FOR ARTISTS OF ALL ABILITIES TIPS - TECHNIQUES - IDEAS - INSPIRATION March 2022 £4.99 ; ‘canes iin t _ GOGH 4 ae 4 } i es ae WKINSIGHT ‘sen’, 20426, Nina Chroal on Fone wale 14D at rs pe WITH NITRAM CHARCOAL "The human body can communicate in a way that goes beyond any spoken word, offen revealing ur true thoughts and feelings. My charcoal drawings capture my observation and perspective of this subtle anatomical language. | appreciaie Nittam Charcoal’s durabiliy, especially when working on my laigescole potas where each slick of charcoal needs fo last for numerous heavy layers and strokes. Nilram Chorcoal's wide range of value and smooth application makes it my ideo! tool for creating realistic depth and refined shading in my artwork.” ~ Samantha Lazarus ———— The Niam Sis is designed to hold Niram H, H8, B or 6mm Round Charcoal ‘The package includes « Nitam Charcoal Assortment and a set of 4 color coded end caps to identify which charcoal is in the holder. Sororbalasane wae bon 1971 nrg, aro Ske mma am, Hod hess cae ecto wos. ho eather Schl ire ia Pa neraterelUnvty At and Dag nda Matos Fre At Pia rmaterl Ure Facho lr cove he mene alice i col, cles der woh been apt runt play shme oo he oko He wah hs cho been lawn aise pion ‘onlose hon. www. nitramstylus.comtee atta Tec Teo20) 7240 300 Abb. Lire Some. ar tart NUN ENQUIRIES Soportertsbancsusatrscouk faverasg anager Oa Hurington (caoyraeo 02 Smtrertntone oup Sle Ore Care Cras ratpetnedacoak ter ete ston hot andl fcr ick Gis Stns Manag Manage ret Wess roo bia Manger en sander ‘eeemagaanescon/=nep Artists STAY INSPIRI SUBSCRIBING Artists & Mustrators ‘Tel: 44 (0)1858 438789 Email: ats @subseptioncok onan ‘mv subsciptoncouk/ ctelsea/solo Post: Artists & lusts, Subscriptions Department, Chelsea Magazines, Tower Mouse, Sovereign Park, Lak Steet, Market Narborough, LE16 96F Renew: ‘vw subsciptoncouk/ ctelsea/solo tra tsesiae, nowt Hello and goodbye! This is my last issue of Artists & Musrators after almost 15 years of working on the tile in some capacity In that ime have been so lucky to collaborate with a hos of ineredile staff and contributors to put together every issue and T want to thank each and every one of you, Nother job would have allowed me to snoop sround Peter Blake's studio, learn to paint with Anne Magill, judge exhibitions with Ken Howard, drink tea with Celia Paul, commission art from Quentin Blake, and be attacked by Derren Brown's parrot. hope you. find my final isue every bit as useful and informative as my previous 188. T want to leave you with a pencil portrait of myself, draw by my 10-year-old nephew Harvey. He's already an ‘incredibly talented artist witha very bright future ahead ‘of him and [hope this is the ist of many placesin which you will see his atin the years to come, Hearing from readers who have rediscovered a childhood passion for art S with the help of Artists & Mustrators has been one ofthe ‘unexpected joys of working on this magazine every month and T hope youl cone on your cet paths oe \ est com law to connie to hea your storie Ge and you can ined eat worwtevepil cou from no on | \ ‘Steve Pill, Editor \ Were you a creative child ike Harvey? Share your early masterpieces with us Info@aristsandtustatos.couk EA @Aandimagaine WG jarstsanatustators randimagaine EE axanatmagaineEE 5 Letters Yourlatest thoughts ane stores © Exhibitions The UK top art shows in March © Sketchbook Quicktips ideas and inspiration 12 Fresh Paint 26 The Working Artist \With our columnist Laura Boswell 25 Prize Draw \Wwin botanical anist Caron Jenkins [INSPIRATION J 16 The Big Interview ‘Atranstlantle chat wth il Jackin RA, th “painter of ight™ 25 Art History How Vincent van Goss set portraits reveal his changing style 52 In The Studio Jon figurative artist Shane Beery In is Dublin gacaen stuclo ines Se Masterclass Paint a waterelour street scene In 12 steps with Avaro Castagnet 4% Colour Theory Learn now to mixspring colours ‘rom white Rowers to green leaves 45 In-Depth Jake Spicer reveals a unique new ‘way to combine pene and pastel 99 56 Project Be creative stuck indoors with painting exereise fom a window 58 Demo serves up a tasty treat in sb steps 62 How I Paint Serena Rowe reveals her methods, Inspirations and thoughts on colour 6s Drawing Workshop Laura Smith looks at how hanes were depicted in fourmasteriaces 72 Tips Fe ways to boost your confidence 7 Technique Valuable lessons in howto acd movement a landscape paintingaaa) RIP IT UP AND START AGAIN “The chldikeplaytuness of tearing and sticking” These words of Aine Divine ("Med Media: Collage", Issue 437} reminded me of my working fe with the pre-schoolers | spent many nappy hours setting up collage activities and immersing rnysetf nthe children’s creative otk, where it was the process not the result that mattered most twas always my intention to take Lp paleting when I etre bur wes not unt shopping that | spotted ‘en eye-catching Artists & lustrators ‘magazine onthe supermarket she; the contents $0 colourful and ‘beautiful, they encouraged me to ‘reste my own at. Now the magazine lands in my porch each month with lots of help and inspiretion. Spurred on by Aine's article, | decided to ty her chitike ‘|ppreach to floral collage. I's on ‘adlctive process that has hac a __ Positive effect on my happiness. (Christina Straiton McLaughlin, via email TIME OF THE SEASON = was inspired bythe articles in your recent issues "Autumn Walks” £ Project, issue 435 and Masterclass, # Issue 436) to try my hand at painting ‘afew ofthe fabulously coloured loaves that had fallen trom my tres ‘onto the back lawn about a month ‘go. was amazed atthe variety ‘and just how vivid the colours were. ‘Atthough obsiously not quite so sophisticated as those inthe tices | thoroughly enjoyed the process and i's a great record of a Colourful time in the garden this ‘autumn. | hope you enjoy the result Hilary Needham, via email ‘CREATIVE COUPLE Since reticement in 2007, had ‘made a serious efor to return to painting after 40-odd years as a {raphic designer and ilustrater. So, from day ‘one ofthe pandemic, | 2 installed myself on our ining table and stayed there, working most days. My wife Anita's settee in the front room became her nittng station, as she completed more than 40 cardigans. We used to meat up during the day fora cuppa, lunch ora quick natter. ‘Over the period | produced ‘more than 150 pieces of work = some self-generated, some for {amily friends and neighbours. Not only did this keep me calm, but itaso strengthened ‘tlendships with neighbours and ‘also enabled me, via Social media, to reciscover a number of ‘workmates that | had lest touch vith over the years. Several of ‘these gave me much inspiration ‘ith theirencouragement and photograph that they nad taken ‘on ther therapeutic walks. ‘As |wotked, | decided to keep 2 record of everything | id, creating M4 books, explaining my feelings atthe time ana why and ‘or whom each work was done. ‘Some also include historic nates ‘and images to expand knowledge ‘of certain subject. | am now into myth book, this one featuring ‘work done postrestrictons. ‘Once | was abletorelaxa litle more, especialy fter our Jabs, the urgency has decreased, ‘ot m stil wanting to fin Subjects to work on. Lean ‘certainly say that tis pandemic has given Anita and mye our ‘most productive and fring creative periods, 25 well as keeping us sane. “Thankyou to all your team for ‘continuing to produce Artists & ‘strators throughout the pandemic, under what must have been very trying iccumstances. Ithas been a great solace and inspiration throughout! John York, via email wot] While teus! Send your eterer emai ‘Te Chesca Magaine Company Lis London SW3 319 $0 gt voucher spond win Atlantis At the UNS largest art vrwatantea.cosk aw) ART MATERIALS}Exhibitions MARCH'S BEST ART SHOWS CARLO CRIVELLI: ‘SHADOWS ON THE SKY 23 February 929 Mayeed eee eee Sec) ‘THE ART OF WALLPAPER This collection of samples and interior 28 Janeary to 14 June reconstuctons showcases the elements \Wilam Morisis name synonymous wth that made Mots, and the Arts & Crafts Bsn design, yetttunsautthe Vietoian movement he speareaded, an intemationsl walipsper designers averse ceatie phenomenon by the end of te 18% century influences ranged from alan sis to Dovecot Studios, Eanburgh inticately ged, Japanese papers. ww dovecotstudos.com BEYOND BLOOMSBURY: LIFE, LOVE AND LEGACY 44 March to 5 June The artists, writers and thinkers of ‘he Bloomsbury Group ae better ‘known for teir unconventional Hestyles rater than their at. Yet Vighia Woof sister Vanessa Bel, for example, was also one of the ist modernist artists in Bit Sill tere is sting undeniably {fascinating about the bohemian ‘ends whe beled gaint the ‘convention ofthe 20t eantury an this showcase of signifeant ports ‘ofthe group wl explore theives via ‘he works ofa they created Yor At Galley, York ew yrkartgalery.org.k WHISTLER’S WOMAN IN WHITE: JOANNA HIFFERNAN 26 February t 22 May en have paited women in white since the day of ‘lssical antiquity ~ thnk goddesses drapedin ivory robes ~ bu tis perhaps 18%-century art James Abbott MeNell Whistler who Mas made the most ‘memorable contribution to the tration. Not oly ithe painter return to this subject throughout his career but his model and mistress Joanna Hifrnan was also a constant presence in his ‘work The relationship between the pawl be plored inthis new exiiton, which brings Whistler’ tree ‘slbrated Symphony in White pairings together, alongside ther welbknown potas by his contemporaries, including Klimt Corbet and Rosstt Royal Acadony of At, London www.calacademy org.uk3 WH @stasito eer a OO Ce ee ee ad With the STABILO ARTY tools, ceative ideas can be easly expressed on papet! eames i) " a TC ge ee oe eed lines to generous brush strokes, fom vivid aquatlle effects to precise sketches. () STABILO BIN: Rene Un eeu) Prenat eee Peres ete eh) how to do hand lettering Dee eetErect to arch TIPS « ADVICE - IDEAS - PASCALE RENTSCH explains ; how she created her latest mixed media painting + Be responsive “Treact toa feeling of : ‘pace, ratnor than thinking What makos ‘2 nice painting?" I want tobe moved by what | see, With Looking for the Light twas the light retectng ‘amongst the black sranite coastal stones ‘that made the water look tke a thousand dancing pears.” + Trust your Instincts “For me t's important not t follow a rigid plan butto enjoy the ‘reedom of painting by not overthinklng just ‘rustingin the feel of ‘the moment. never know what will happen ‘or what image will ‘nally appear on my Diece of paper.” + Use found objects “For the more detailed marks and ines, | used a variety of pencils, markers and ‘other natural materia: feathers, sticks and ‘anything ese that happened to be ‘ nearby. Lenloy sing ‘objects fram nature because everthing then feats more + Add textures Pascal's work wl be on show atthe “This sparking it inthe foreground was achieved authentic” Watermark Gallery, Harrogate In March by simply foking the brushes. An old toothbrush can vw. pascalrentsch.com bea nandy tol fr this effect also."How To. NAPLES YELLOW Lucy T Smith, botanical artist: "To draw a Discover a new colour every month plat fom, tart peel velngor gaat. aa eel tt Inara Ht, coingln on test tae ie 7“ cea NOT weMNaG aPeR CHAN ‘one ofthe word's oldest synthetic colours. rsp eit en nT Ns Futncoerd ong th lt oatsance os lela totes fonsidclltabal myst lo than os an alae hs 4 understanding te karo eraciree wie} ‘ence-popular lean yell. Stronger inthe mux es ‘drawing try to mateh the colours trom ife. You can % } erase the penc undemeath a ite ornotat al.” Lucy's course, Capturing Seasonal Pants, runs 26:28 Apt at Claybil Ate, Somerset, wu.claybillats.c0.uk than Cadmium Yellow, t nevertheless possesses ‘muted warmth that makes it a favourite of portrait and figure painters ‘Struggling to find good reference mages? ‘The Sktty app lets you ‘access a woriwide ‘community of artists and muses, sharing reference images and constructive feedback. You can even sign up for courses such as the popular 30 Faces, 30 Days which provides dally hourlong vdeo drawing lessors. vw sktey.com Peart eee ee ee eee gees aoe ees he blurted the fereground, reduc eeeead are cetrs NTIO — Helen Frunkenthaler ee tee BOOK OF THE MONTH The Landscape Painters Workbook by Mitchel Albala worwartrenewal.org “American landscape tuto and longstancing Artists & ‘mustrators contributor Mitchel bala returns with his Ea se0ond book, along awaited follow-up to 2000 Good draugntmersip is prize at best seling Landscape Painting, His rich and informative new guide is particularly strong 4101st Annual Open. Non-members ‘on colour and composition, offering detaled diagrams can submit work before today for ‘and simple strategies fr getting the most out of your the May exhibition, wien sgfa.orguk palette. Tur to page 74 to read Mitchells latest article, Rockport, £18.98. www.quartoknows.com 1E RULES OR ‘Annual Exhibition isthe oldest and THINGS WE LOVE ‘As Sky Ars’ Landscape Artist ofthe Year retums to our screens, ‘Warwickshir's Compton Verney presents a chance to revisit ts portrait counterpart. Curated by show judge Kathieen Soriano, Portrait Artist ofthe Year (19 February to 5 June features 120 paintings by former contestant, including this fun selt-portealt by last season's winner, Calum Stevenson. www.comptonvemey rf uk Why not try.. Acrylic Gouache Flat, matt and opaque like tracitional tumbased gouache, tis acrybe ternative becomes water-resistant when dey ~ perfect for resting stable base layers of colour 5 PT ‘Te Royal Hibernian Academy’ largest in ireland. Enter the 12nd 1AT instalment by this deadtine fora chance to win 70,000 euros in izes. wn rhagaleg.le for the 26th international ARC ‘Salon, @ major realist painting ‘competition with $130,000 in cash prizes. Deadline closes on 16 June the Sociaty of Grape Fine Art'sInspiring new artworks, straight off the easel Thomas W Schaller \witn movement often restricted during the pandemic and Intemational travel severely curtalee ass have had to rely much more heavily Upon their imagination when it comes to painting certain subjects. Nevertheless, @ dark interiors possibly the one subject we have all had easy access to recently, so It comes as a surprise to hear that Here ‘and There was an invented compasition. “The past two years have been trying for us a,” says the plcture’s creator, Thomas W Schaller. “This panting speaks to some of our Collective experiences during the time of the pandemic: isolation, the need for connection, the familia ofthe known interior wold, andthe bright allure of the unknown dlstant future” The incdemand Californian watercolourst would normally be jetting off to teach workshops or judge prizes across the US, Europe and Asia and the experience has given him a strong perspective on what makes @ successful artwork. "The mest comman misteke | see that painters tend toma i faling to inject a sufficient range of value within painting” he explains. ‘No brillant idea or dazzling brushwork wil have much Coffect ifn the end, the work appears dull and manotone." The trick, aecording to Thomas, iso think ofa composition in terms ‘ofthe basic reas of tonal value: ight, a midone, and a dark “Its the single most effective way to establish depth and create @ ‘Sense of narrative and presence. Certainly, | don't mean to suggest that the darkest dark needs tobe black, norte lightest ight pure white, But there must be three distinct values present.” Before tone comes into play, Thomas sketches out his design in pencil ‘rst, allowing the linework to show through the subsequent transparent layers of watercolour and provide a structure forthe more expressive passages of brushwork. In act, design isthe driving force of his practice. “am always striving to edit away anything that does not support or ‘enhance the overall intl intent of my work, he says. With that in mind, he recently aunched the yearlong course Design and the Power of imagination with Seattle-based online art tution platform Terracotta, “The emphasis of my eurculum i inthe belie that finding answers that others provide may not be the best way to develop ‘and evolve as artists. Rather, think the key i in being abe to ask better ‘questions of others and of ourselves” wn thomaswechallr com s2 Artis 137 a JOHN'S TOP TIP “Look for clues ~ the things that describe light are the effect thas on the objects it lands on, passes through or throws. shadows over” Fresh Paint John Hammond \Witn its beautiful crumbling arenitecture and sparking reflections, Venice isa place in which finding moments of visual mage is @ common oecurence, Even boats fling in 2 side street offer a multhude of potential subjects toa perceptive artist suchas John Hammond. “In the Sun fs one of those paintings that present themselves to you trom time totime as aking of stil ite in the world of landscape. The proportions and composition, placement of subjects, and colour combinations have been laid befor you as if by some unseen hand, Add to thatthe lrious sunshine baking the ancient facades and dancing off the lazy canal water and it just has to be painted.” Luke many great arist tutors, the effortless way in wich John descbes the process of translating 2 subject onto the canvass in danger of doing himself a disservice In tut, he puts inthe hours in each new destination that he visits "My own practice is to fully immerse myself ina location, explore and soak up the atmosphere. This way find new subjects present themselves fay easily as long ‘as youre receptwveto them. And ofcourse, a8 painter of light, nave tne adées bonus that it continuously changes ‘and throws new and exciting challenges my way.” ‘though inspired by the works of John Singer Sargent, Ken Howard and Bemard Dunstan, John is keen to Keep things fresh and tr to encourage his audience to see things from his perspective "Uitimately, Im tryng to capture not ust the visual [appearence], but also the very feel ofa place,” he explains. "I want the viewer to feel the sun, hear the water, smell the food from the cafés, to stand In front of my paintings and be there” thas been 18 years since John published his frst book, Capturing Light in Acres, which remains one ofthe best practical guides tothe medium. The ext prides universal truths and hard-won advice over amateurish gimmicks, yet the artist has also developed his methods since that tim. “Ithink afew things hod true” he says, looking back. ‘Observation i key, lights so specie, characterful ‘and so unique, that i's impossible to irvent or generalise, paint what you observe.” ‘Of course,” he adds rtm learning althe time and very much hope that | never stop learning” John's next exibition rune fom 26 March te 8 Api at Marine House at Seo, Devon, www:marinohouseatbeor.o.ukFresh Paint PORTFOLIOPLUS aye, Free Me, Hayam Elsayed Leonard a Vines Mona Lisa iss femousforhersteady tne 0 he fhe enigmatic sie. Ths porta’ unconny Bhi to fnthe viene wth her exresshe stare fas n ne withthe Renaissance painters phtosopy thatthe eyes are the window tote sou bel shared some 500 years ter ih Pert Pus member Hay hay ‘One ofthe most important = and mest intimidating ~ rts opin or raw are the eye, exlins the Eastin tet other port paling pracion “when aewer look at porta, the ees are what dre trem nor Kops them erste. Te yes ate vl forcommurestng te ematone, character endinner thouhts foe subject” For Haar the eyes can form tho point of entry into camo her rprserttiana port ple fom which 2 ted te intial sttch. She sresees, however, how cil iisto avid raking a hard outine fhm entre ee and to temernber that no faces synmetical. Lat and niet yes are going tohave sue dferences she say.“ Two a trove realistic sis ettr to math na oon the Person, ater than yingto maketh eyes match” When it comes to colour the Florencerained artist 's keen to point out thatthe whites ofthe eye are never ‘actualy pure “white” in realy. Subtle shadows and other variations need to be accounted for anda simlar restraint and delicacy, seen inaporvetsucnasrreeme, = SORT EOLIOPLUS i executed in the subdued colour patie, simple clothing | Every month, one of ou Fresh Paint and plain background, antsts Is chosen from Portfolio Plus, "while painting Free Me, ‘ur online, art forsale portal. For your | was moved by the subject, ‘chance to feature na forthcoming lt, Iwas overwhelmed by Issue, sign up for your own personalised emotions of belonging and Portfolio Plus page today. You can also: emotions of warmth says + Showcase, share and sell unlimited Hayam. “felt that anything artworks commission free ‘mare would take away from * Got your work seen across Artists & ‘those feeings” Imstrators octal media channels "Iknow you want to techrically |» Submit art fo eur onlin exhibitions teyeverything” she adds, “but |» Enjovexclusive discounts and more sometimes less is more” Signup in minutes at www.artistsand vwwartistsandilustrator.co.uk/ | Mstraters.coak/registor hayam-olsayodSAVE up to 30% off FOR ARTISTS OF ALL ABILITIES the shop price se wionT# 61000 For sv AN ART WORKSHO! HN Ns Mietrtesareeon It's like ova pre ee Pa coy hs +a testing ee getting 4 issues FREE receive a Faber-Castell sketch pad UK £44.95 (Usually £64.87) and graphite Europe €66.95 * USA $76.95 sketch set Australia $114.95 Rest of World £58.95Chatting over Zoom as he recovers from appen oc acklin . the Royal Academician tells STEVE PILL about classic scrapes in New York and is recent experiments with illustration 's many of us have found ‘ourselves unable to focus on bigger aristio statements during the pandemic and embarking on Unexpected little creative projects instead, itis pernaps reassuring to find one of the westem world’s leading painters has been doing ust the same. Bll Jackin is famed for is vast urban canvases that hang, Inthe Tate the Royal Academy and New York's Metropolitan Museum of Art and he thas regulrty completed malor projects for the likes ofthe Bank of England, The Wy restaurant and Washington National Airport, where a 24-foot mural graces the north terminal Like the rest of us, nowever, he found himself scaling back his ambitions during the Covid restrictions and returning to more personel ideas closer to home. For ears, Bill had been working off anc Conlin private ona graphie novel about an 8 Artists & Mlustrator “animal oreature" for his adopted daughter. With about 100 drawings stockpiled, he was keen to flesh out the story further, s0 he ‘approached Simon Asta, his sonnaw ‘rom his frst mariage and a novels in his own right. The fst craft captured the artist's imagination in unexpected ways. ‘Ttturned out that, more and more, his story was strongin its own right, 80 ‘we chose to put that [frst ites] to one ‘ide Bl explains. “Gradually, as is story strengthened, | enjoyed finding mages and visuals that complemented and pushed ‘the story, which is something that's very different from what! normally ry te do." ‘The result is Cressica's Dream, an artist's book that tells the rather fragmented and imusory story of 16-year-old gi Cressida, largely trom her father's perspective. itis set “inthe near future" yet in truth the sense ‘oftime feats rather elastic with modern references to hashtags and Wikipedia alongside rather nostalgic nods to photo booths, alway compartments and Grahame Greene novels. Bil's paintings forthe book range in style throughout, from modest watercolourand-paste illustrations through to larger ol paintings more in keeping with his gallery work. This artist's book wil be cispayes alongside Els atest watercolours, ols and manoprints in an exhibition, also tied Cressiaa’s Dream, at Ordovas, a gallery run by Simon's wife Pilar Ordovas on London's shih Savile Row. ‘The book's creative process was very much a symbiotic one, as new passages of text inspired artworks that in turn suggest ew avenues for Simon's writing “I think you'e doing something ke this, you have to be open to possibilties” says Bil “Tying to finda visual equvalont of what's happening inthe story would bo achallenge and >sometimes | couldn't part, Simon ar hi Working says, a very freeing experience Deca it But forthe m against each other” an ilustrator of sorts Itoftered an opportunity to put aside his ‘sual identity ~ “in my case, Bill Jackin, 1 create new imagery he develo sisting of repeating that he used se. “found the 5 within w rkinginat that time were far hag to destroy o stop and has changed throughout his long and varied career to date, Born in London in 1943, he realised {art was @ compulsion from an early age after smather gave him a set of paints and he promptly disappeared to Hampstead Heath forthe day to pant. “| hike was about eight a" he rec day and my parents] were b Is. "I ddn’t come home a and | stil remember m paniara’s In and it ha ‘the light hitting the buildin ng but what Island, USA, “concocted” is 2 word uring our rversation to it what he is searching rk. Rather than inventing an image, his paintings and prints have always involved a direct and rather emat in is own, al respons immeciate envionment.THE BIG INTERVIEW eee meer te ae Cee cee) eet “L enjoyed finding images and visuals that complemented and pushed the story” Ls This quest for realism took him to ‘Studio Seven, which involved working on Wiotthamstow College of Arn 1960, when tis rall posters and “alt of things that fellow stents included singer lan Dury __I thought were appalling’, Bll decide to ‘and film directors Peter Greenaway and Ken —_returnto painting and thee years at the Russel, and Bil was taught by Peter Blake Royal College of Art folowed. Avisit toa land Anthony Eyton RA [see issu 439] Rauschenberg exibition atthe “Tho spotight was shining on Walthamstow ‘ape Gallery in 1964 promptod Bll ‘atthat timo,” he recalls. “twas before they to write part of his thesis on the American ‘Were closing art schools and stopping part- artist's work “Ang sudden | painted time teachers so alotaf the people who __—Rauschenbergs fora while too he not wore teaching you were practising artists, Yet even at their most abstract, Bis early they were real It wasn't academic.” ystems paintings were, he says, about ‘Mtr a brief and apparently depressing “the movement of light” and how it informs stint as a graphic designer at Holborn’s ‘surfaces. Nevertheless, the minimalTHE BIG INTERVIEW language he had developed was proving limited an his work became gradually more ‘igurative throughout the 1970s. "If you're any great observer ofthe human condition, you realise that you change every day” he says. “I wanted tobe closer to my emotional lite on any gven day. So, if was feeling a certain way, | wantes to paint that way.” B's breakthrough came in 1985 when he deciles to move to Manhattan, “In the 1980s, New York was a rougher place and that wae what attracted me tit, quite frank,” he says. “Hound, for want of a better word, a muse.” “Making regular tips to “42nd Steet, sex shops all these sleazy places with his ‘photographer friend Abe Frajndien the pair would take turns to distract the various salubrious characters white the ether drew oF took pietures. “Ida whole sores of ‘ravings in Grand Central Station late at right and if row someone directly, they came at me," expains Bil. “I developed this way of looking sideways and drawing in my sketchbook. | had al kind of poys.” Going to such dangerous lengths may sound unnecessary but Bll insists these In situ drawings were a vital part ofthe reference gathering process for his lrge scale studlo canvases. “A photograph gave ‘me al the information needed, butt cin". fe me the rhythm,” he explains. “had to be thereto draw the fw of the people and the feeling of being in that space." The early 1990s were a good time for Bil professionaly as he was elected tothe Royal Academy of Ars in London and also became the official artistin-residence for the British Council in Hone Kong, “That was ‘an extraordinary time, before the Chinese took over” he says. "I spent most of my time in the streets drawing. It was a subject that fascinated me because it was so rough ‘and aw” was during this period that Bil ‘and his Second wife adopted a daughter from Vietnam and his new family enioyed the exat lifestyle. "Iwas born inthe later part ofthe war, 50 we were always moving, ‘and Ive always continued it. always ke being somewhere else. The art world is quite Insular and mayie itis ust in my nature too to ifferent places and see diferent tings.” Back in the US, this Englishman in New York became an inveterate watcher of crows at work and py, fom the ie skaters In Central Park andthe day-rippers at Coney lsland beach to the commuters at Grand Central Station. in each case the individuals are depicted as if part of some larger pattern at work, shifting organically through the light ‘and space mapped out in his canvases tke ort eal “A photograph didn’t give me rhythm T had to be there to draw the flow of the people and the feeling of being in that space”‘8 murmuration of starlings swing inthe twllght. The larger works made during this Period, such as 1999's Before the Dance Great Lawn Iwill surely de down as Bill's masterpieces, the most perfect cistilation of his interests. The dappled light is suggestive of higher power and the painterly control of soft and hard edges encourages the Viewer’ eye to dance among the crowds ‘and never sete. Sowstors, brides and the canyons of ight between skyscrapers were all employed as devices in subsequent Works, each a new setting for his masterful command of ight and space, Bil has just recovered from appends ~ “Iwas rushed of to hospital, sirens wali he says proudly ~ and we speak on one of his rst days back in his new studio. He tits his computer screen to show us the room, pat ofan old schoolhouse wit high ceilings: “t's relatively madest, butts a rice space.” Bills family moved to Rhode Island from Connecticut to be closer ta his motheri-aw ‘and living inthe “Ocean Stat ‘sea creep regularly into his recent paintings, particulary at night. "My studio is ul of, for want ofa better word, abstractions but if you look ata lt of even my mast figurative has seen the paintings, ther is an underying geometry ‘that belles the figuration.” Aside from the book illustrations, Bil's lotest canvases are perhaps the most purely abstract paintings he has produced in four decades, but he maintains that this is purely coincidental. Im not thinking in terms of Just going in that ciection, but | might just show them altogether and to hel withthe consequences,” he chuches. ‘You're going toget critiqued whichever which way you go" Cressdo's Dream: New Werk by Bil aciln RA runs fom 2 February to 22 Api at Ordovas, London. www:biljacklnatst.comArtist Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work ‘you have a stash of ert projects lurking in need of ‘completion? One ofthe great pleasures ofa creative mind isthe fences flow of new ideas and plans, but this can have a downside if youre constantly cropping workin-progress in favour of an exciting new endeavour, Finding away to balance the allure of ‘ew ideas with completing your work wil greatly improve your chances of developing a coherent incvidual style land progressing your skis, Pursuing. brillant idea seems so ‘much more attractive and sensible than working on dul old projects, and ‘occasionally it is the right thing todo. Make ita habit and the growing heap cof uncompleted work will become a burden, spoiling your creative time. Youll alse risk a new idea morphing Into yt another unfinished artwork. 24 Antss & lustrats Review your unfinished prolects ‘and work out what needs doing Any project that makes your heart plummet throw away or recycle Immediately. Set deacines for finishing the remainder and agree ‘that these too willbe destroyed unless they are completed on time, 66 Any project that makes your heart plurnmet, throw away immediately. Set deadlines for finishing the rest #9 Sounds harsh? We ll hang/on to unfinished work hoping miracles may happen. This realty check establishes, It your hearts int and ifthe idea deserves your drive and ascipine. it the work s ust a milstone, let it 0. Ty dividing up your unfinished projects depending on te approach they demand: ‘creative har thinking” relaxing mindless work’, new sks", “familar techniques" and so on. By choosing to finish artwork that suts your mood, schedule and situation, youl work much more productively. Wile you ae assessing the work, checking you have the ight materials {to nish each project wil help you to focus. Even betterifyou set aside the kit needed to make it easy to pick up your project. loften find prepping ‘materials can be enough to rekindle the enthusiasm ta finish a piece. Accept that you may give a project your best shot and stil fal to make it work, While thsi frustrating, don't see itas a waste of time. Respect the Cffort made in returning to your work. ‘Stamina and discipline are two key sls needed for making art and you'l have practised both. Congratulate yourself on finishing the job, et the work go, and move onto something ‘ow witha clear conscience. wr auraboewel ens Boswe, Snowcoue,Gn Painting is made easy with EDDING’s acrylic marker range, as 10 lucky winners will discover 1 you feel stuck in an artiste rut, mixing up your materials i highly recommended ‘way of fring up your ceativty. There's no better method for hamessing that spark than ‘opting fr art products that inspire with thelr Innovation and originality. ‘That's where Eding comes in. The brand has revolutionised the aoyle painting scene with ts exciting new range of acre markers. Compact, easy-to-use and hassle-free, these markers give artists the power to create paintings using a range of techniques. “This month Artists & Mlstrators has teamed up with Edging to offer 10 lucky readers the chance to sample the new ‘eric marker range by winning a bundle of ‘materials worth £130 each. This wilinciude the highly versatile broad marker which is capable ofboth thick 10mm strokes and fine lines thanks tots unique chisel i For even more precision and highlights, there's the 1:2mm fine version, while the ‘medium marker, with ts round 23mm nb, 's perfect for those in-between jobs. ‘There's even a double 3D liner, which contains atstquality anc and has two nozzles for greater exit. Also bigin scope fare the brillant colours, with upto 26 hues ‘avaiable. Allthe markers are waterproof, mixable, high pigmented and lightfast, anc nobrushes ae required, which results in Spontaneous, uncomplicated creativity for all Founded in 1960 in Hamburg. Germany, by two fiends, Eng’s goal has always been to provide the right marker for ary application cor surface. Asa rut, the company's product ranges include permanent markers, bighighters, fore and felt pens, intiners ‘and paint markers, as well as writing, and lettering and caligraphy materia PRIZE DRAW | z) ‘The full range of products can be seen on Edding’s website, alongside a collection of ‘stop-by stop guides to help beginners got to ‘ers with the magle of thor acrylic markers ‘maedding.com Ten winners, chosen at random, wll each receive an Edging Acrylic Marker bundle (worth RRP £130) inclucing: One setf ve 3D Double Liners + One setaf ve boad Aaryle Markers + One setof five medium Acrylic Markers + One “Start Easy” set of eight fine and broad -Acsylc Markers + One A4 300¢sm acrylic and ol artist pad Enter by noon on 17 March 2022, elther at wwwaartisteandlllustrators.co.uk/ ‘competitions or by fling inthe form below ‘and posting ito: Edding Prize Draw, Artists & Imustrators, Chelsea Magazine Company Lt, 2 Juble Place, London 53 3TQ. EDDING PRIZE DRAW | | pesos Postcode | Telephone:Vincent van Gogh To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master's self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display 1. Self-Portrait with Felt Hat December 1886 - January 1887 (it on canvas, 41.5x32.5em Vincent van Gogh painted atleast 35 set: portraits curing his Mfetime and the majority of those were made during his ime in Paris. It wasn't vanity that inspired these reflective studies, but rather a deste to hone his techniques coupled with “want of better mod”. Having arrived in the French capital In March 41886, the artist shared a Montmartre apartment with his art dealer brother Théo and began studlesin the atelier ofthe historical painter Femand Corman, who would also count Henri de Toulouse-Lautrec and later Chaim Soutine among bis pupils, This ealyseitportrat was painted over ‘a rude study that Vincent had made during his Initia stuces with Cormon, 2. Self-Portrait March-June 1887 Oil on cardboard, 41x33em That this neo-Impressionst study was made on card suggests much about the artist's intentions, This was an experiment, not destined forthe Pais, Salon ~ which makes the fact that thas survives ‘more than 430 years even more remarkable. The aris leary thought litle oft, leaving it behind at his brothers apartment they were no longer sharing living quarters by 1887, Vincent having moved to the suburb of Asnidres). Yt while twas never exhibited during his ifetime, tis remarkable study reveals a blossoming ofthe artist's technique. Gone are the block colours of the previous year, along wth the darker tones of ‘The Potato Eaters. In ther place, we see a healthy dose of white paint and an experiment to suggest the textures ofa jacket with broken brushmarks. 3. Self-Portrait with Grey Felt Hat Spring 1887 Ot on cardboard, 42x34em ‘The fragmented experiments of the previous porvait coalesced Into more cohesive ished atile here = albeit one that was also painted on cardboard ‘and stil contains then: audacious visible strokes Use the Courtauld exhibition ‘asa chance to look closely at the surface ofthis partiulor seltportrat(orhead tothe Fiksmuseum website to see ‘reproduction using the extensive zoom function and you can spot single impasto ink ne highlighting each eyelid vibrant stoke of yellow pleked outin the beard or the scrubbed green and cyan passages of his cravat that hhave melded with the underying colours >ART HISTORY 4, Self-Portrait ‘Summer 1887 (it on canvas, 40.3x34em ‘The provenance of this particular selfportrait had been called into ‘question over the years. Despite appearing in exhibitions as a Van Gogh original as far back as 1943, eres fet it parhaps didnt mate Up tai other works. Xray technolegy eventually canted its authenticity, when traces of a second painting - @ peasant woman in keeping witn Vincent's earlier work ~ was revealed underneath. Nevertheless, when seen inthe chronology of Vincent's other seltporvaits, It seems a step apart. The fragmented brushwork has been callad tack in favour of a simple dark background. While stil ‘a masterpiece by most standards, it survives as proof that his brief career was not al progress, ana that even the greats have bad days. 5. Self-Portrait with Straw Hat ‘August September 1887 Olt on panel, 34.9126,7em ‘One ofthe mare noticeable effets of Vincent's stay in Pars and Immersion inthe work ofthe fledging impressionist movement was the lightening of his palette. This late summer portrait bears a soft bright background, dappled with pastel pinks and sky blues, Indicative of hs lighter mood atthe time. “Instead of tying to reproduce exactly what | have before my eyes, | use colour more arbitrarily n order to express myself more fore,” ne would later wrt. 6. Self-Portrait with Grey Felt Hat ‘September-October 1887 (ll on cotton, 44.5:37.2em Wile in Asniéres, Vinoent had been studying the paintings ofthe Pointilists ~ fellow Pars hased artists such as Georges Seurat and Paul Signac- who fled the surface of their canvases with dots of pure colour which mixed optically when viewers stood back. He adapted their techniques here, favouring longer strokes that form a halo around the titular tier, while placing clashing complementary colours \ i ea a a nanny wr for the fact thet some of the artists pigments Placing strokes of faded. Conservators atthe Van Gogh Museum ‘complementary colours — determined that many of the bue strokes seen \\\|_ sch able nd orange = here were exiginaly purple, the reds inthe mix next to each other can having deteriorated over tine, ‘cause intresting ‘optical effects7. Self-Portrait as a Painter December 4887 ~ February 1888 Oil on canvas, 65.2x50em If Vincent came to Paris to study, he left 8 ‘ful formed artist, as this nal self-portrait from that period attests. Life in the French capital had ground him down though, 8 he headed to Aras onthe Provence coast to recharge. Ina letter to his sister Wllemien, he described his appearance inthis portrait in detail “A pinkgrey face with green eves, ash-coloured hai, wrinkles in forehead and around the mouth stiffly wooden, a very red beard, quite unkempt and sad, but the lps fare ful a blue smack of coarse nen, ‘anda palette with lemon yellow, vermilion, Veronese green, cobat blue. The colour choioes were a statement in themselves, such bright pigments @ contrast tothe proscribed natural hues of tractional atelier class. >8. Self-Portrait with Bandaged Ear January 1889 (on canvas, 60.5x50em ‘After mutilating his left ear following an argument with fellow artist Paul Gauguin, Vincent was admitted to hospital in Aces fang dlcharged inthe fst week of January. In a etter to his brother Théo that same month, he confessed that his “unbearable hallucinations" had stopped, yet the bandages remained. Quite what the intentions were behind this remarkable statement piece are unclear. The bandage could be read as confrontational. 2 c1y for help fom a troubled painter kean to show the world his troubles. Yet the almost blank canvas behind him on the easel couples with a favourite Japanese print on the wall behind suggests an atist inspired and eager to get back to work ‘One thing we can be sure of thanks to this painting isthe artist's technique when it came to self portraiture. Vincent nad cut his eft ‘bar, ythe bandage here covers the right one - proof that a mitvor was involve in capturing his own tkeness, rather than photogranhy orother means, 9. Self-Portrait Late August 1889 Olt on canvas, 51.5x4Sem ‘Mera return to hospital, Vincent volunteered himself to enter an ‘asylum set in a former monastery in nearby Saint Rémy. He had two rooms to himself, ane of which became a makeshift studio in which subject matter was limited. Vincent made copies of masterworks and produced a number of landscapes inspired by his short, supervised walks in the Provencal countryside. He algo made several set portraits, including this haunted ikeness with sad, deep set eyes and furrowed brow. ART HISTORY When painting a seltportalt, consider your surroundings and what the objects contained within them might say ‘about you and your ‘character 10. Self-Portrait September 1889, Ol on eanvas, 87.8144.5em “People say ~ and !™m quite wing to believe it that it's diffcut ‘to know onesetf” opined Vincent in another letter to Théo in September 1889. “But t's not easy to paint onesetf either.” Nevertheless he went onto describe several seltportaits ‘that were curently under way. This particular painting was completed in a singe sitting ina virtuoso demonstration ofthe troubled artist's talents, as the lush blue sweeping lines of his smock echo the swing skies ‘of his Starry Night. Iwas also the one that he fet captured his “true character, albeit wit a gaunt face, jaundiced complexion and haunted stare In that same eter, Vincent nad sounded almost hopeful for the future: "I eould almost believe that | have @ new perod of Clarity ahead of me.” Sadly, he would be dead within 10 months ‘rom a setinficted gunshot wound and the Washington Self-portrait would remain one of his last. on Gogh SelPortrats runs from 3 February to @ May at Tho Courtauld Gallory, London, www.courtuld.2c.ukBerkery The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio fom Gorglone’s Sleeping Venus to The Dream by Pabio, Picasso, great artists have ‘been painting slumbering ‘subjects for centuries, but there is ‘til something wholly orignal about Shane Berkeny's offering to the ‘tradition, Satvatore of Lucan. ‘Surreal and subliminal, the oll painting depicts a figure fused with ‘the rural landscape in which he sleeps. The green, grassy terain is one and the same as his jacket, Which clothes a torso of clouds and our ifetike ars, at the end of which tne hand holds ait elgarette Topping off this fantastical vision is a handsome face in repose, rendered with a dreamy, delicate realism. ‘The Tokyo-orn, Dubln-based anist intended to simply paint his friend, Salvatore, but the concept ‘soon grew to encompass themas of Identity and belonging, “My frend is ‘2180 biracial,” Shane explains of his half-Bangladeshi haflrsh subject. “He gets the question, Where are you from? No, where are you really from, alot and his answer Is always: Lucan. It's just a place in Dublin and itdoesn't actually look like [the painting], but | wanted to integrate Salvatore into the landscape to show that Lucan is part of his identity” More often, itis references to Shane's own cultural backaround that fiter into his art. Bor in Tokyo in 1992, the artist spent his early ctildhood inthe US states of Virginia ‘and Ohia, before relocating back to Japan atthe age of seven. He then ‘moved to Dubin inhi early teens and went onto study atthe city's National Colege of Art and Design. ‘ter graduatingin 2015 and ‘securing gallery suppor, Shane was > ALi was ‘sed upon an Informal photo oftwo ofthe | nists trendsIN THE STUDIO able to renta studio inthe ety and transition to life as a fulltime artist. For the past two years, he has been working in a purpose-built garden studio in the Dubin suburb of Crumiin, yet the visual aesthetic he was ‘exposed to curing his time in Japan reveals itself inthe flatter, graphic style of his figurative ol paintings. ‘More personal influences arise ftom Shane's choice of reference ‘material "I paint a lot from pictures that my Japanese grandad took back In the 1950s and 60s, He has these really gorgeous black-and-white photographs of his friends and his colleagues and nis family. When | seo these pictures, I can see myself ‘ny grandad. ook te Nima te T always try to start a painting with a bitand | fel this fake sense of + ir - nostaiga-teoianatinytornem” different colour... I build on ones that have jayens easel aan siey worked in the past and see what I can add suits and women in elegant kimonos 99 feature puncy palette combinations far removed from the original ‘monochrome shots. Having no ian! colour reference forces Shane tot ll inthe bianks, resulting in vvid hues, of pink, turquoise and lilac that defy the usual canfines of realism, “My granad's photos started me oft onthe whole journey ef stung | colour” he adds. “I now always try tostart a painting wth a different colour each time. bull on colours that have worked inthe past and see wnat can add or do ciferentiy” Another feature of Shane's work is the depiction of faces impossible to grasp in ther entirety. Whether i's the way @head is angled or the luring of festures, the identity of @ subject s never truly revealed, “Ike it when the face isnt too specifi, so its more anonymous,” he explain. “An anonymous face that is less ‘bout portraiture but more about capturing an essence of somebody ° that's one of the things after cigarette. "twas about the sharing Involved atimesintensve planning | @ Sevatore or wen I'm painting, My practice of warmth andthe connection stad, but for Shane, it's @ more cen bends revolves around studying how that between strangers," he explains. intuitive afar. "The painting process nis tena wit works within the language of paint” “Iwanted todo the background Informs what happens most ofthe we landscape When not working from old family expressionistic and more gestural, time," he explains. “Ijust start with | Taatonal photos, Shane tums to pictures of then tall starts to come together inthe focal point of the painting and posta eve Fis fiends, both candid and staged. the igures...The action fs hidden allow the rest tohappen. Sometimes Shane's ality One particular day outin the city behind the hand, so wanted to _—_ might have abasic idea in ming, forreatism Photographing two of his best mates project what is happening behind _ but mosty the painting evolves as Q exigne gn resulted in A Light, large-scale the hand onto the background.” I work ont captures the painting depicting two men on a might be assumed that a ‘Throughout the work stacked up | atmosphere ota Donch, one lighting the othor's ‘otaied painting such as this InShane’s studio, iguresrife with > | FrenennaiaayIN THE STUDIO. Wor in progress in ‘Shane's Dubin home stuaio Many works exper is Inisapanese| heritage vi ott amy photos Restaurant famastercoss In choosing whieh elements taleaveinorout ‘ealism are contred within looser, ‘more abstract backgrounds, enhancing tne effect ofthe subject's presence. Other stylistic choices Include leaving blank canvas exposed ‘or brushwork messy and unrefined, put these omissions have a purpose 100: "With the unfinished fareas), Heel there ts more action there. You can see the action of the artist in the painting, so that gives it another dimension. The more rendered an artworkis, the more it gets closer to ‘photo, and when you'e looking at ‘that sort of image, youve looking at what is being represented rather than the representation tse” I paint a lot from photos that my Japanese grandad took in the 1950s and 60s... I feel an affinity to them Another stylistic choice is to block out areas of certain forms. For ‘example, in Bright Light, a painting of his gltfiend on holiday in France, this eppears in the clearly defined ‘white section of his subject's shirt as, wal as the white rectangular shapes ‘across the apartment buildings inthe background, “I wanted to ‘capture the heat and the brightness fof the Mediterranean sun in 8 way ‘that wasn’t just using warm colours ‘and yellows,” Shane explains. “Instead of using warm colours to do the brightness and the warmness, | used the white panels instead. It was just alittle challenge to convey the brightness in a diferent way.” ‘Shane's entire approach often sees him setting himself obstacles to-overcome and ths is revealing of la determined mindset that values the process over the outcome, Each new painting is viewed ‘as an opportunity to practice or ‘experiment witha cortain technique or texture, helping to alleviate thedebilitating pressures that striving for a perfect fnal piece can produce. ‘Shane puts the hours in routinely In bs studio from 9am to 6pm, but recertly abandoned the background noise of podcasts or musicina bid tohelp him concentrate ~ "Tm tying todoit in silence to see if my focus Is better" ~ while the realisation ‘of new ideas is continually in evelopment too. Arecent sel portrait, Deep Wood, which was selected for the Ruth Borchara Collection's SeiFPortrait Prize 2024 exhibition, explores now images linger inthe mina’ eye, while he Is currenty working away on 8 reinterpretation ofa classical nude ‘igure by the 19th-century French painter Jules Joseph Lefebvre, which rmatks something of @ departure ‘rom the young artist's output sofa. ‘Shane turns 30 this year and he has firmly made his mark in reland, ‘Winning @ scholarship from the Royal Hibernian Academy, painting a mu {or Sinead 0'Canner, and being named one of 10 “ish Painters Under 30 to Watch” by RTE Cultur Nevertheless, it comes as a surprise tohear him musing onthe topic of progression already, not least as his, painting prowess appears to have arrived fully formed. “Once youstart {getting too precious about paintings, they don't really move forward,” he suggests, stil dsplaying that strong desir to keep growing and Improving upen both the realistic land abstract elements of his work. Hopefully his means we can expect more of his inimitable Interpretations of the word, elusive with their dream-tike detail, ‘evocative of emotions experienced long ago and striking with their unparalleled visceral beauty wnw.shaneberkery.com eer ane Botanie Garden reveats is gt foc abaraction ad bent nesBRING THE Join international watercolour maestro ALVARO CASTAGNET in London's West End to paint a dramatic street scene “ fe Se fare was bom in Uruguay and ive there row, but London remains one of ny favourite ties to visit~ and, of course, to pat. eel so inspired by London's architecture; tis home to some of the most beautiful builsings on the planet, both old and new, which make walking around the city an ‘awe inspiring experience The Palace Theatre, with ts red-brick fagade, isso beautiful and monumental, dominating the busy pedestrianised intersection of ‘Cambridge Circus in London's West End. sa subject. it had great energy =the ight was hitting the busingfrom the side, making it so striking and inviting to pant. veral photos touse as a and the energy of so mary people walking around, eniovinga beautiful ay in the British capital. Ina busy ‘accentuate the focal point. When there re so many elements ~ the Ie, the beautiful bullaings, the can easily Cecio what the focal point of your set carried away by everyting else. In this painting, the viewers ees wander through the painting but eventually they est on the focal point around the sign forthe current production, Harry Potter and the (cursed Onl. y dressed up the people rand added people walking towards that focal point, as al these tle details nelp to reinforce the centre of attention and make for a ‘dynamic painting Avate returns to the UK forthe International Watercolour Masters event which runs 16-29 May at Uleshall Wall Shropshire, wnw.aharacastagnet.net a ee cy cry emer) error ere Peer es erty castonetnet/estore resented nears ee el ety Cees eon an Ceres eer) ree eco coi eon “Masking tape ee eer See a +68 pencilMASTERCLASS ‘This painting required mostly warm hues. tis very | taped my watercolour paper toa drawing board and sketched the Important to decide on a colour palette at te start ana stick composition in pencil, marking the points of reference. itis important to Toit until the end, as working with hues from the same family ssimpliy a busy scene nto shapes, so! kept my initial drawing very simple | of colours creates unity and harmony. ‘and loose. dnt want to include al the detalsof te rch architecture, The fst wash was made with a size 10 mop brush, using s0 Iconcentrated on achieving a rhythm of shapes. This is crucial ~ tis Yellow Ochre all across the paper and Cobalt Blue for the what gives your painting visual interest sky. Working ery quick | added a wash of Burnt Sienna | no longer invest alt of time drawing, as I rather lke having ess drawing | Light with a hint of Pyrrl Orange over the buildings. | made ‘support this way 1am free to explore, rather han folow a tight guide. ke | sure to leave some white of the paper showing forthe awning the idea of making further Improvements as | develop the actual painting. | and neads ofthe people passing by. a ee Working wth the leftover colour in my palette and a bit of Aivaro's Fresco Grey worked on the cars and people coming into the road | allowed the top washes to come down ‘and blend onthe foreground. With a smaller mop brush and. Working on the opposite side of the road tothe light bulding, ‘Avare's Fresco Grey, painted the domes and the gable root. | | painted the shadows with a mixture of Alvare's Fresco Grey and Pytrol Then I puta bt of colour on the car headlights and some | Red with some hints of Burnt Sienna Light and Neutral Tint as came Pyro! Red and Lavender on the figures. down closer tothe street. | wanted to keep things darker down below (Once finished, | dried out the layers using my hairdryer | and the same mixture but lighter and cooler toward the roctops. | also atan angle, so the heat didn't peel off the tape. 1 made placed smaller strokes to suggest the shapes of cars and people. sure the paper was totally dry and with no buckies before I then used the water spray mister on the upper sections to dite the starting the next stag. colour sight, titing the board go the wash ran down the page a ite.MASTERCLASS Using very ite water and ots of pigment, | worked on the people and other goings on underneath the awning, | used the smallest mop brush fortis and changed the colours slightly each time, though always using Pyrol Red asa base colour. | Worked weton-ary with a smaller mop brush and a ‘The challenge for me ts always inthe ‘mixture of Bumt Senna Light and Sepia to add architectural | qualty of my brushstrokes -1 lke them to hit etals to the building where the light was hitting it the paper in one go, sort of touch and go Working into the stil wet reas, lenhanced the fel of | technique similar tothe alla prima method surligt by placing small brushstrokes of Lavender to of ols and aciyes. A good brushstoke Is simulate the windows and the sign, all placed very quickly | one that explots the texture ofthe paper before the layer undemeath had died. ‘and establishes rythm ina paling, A } Working on the lefthand side, | used darker hues to suggest cars and people going tothe theatre as they can help give a sense of scale. | used negative shapes and abstract marks ta let the figures emerge without geting bogged down in too much detal. created the people's shadows on the pavement using the previous mixture let over in my palette. | wanted to keep the colour harmony ofthe painting, but ! needed to introduce some other colours to paint people's clothes and more details. This is @ bt tricky, as you want a variety of hues without any disruptive or clashing colours, soit is best to use variations ofthe same hues. Now itis time t start pling the painting ‘together. Using my special igor brush, | worked on the strestights, traffic ights and stoet wires. Using Burt Sienna Light and Sepia, | also placed some strokes that would suggest the windows on the It fagade. These extra strokes make a subtle citference te how we read each shape. >MASTERCLASS |fnisned the people by applying some ‘Cadmium Orange Hue for thelr faces and Titanium White forthe highlights on their While Keeping in mind the unity of the picture asa whole, painted the "Harry Potter" shoulders hats, and shirts. used a larger | sign with a miture of Pyrrol Orange anda bit of Titanium White. | also used a wet on dry synthetic brush fortis stage, because the | technique here and there to maximise depth, texture and ight. | am always careful not to brstes have ess spring than natural hair | overwork the tals, while stil placing enaugh strokes to enhance the huste-and bustle ‘and so offered more contro atmosphere that | wanted to reflect. | always enjoy pling the tape off. I's a great feeing nen you see your panting expresses your inital vision and you krowall the elements have come together to communicate the feeling and the mood ofthe place with real passion, ‘There are no definite rules in painting. Each picture is | added detals to make the painting tvelier, happier and full of ferent and comes with ts own parameters and demands. ‘movement. few small touches of exotic hues brightened up the painting, | The moment you drop the frst washes, you begin aclalogue without interfering with the mood and colour temperature of the overall between you and the paper Let the work guide you, take Painting. When |was happy wth the paintng'2s.a whole and felt sure the | your time to observe and apply your ideas wth assertive Vision of what | wanted to express was clear and the mood had been strokes. Techniques should always follow your ial vision ~ Achieved, | proceeded to sign the corner, choosing the left-hand side to Stick with it until the end to give your work power and tis in balance the composition, turn wil encourage yout find the right working methods.PYrO_ Brand New Products from your favourite brushmakert Avallable throug all good! reales Ken, Bromley Here of Pro Arte we've been busy, very busy! Coss of both Squirrel and Art Supplies’ Peper cate ede eee Beh ace Naa a as ARTSUPPLIES.CO.UK GREAT DISCOUNTS UNBEATABLE SERVICE Soblesque isa saistying blend Cf synthetic and natural hair rmonutoctures in @ ational wie ‘mop style. These create ‘on alernative to puro squiel mop brushes whilst saltying th sable puri nooks like sabe, eal ke sable and it works tke sable, dll a fraction of pure sable prices! evelopment continues ot « pace. We have lots of nei ideas, £0 be sure fo follow son social media. 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Alte Pro Ato Lc, Park Mil, Brougham srt, Skipton, 8023 21N ‘ocmrineprearta co.uk + wi procr=.couk Fotow won intagram aproatebrater Kj Foton us on oAreBushes @roseneyar — Graney . » Learn the tricks of the trade from leading : on our six-week online Illustrating a enact Children’s Picture Book course: AIMAG2022 + Find inspiration and develop your ideas + Design memorable characters + Plan your story and spreads + Refine your technique course Dates + Create a portfolio of your illustrations 24 Feb-S Apr 2022 i aa Start your children’s picture book journey today www.curtisbrowncreative.co.uk | Tel: 020 7393 4201 | Email: cbccourses @curtisbrown.co.ukIn this exclusive extract from her new book botanical artist CAROLYN JENKINS shares her thoughts ‘on how to recreate a perfect seasonal palette think about colour In terms of how i wit Impact a painting, maybe adding some ‘drama using brant or contrasting colours, ‘or using colour combinations to create harmonies, | am especially drawn to subjects With intense or vivid shades and less soto pale colours. However, like to try to nd Colours within a subject that go unnoticed ‘and perticularty enjoy doing this with dries specimens. At fist glance they might appear tobe brown or grey but consist of so many other colours i studied very careful currently working on avery simple piece of dried garlic skin that intially ‘appeared to bea very light shade of grey. But when | actually looked att in detail itrevealed a huge variety of colours: blues, yellows, browns, pinks and greens. 'm painting at sixtimes its actual size with the aim to clearly reveal ts subtle colours and deals | make lots of colour swatches before starting, to make sure | get all the right. paints on my palette ready for a painting “These are sourced from my specimens and from the many photographs Itake of them. CColourmatchingis often done directly from a monitor fam happy with the photographic result | wil also try washing out the paint ‘swatches to see how easy is ot colour fut in cae | want to remove it to create 44 Artists & Mustrators highlights tater on. Ifthe paints very staining, Im careful not to bull up the layers too deeply. find the deeper the colour of plant or ‘ower, the easier itis to paint ~ starting quite pale and building up the colour in layers. tis ‘much easier to add colour with watercolour paints than to take away ortryto wash itout. Theres @ danger of spling the surtace of the paper it's wetted and dabbed to often, Green leaves ‘The Rowers most often the main focus ‘of my painting, but leaves can be just as, fascinating, nd if @ ower doesnt nave ‘enough variety of colour, adding green wil normally bring the composition to lie. The greens of leaves, stems or bracts teate a good contrast. sa good idea too lots of watercolour ‘swatches before stating a painting ~to hole up against the leaves you are illustrating. Imigt surprise you how many variations ‘of colour there are within 2 single leat. "tend not to use green paint straight from the tube as it has a rather arf look. Like ll botanical ilustratos, Ihave my own palette for mixing greens. | use a mixture ‘of Winsor Blue (Green Shade) with Winsor Yellow fora very bright apple-green (which is actually too saturated forthe natural shade ‘of most leaves) By adsing small amounts. > Roses The commission to ait these very ale Wotton Ot Hal roses was made easir asthey wore tobe shown against 8 dark cour Tis meant sata of the ecges vere leary defined byte almost back background —~Catirus sone of my favour plans, main forth seasonal changes. To laves aro ren for vory ong 36a lot of varios omergo re, ‘um geen ars then bak bilan eds or oranges in the autumn. ‘of Quinacrdone Gold or some red, | add warmth and “knock back" the brightness to create a much more realistic shade of green. For a greyer green or olive green I wil use French Ultramarine asthe be in the mix, \ahich contains more red than Winsor Blue. The challenge of ‘no colour’ ‘The most challenging paintings are the ones lunere theres ether very litle colour or the subjectis white. Working up a white subject, ‘oma white background meens there Is no holding shadow to define the edges. In realty, even @ white flower nt really ute thee is normally some very pale colour in there ~ apart from the highlighted areas. The edges ofa write flower can be efined by adding subtle shading shard not to make a white lower look boring and grey so you have to really look for some colour within the petals and maybe slightly exaggerate it wth very pale blues, cchres or greens. White paints occasionally useful when painting the tiny white hairs sometimes found on stems and leaves. For this use Titanium White, Where the hai overlaps ‘onto the white background, | wil irish off the end ofthe hair with avery pale grey soitcan be seen on the white of the paper (atechnique !learned from botanical artist ‘and teacher Helen Allen while on the course atthe English Gardening Schoo}. White flowers \Wiite paint isnot often used in watercolour ‘and is not needes when painting white flowers on a white background ~ the paper is your white, (nce you have decides on a composition, {ts important to draw the outines of your flowers ver faint. The pencil ines shouldn't ‘Show on the finished painting. !use a putty rubber to liftoff the crawing unt it’s harely sible I's a good idea to do lots of tests of light paint washes on a separate piece of watercolour paper before beginning and nold them up against your subject to compare colour and tone. | start painting by using a wash of clean water on a single petal and then crop in Incredibly pale washes of whatever colour that think predominates. Normally this Isnt just grey but a subtle variation or mix COLOUR THEORY ‘Maidenhait fern Maidennacfern (@atantum) has warm 000 loavos with ots of in on fanning couttothe edges. of blues, yellows or reds. leave the lightest areas completely clear of paint forthe nights ‘When these washes are absolutely ary, | work with avery small brush on the areas ‘that are in shadow ~ and therefore darker with a dry brush, using minute stokes and bulaing up tonal layers to create a three ‘dimensional form. I's 2 good idea to go lighter than you think you need to t's easier ‘to 8dd darker shaces than remove the pint later on as you progress. ‘The margins of white petals can disappear ‘gains the background, s0 | improvise here ‘and add very subtle shading atthe edges to make them more visible. Another technique ‘tomake painting white flowers easier is to ‘add leaf behind the petal when working ‘outa composition ~ this will make it very ‘lear where the petal edge ends. This an edited extract rom New Ideas ‘n Botanea Pintng by Carolyn Jenkin with olen Birch, published by Batsford. vwwnataford.com Anists & MhustratonsarDRAW In this extended guide. Draw Brighton's JAKE SPICER shares his unique three-stage method for creating an interesting. layered portrait with oil pastel and coloured pencil NGS as Anists & ustratorshen we first star to engage seriously with drawing. 2 willingness to explore familar materials often serves us better than an adherence to 8 limited range of mecia. While the range of Potential tools at our cispasal can seem ‘overwhelming, @ playful enthusiasm forthe tactile qualities of our materials and a focus fon process rather than outcome can help us to engage with 8s many ways of working. as possible. It's through such experimentation that we learn which mediums we enjoy using, which colour palettes we retum to, and which surfaces we lke to make macks on. Refining those preferences under the guidance of peers, teachers and favourite artworks, cur earlier experiments become a broad foundation to support a narrowing practice. ‘As wo become more confident and competent, many of us gravitate towards Increasing limited materials, doveloping ‘praforences for this brand of pen on that specitc support and tis through the repeated use of those specialised materials, that we nurture an intulive relationship with the medium. Born of experience, our Increased sensitivity allows us to anticipate ‘when to contol a medium’s marks and when tolet the material do the work for us; this ‘narrow focus is the route to mastery of @ craft. However, there are times when we can become bored of our own practice, or when \we find something we wish to express thats ‘outside the gamut of our medium of choice that is when itis important to innovate, The process that Il descrie inthis article was developed in response to my frustration atthe slow speed of my coloured pencil ‘drawings, coupled witha desire to maintain the draughtsman tke qualities of the ‘medium, It involved layering coloured penci ‘and oll pastel ona durable surface, a process catalysed by ooking atthe scraped il pastel drawings ofthe artist Simon DDonagly. The proces of repeat application ‘and erasure encourages reappraisal of the subject, while the scraping back creates Spontaneous and unexpected marks, tempered by the clanty of coloured pencil You might want to try this three-step process a itis described below or adapt it tosuityour own work. However, even ifthe process doesn't suit you, I'l recommend setting aside sometime for your own ‘material experiments. It you are new to painting an drawing, you wil aways benefit ‘om experimenting with new media ~at ‘uch an early stage, what have you got to Joa from trying something naw? Ifyou have fa developed practice and a preference for a narrow range of materia, itis stil hugely rowarcing to set aside dedicated time to ‘@clore anew process and to bring an Inteligonce of seeing and a developed creative vison 10 fresh medium, > IN-DEPTH ‘The repeated scraping involved inthis process requires a durable surface. | used a reeled pieve of plywood for my ‘rawing of Tend. sanded the surface ta provise a key and applied five coats of white acrylic gesso primer, using a fat baker's brush | applied the fist coat straight from the pot, followed by four more layers diluted tothe consistency of double cream ~ a greater number of dilute layers require less sanding tran a smaler number of viscous ayers. The baker's brush wil eave visble Stratis in the surface ofthe primer. ‘Alternate the application ofthe gesso layers horizontally then vertical. \ Arter each layer, leave the gesso to dry or several hours befor lightly sanding It Applying the next coat n the opposite destin. The resultant mesh-tke ‘texture helps to hod the oll pastels, but ‘00 much of it wl inhibit your coloured pencil marks. You may want to prime & ‘ew test boards before beginning a final work to decide how much sanding is require for you prferred texture. Anists & Musrators4@