutor. What | ked about her was that she didn't ertcse. Alot of the tutors atthe School of Art ete'sed you and ‘would ay do it ike this. Barbara Rae was always positive with everything fend | enjoyed that. | was very lucky tobe honest Tutors sit inthe background of your lite and you can refer back to them it you need a boost. The other thing ‘always say about the Glasgow Schoo! of Artis that they never taught you ‘anything | used to get so annoyed that |hadto learn al ofthese techniques from talking to other artists. | thought people a at schoo! had taught me nothing ang then it {awned on me, that actually what they taught me was to develop my ‘own style ~ and that's everything. Generally speaking, | use the Winsor {& Newton colours and Ie introduced 2 couple ofthe Michael Harding colouts. I met Mike, avery interesting ‘man and wonderful colours he's producing. His whites are twemendous, the Titanium Write and the Zine White. They'e wonderful use Olé Hotand paints as wel but only specific colours =I find one or ‘two just make sense to me. You got attached to them, you have them in your palette for luck. ke the Ola Holland Naples Yellow end the King's Blue is @ cracker. | think thelr pinks are superb to. "ve struggled wit that, stil do when Im ted, Ken Howard told me an ‘amazing thing, which I realy do use wien Im working. He said when you've got a big canvas infront of you ‘and i's ful of big marks, when you tighten right down and you start, dotting and dashing doing tle ‘marks, then fs time to stop painting There isn't any science tot. There {are artists who have to turn thie ‘canvases tothe wall because they ‘kept retouching them and then Sometimes you have work that just Sits inthe studio and I tuen ft around ‘after ax months and think Ive got an dea there. It might even tak years toproduce but tsuddenly clicks That's the mage, isnt I ew potorgraham orgWhy not put the kettle on. pick up a pen. and try your hand at keeping a ‘tea’ diary? EMMA LEYFIELD shares advice and tips to get you in good habits in the New Year 8 Artists & Tlustrators lates can have all sorts of purposes. With the growing populaty of bullet journals, ‘sketchbooks, and gratitude laries, their postive effect on mindfulness. ‘and mental heath are widely promoted, To keep a journal in some forms @ popular ‘ambition but rarely seen beyond the fist few ages, whichis understandable; writing an ‘entry every day ean seem a daunting ‘commitment. In adition to this, numerous artists and hobbyists aspire to regular practice in the frm of a daly sketchbook Many ofthese books end up unfinished ~ or worse, not started ~tucked away ona booksheit, frst page stil intimidatingly blank. How do you form this habit and stick tot? ‘And how do you get past te fst hurdle? Tea diaries are a great solution to these «lemmas and an example of how your dailycopeclly, bite we oboe wate ming of tear Journal doesnt have to take the standara “Dear diary” format. tis a wellknown steretype thatthe British drink tea, and itis entely true for ‘many. We dink tea morning, noon, and right; sometimes five cups 8 day. We dink tat work, n the garden, and on a train; we geet strangers witht and offer tto loved ones, on good days, bad days, and tuuly auful days. is this that makes it the perfect companion toa diary The rouine of regular tes (or coffe) breaks is already Incorporated into our dally ives and ‘associated withthe ups and downs whieh that entails. You don't need to start anew habitfrom scratch, Just alter your pre ‘existing one withthe inclusion of drawing. ‘ea diaries canbe filed ina varity of ways and tend to mix them altogether. Some dys, the motivation to draw something or write about a bad day eludes me. On these oocasions, I take my mug of tea and create a ring on the page, then write afew words with the date to represent ‘ny mood. This method adds grest visual Intrigue, breaks up the text, and takes the pressure ott. “There's no rule that you have to draw every day, 80 don't beat yourself up Ifyou miss one. | do recommend making a longer rawing or painting at least once a weok. However, doing something smallin your book leach day, with afew notes about what's soing on inside your head, encourages the habit youre stuck worrying about the fst ‘page, skip and come back to tater, oF Stick na postcard thatinspiresyou. > How To. MIX WATERCOLOURS ‘Watercolours have a reputation for being notoriously icky to use, butyou can ‘eed up your progress by actively getting ‘to know your paints, Learning how your Paints mbx~ and dry~Is important. When ‘searching fora specific colour, it's all oo ‘ea8y to setle forthe closest one in your ‘set, resulting unrealistic depictions and, ‘seppointing results. Here are three ‘things you can tryin your sketcnb90K. Brant er Sreuna, pre haw onl Fras aber First, test out all the colours you have In your palette, Make # swatch of each {or reference in your sketchbook = labelling them can be helpful. PROJECT ‘Next, ty experimenting. See what happens es you mix complementary colours or vary the water to;pint ratio Begae goon esau uadent andl ried Finally, dedicate a page to mixing colours seen in your chosen subject: @ shadow in ‘he moming sun orth pale cream ofa cup. {60 this before most pieces l embark on. Anists & MusratorserPROJECT PROJECT Tea diary Aim To establish a routine of regular panting, ‘raving, oF sketching in the form ofa visual Journal. You may aso include minaful contemplation trough written elements {8 an additional goal. Duration 20 minutes to one hour daly, or several ‘times per week. What you will need An atist or student grade sketchbook anc ‘any medium you choose. For my tea caries, | have used: + ARoyal Talens Art Creation 140gsm sketonbook, 12x12¢m * Ablack Uni PIN Fine Line pen, 0.3mm + Antst's grade watercolours + A Rosemary & Co Kolinsky sable brush + Aponcil and rubber What you will learn In adeition to basic observational drawing, ‘and painting techniques, the most important aspect ofthis project is the regular practice Itentails, which is both the hardest and ‘most erucal part of improving kil Process Theres no right or wrong way to keep a visual ea diary, but here are some ‘suggestions for subject to try and techniques to focus upon. Painting a mug - 0} 8 Artists & Ts isone of my favourite pastimes and | usualy ‘et out to doo in the time ittakes to orink ry tea (although a longer sitting requires 8 ref). nse tis is a productive exercise to create an illustrative stl if, while improving and exploring observational drawing. This Isnt limited to te realistic: small thambnall Images of decorative teacups, line drawings, ‘and zen-doodle styles would also work to fil your dary with tea-based paraphernalia, (Cake and biscults are similar temptation. often paint these while m waiting forthe fist wesh of my mug page to dry, with warm Slonnas and touches of blue or let. t's Invarably a joyful and indulgent painting: ‘3 quick simpse of an iustratable end ‘thoroughly delicious looking pasty i all the ‘excuse | need to stop ata café and purchase ‘uch a treat... purely for artistic purposes, ‘of course. This canbe a rice way to improve ‘2 particularly bad day; drawing and quiet creativity is cathartic, and inthe form of _2 reguar journal, encompasses the ‘contentment you can find by writing your ‘woes on the page. "ve already touchad onthe use of non-drawn elements in yourtea diary and there are a varety of ways you can do this. Ty sticking in your tea packets or tags with annotations. The designs are often beautitl {and sometimes include sayings or upliting comments. You can print your teabags or dry them to use the fter paper in a creative ‘manner, stitching them decoratvey or priming them as a paint surface. To create a 13 or coffe rng take your mu and carefuly spill itl of your beverage onto a saucer. Dip the base of your mug nto this and ‘transfer itto the page, leaving behind a print. ‘You could paint the base with watercolour for 8 stronger ng, A mixture of Rew and Burnt Slenna make an accurate te colour Taking your diary toa cafés @ worthile task. Stick in your receint or pay-end-cisplay ticket for good measure. Paint your chosen beverage o take a photo fora later (longer) sty, For more of a challenge, try sketching ‘the café and people nearby. Alternatively, ‘iends or famiyoften settle at ome with @ mug of tea, making exellent, fidgety, muses. Tea diaries are fundamentally indulgent. ‘Thay can be adapted to your style and ability, whilst laing alt of potential. Keeping one 1s. particularly good pursuit for those who ace inspired by visual journals but nat confident enough to start a sketchbook. t's your cary: no one else has to see it and there are no rules. You can rip out pages you don't ke, cover things up, make every page beautiful o fl the book with messy sketches splattered with inkand tea. Mine always include afew serutty shopping ists and mind-maps dotted between paintings: thay are never perfect. vwwoeleran co.ukPROJECT Doucet Vorurhoer 2504 Dorl Wovem baer 26 — The batt custard, Goi fc be Be ES Lee (eto) G the Feaben tres enithy sil ataR: pr a] eS Kwa god ie Fe dipponny. dime rite brtwitt ome 4 be weit bt Hee helicrrins fillerigd toe Fie witty of ctl gilt qustcbry Wg cntean fie tae ze Sy) eae _ a vans , core Dat Bice tonal Usle| ae —— J DAILY DRAWING TIPS + Keep your sketchbook and your travel art supplies with you at all times - this could be a portable watercolour set, or 8 single penal + Draw and wit spontaneously; Ina ive-mnute window wating for the kettle to boll at tran staton, cor waiting for @ Zoom meeting Dont worry if these end up Unfinished. Quick, rough sketches ‘often capture more than the ones you pore over for hours. + Use simple but good quality materials. You don't need to ‘spond much, but learning to draw ‘rpairé using cheap materials 's tke climbing a mountain in. ‘shoes that give you blisters. ‘Make sure that your sketchbook Is one designed for artists, not a ‘supermarket own-brand one. Aists & Musratorseaan aternative to starting ZA painting with the sky fst and then bulling up the landscape, ‘tis possible to paint the mountains frst and then glaze the clouds on afterwards. For this to work safely, itis essential to ‘use @ more absorbent cation paper. ‘This method requires thatthe ‘mountains ae painted fst on dry paper. ‘Once this has dried completely, the entire area ofthe paper can be glazed with clean water and the ky then ‘plied inthe tracitionsl way. used a small sheet of Saunders Witerford paper fortis example and prepared a strong mixof Utramarine ‘and Burnt Sienna. |also squeezed outa small blob of Raw Sienna. STEPHEN COATES shows how carefully planning the wetness of your layers and applying glazes of colour can allow you to build a soft. atmospheric set of clouds in a landscape painting Aists & Mustrators 9DEMO Layer the landscape I created three layers of mountains, all done using a Min-Hake and varying srengts ofthe grey mix. After painting the first distant mountain, added a ttle water Uundereath it wile was stil wet to blend withthe grey paint and creste@ smooth sredustion of colour eft ths fst mountain for a moment and next painted the mile ‘mountain, dragging the paint across into the wet area. This gave the mountain a crisp top ledge and a lovely misty eect to the left (Once dry, simply painted the foreground mountain with loose mix ofthe grey then immeciately dropped some stronger grey ‘long the top edge and blended itinto the wet paint below. Again, this gave the impression fof some mist around the lower area, rents & Ts Soften the edges ‘Once the mountains were dry, filled a large hake with clean water and stroked the brush stowly across the paper from side to sie, working my way down unl there wasn ‘even fm of water on the entire sheet. you look at step 3, you can see how this water loosened a lite paint onthe foreground ‘mountain as the brush passed across. Add sky colour |then immediately picked up some Raw Sienna and paddled some patchy ‘shapes into the upper sky area, Darken the clouds ‘Ten I plunged int the strong grey mix ‘and ereated an arrangement of stormy ‘clouds, making sure thatthe lower ones passed across the mountain tops. Build contrasts Tofnih the sky, picked up strong grey and using ust the comer of the brush head, ‘icked in a few smaller patches of dark ‘oud. | et the paint develop natural Glaze to finish though a minimal stuey, the end resut was rather effective. As the glazed water passed acrass the mountain tops, litle paint ted away. However, most nel fim as itwas embedded deep int the coton paper. Ths san extract rom Stephens new bok, Tho Easy Guldo to Palnting Skis n Watercolor, published by Soarch Poss. www.searchpress.comWILDLIFE ARTIST::.YEA IN ASSOCIATION WITH BBC WILDLIFE ARE YOU THE NEXT DSWF WILDLIFE ARTIST OF THE YEAR? CALL FOR ENTRIES ae ae ae al Rae tn aad Se te et Rees oar Peete Reena is eee ic Cel Lae err Bde ley yd OVERALL WINNER: £10,000 prize package" RUNNER UP: Fe Nelle nce eee ce cy YIU DAVIDSHEPHERD.ORG @DSWFWildlife (eae Ba peng ea ee ee Cee eeeAward-winning artist LAURA SMITH presents the first in a new four-part series that takes a closer look at details within masterpieces to help you improve your own art f you were an apprentice artist ina large 45tncentury workshop, perhaps in aly or Japan, you would know exactly how to paint ‘e928, There would be a recognised way to ‘approach the subject and a specifi method to follow. These days however, there are almost a8 many ways teat painting an eye as there are pais of eyes in the world, This is botha help anda hinerance when it comes to actualy painting portrait, because we have wonderful artistic freedom yet almost 00 much choice lieve what we are all searching fore ‘ur own way of responding toa particular problem. A good strategy for finding that Unique path isto be inspired by other people's attempts and then experiment ‘ourselves, The exercise atthe end of this articles about dong the fest part withthe hope that twill glve rise tothe second. hkean be useful ta investigate paintings with regards toa particular topic. Whether from life or from another artwork, drawing to ‘mois just slower, deeper way of looking at somthing and think we ean learn so muchvan Rin, Set Porat eat DRAWING IN DETAIL from the experience. Over the next four issues, we are going te look in turn at eyes, hands, animals and flowers, wile comparing Aitforent ways of panting them n this fst exercise we wil be looking at eyes. have . uF depictions of eyes fom four Aitferent portraits; two are from the 17th century and two are from the 19th century. Tiny changes People often ask, “How do! paint ey ‘Very often the features are treated in exactly the same way 2s every other area of the painting. However eyes are quite complicated. ‘The-smallest alteration tothe ook a an ey changes the whole expression ofa face we are biologically wired to plek up the a ‘minute variations. ityou move the pupit one millimetre the viewer wil notice so i requires very precise brushwork. Eyes are also aitferent texture to every other part of the ody, catching the light with their mosture Here's fun warm-up exercise to ty. Feet ‘the brldge of your own nose and how much it protrudes from your cheeks. Touch your forehead, ringing your fingers dawn toward your eyebrows and then, with your eyes closed, gently feel your eyeball sitting softy Inyour eye socket. When we use touch and ‘think about the three-dimensionalty of our head, features such as eyelashes appear physically insignieant by contrast. Al these detals~ the cheek bone, the brow, the nose ‘communicate 8 deep understanding of the underying structure ofthe eye sockets within ‘the skull. ts useful to remind ourselves that the features of face are not foating ina skin-coloured void but situated on the turing surface of head, with light coming from a particular direction, Looking in detail Let us attemat to get inside the minds of ‘these artists by comparing thelr depictions ofa few of the key deals of an eye in turn. ‘The white of the eye i very often not the lightest part ofthe painting. Just because the local colour of the white ofthe eye i light, does not mean tis notin shacow ~ and ‘therefore darker Johannes Vermeer's Gi with the Red Hat. for example, i highly ilsionist and yet look how dark the “whites” ofthe eyes realy ae. In Rembrandt van R's ‘rom 1659, ven the lightest part whites” ofthe eyes are nowhere near as light as the highlight By contrast, the “whites” ofthe eyes in Edouard Manet’s Georg ace not even defined. There is very litle Aitferentiation between eyeball and sinven in Auguste Renoir’ 8y the Seashore, the “whites” ofthe models eyes are nt lahite so much as blue. There i a lighter section ofthe “whites” of the eyesin every ‘epietion and tha is because the eyeball is a reflective sphere and we are seeinga section ofthat round, wet ball which is inevitably Catching the light. Often the nose casts @ shadow over one eye but, regardless of this, the whole head i a form, We are nat reading two flat eyes next to one another. They are within a turning surface "Now let's look at pupils. The Rembranat ‘and Renoir paintings are the two whose pupils are cleary sible, despite them being separated by so many years. There hint of one in the Manet, but inthe Vermeer, Itisimpossibie to make them out. nthe Rembrandt, look how similar the tone of his right pupil (our let a8 we lok ati) isto the il, in Vermeer's painting, the red-hatted gi hhas quite dark ees, so the irises show up. This is tue aso ofthe Manet. Both painters ‘emphasised the ses over any lashes or preconceived eye" shape. Highlights are important to eyes. The one, clear, turquoise hight inthe Vermeer Is extreordnarly impactful and important. \Withoutit you would lose a huge amount ofthe sense of what you are looking at Sometimes it can be temptingo add eauelly Strong highlights to both eyes ina pating, butts important to remember that each eye |s ina lifferent postion in relation tothe light source ~ and to our own viewpoint. This s why so aften in a great painting, there isa significant cifference between the /ighights used in the two eyes. Sometimes, like inthe Vermeer, there is only one in other paintings, such as ths Rembrandt, one highlight sparkles while the others more lke a dying str. You might think eyelashes are an Important detall yet look closely at these four masterpieces and youl see that's often not the case. Eyelashes appear clearly only inthe Renoir, as two ares of gradated blue, We can guess that she wasnt wearing blue ‘mascara and 30 the colour ehoice is Interesting. Renoir has infact ited the colour of her eves and used iton her iash line in order to intensity he colour of her eyes. tis worth noting that no ineividval lashes are discernible When we imagine an eyebrow, it usually ‘amounts to an are of dark hair somewhere ‘above an eye. Te closest we get to that is with Renoir. Two gontle aches are beautifully connected tothe hair and sit onthe head in space. The biggest contrast from ther catty Is the Vermeer. In his portrait, the brows DRAWING IN DETAIL Manet, George actow ert 41659, oon ‘ose PRE Auguste Renal, By he Seashore, 41283, lon canvas, 928720m ‘themselves are invisible but nevertheless ‘there Is lot going on. You have a subtle but distinct sense ofthe form of the head and an eyebrow being alsed. ‘The Rembrandt iso much more todo withthe craggy form of the brow, rather than any row of hairs. Manet does no more than suggest his model's brows witha couple of deft dabs ofthe beush, ‘You might expect. from preconceived ideas of what goes to make a wel-painted eye, that Renoir would be most realistic. However, | would argue that his painting is furthest away ‘rom the way we actualy see another person. He has constructed a pictorial wort into hich we are insite things are nt ust ‘translated but reinvented, thought knew quite alot about these artists! works, but Ihave learnt se much ‘more by drawing from them and Ihave an even deeper rospect forthe precision and inteligent decision making that has taken place. Ifyou attempt even one small drawing of your favourite of these deta, | nope you wil come away feeling the same. >DRAWING IN DETAIL EXERCISE Draw your own conclusions Make atonal or coloured drawing from each ofthese four dtals of paintings, responding to the cissimilar mark making, Drawing 1: Vermeer “The soft brushwork of this painting forces you te craw in tone rather than line. Pay attention te how subte the shifts intone veal are, Haif close your eyes from time to time to Clan the lightest and darkest areas. Notice how relatively dark the whites of tne eyes are ‘and how much is said with very tte deta Drawing 3: Manet You wit probably fee ke you have titer your mark ‘makingin response to this ‘raving. Notice the fact that the features have nodefiite contours. An impression of ‘eyesis created with extreme economy of stoke; see fit Seowrnres re 2 = Se LE co Te Anists & Mlustrators Drawing 2: Rembrandt In this drawing try to become very aware of ‘the structure ofthe brow and nase. The form ‘ofthe nead is inextricably inked tothe features. Because ofthe tones, you cannot see the eyes as separate from what is going on around ‘them; they are truly embedded inthe planes ‘of the head. Drawing 4 Renoir Wit his ral rane it mia be 639) to overook wha is happening between the features. Tere are subtle yet important shifts in tone which Connect the eyes and eyebrows ‘and situate them inthe head. {Guard against tating eyes! Next month: Laura looks at how grat artist dow hands wvwtaura-smith.comCARE The UK-born, Texas-based author and illustrator on shifty birds, the perfect pencil and his drawing hero. Interview: REBECCA BRADBURY | would serie ‘on anything. would sometimes draw on the walls and Tewoutd deve people mac. Ikmakes no difference itis for kids or adults. cant know my characters unt lean se them, so | need to draw thom. | ike todo them both in tandem, s ldo some wring then draw the character. But then the drawing wil contract the wring and push it ina new arecton. During the lockdown

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