FOR ARTISTS OF ALL ABILITIES TIPS - TECHNIQUES - IDEAS - INSPIRATION February 2022 £4.99 Meesaates ca Beyile Ke ey wat i. Improve your palette choices How to... Draw perfect eyes © Paint cloudy skies e Mix interesting greysTHE HEATHERLEY SCHOOL OF FINE ART Chelsea + Established 1845 Part Time Day & Evening Courses IN} 1) i Nt ) \f 5 Encollingnow! rata) A range of courses for beginners as well as more experienced artists Also: Full time Diploma courses in portraiture and sculpture Painting * Ceramics * Life Drawing * Watercolour Printmaking Portraiture * Sculpture www.heatherleys.org 75 Lots Road, London, SW10 ORN Telephone: 020 7351 4190 Email: info@heatherleys.orgsteed trata Te cnlen ‘Naeaina Congo La uae rose, Pibiee Pace tans W370 Teto20) 7249 300 ‘roms Lye ton Mowry oD oer cava Sa le See oxune erouies Araneae Onur aton Stentor Group Sls bret Caren Ch iteemtnedacoak Ir ates ston not inna Offer Vick Gos Stns Manag Monoga ret Weak rp big Manger en sander ‘nteeeomagasne on/stop = Welcome “Malking an art 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 im never quite sure whether to wish you a happy Christmas, New Year, or Easter at this point. What Ido know is tha the winter months are a good time to take stock. often like to pull out piles of eld work, finishing up some STAY INSPIRED BY eas and dlscrdng cers. find mye! developing the etal in alorgoten SUBSCRIBING drawing o evising portals where never que caught the likeness. Theres Artists & Mustrators ever a pleasure in ooking a something made ve years ago and admiting tha sae patups you ae inproved lal, despin bw el onthowe neces. = ‘When thd the pleasure of isting the tudoof Anthony Eyton for this Sener isu, he pov shoved ne the rts of hi recen yp and in our aaa interview on page 2, he tals ofthe eveations that this uncmeed eee, Eyton someone who serms delighted by the posses oft. Every Sites reference phot pote sje, every sketch crete path yet to be eres explored. He may tur 99 next May, ye etal ikea man who is only just ‘stepson Dep oer pptng stared, Art can hae that ef on oo, whatever month youn Coden Mages Toner = Steve Pil, Eator tao soe nat Natoregh E18 96F ener wrsitsrptoncost/ us your Ing, tio ett coven an you su win a £50 vu: ay Send us your ts paltngs, tis o attic cover an you coud win & £50 vouch ssenevoures ioeatssentitatecosk FO ekarcnagnne KH tststntctate tra tsesiae, nowt @randinagaine EE] axanatmagaineLetters ‘Sena us you at and stores Exhibitions The URS top art shows this month ‘Sketchbook Quicktips, ideas and inepiaton Fresh Paint ‘The Working Artist \With ou columnist Laura Boswell Prize Draw Win fve £200 course vousners Meet the Artist Wan iustratorEoward Cavey staying create at the age of 98 Contents Art History Discover why 2022 Is set tobe the year of Thomas Gainsboroush In The Studio Popular printmaker and lusrator Angela Hacaing at workin Rutland Masterclass _Ennance your subject with this sastap gukde to making a plture Principles of Depth ‘To conchae his series, ake Spicer looks atthe effects of details Technique Hashim Ak on working with greys B In-Depth ‘comprehensive guide to paeting zes and washes in watercolour How I Paint Drushstokes are the key to Peter Graamis vibrant paintings from ite Project Why a wsual dary con be a useful way to stay creative every ay Demo Lea how gazes of colour can add softness and depth to skies Drawing Workshop To draw better eyes, Laura Smith looks at portraits bythe greate Leam howe add colour te eeeaca ny Several years ago, wile browsing in 2 lacal bookstore, | came across a litle watercolour posteard kt Ithad everything needed to start paling. (On a whim, | bought. ‘ter peimting the 10 postearas (mostly people, never mailed) | got the feeling | wes onto something. So, kept going and eventually branches out inte acrylics, pastels {and drawing. Arthas been such an unexpected Joy for me and quite by 2ccident.m perfectly hapoy at age 76 to be a “hobbyist” and learn a5 | taking class now and then and ‘even participating in a local art show. Thank you for your magazine and for this opportunity to respond, Sally Ford, Montana, USA | thought your readers might be Interested to 300 what | have been Lp to during the fst lockdown. Iimade @ sketch in 1989 and produced an edition of linacuts from, but my ral intention was to create an ll painting. The board was. primed, ready, and stood against the wallin my stuco, but there it Femained for 32 years, waiting for otk to begin. Commissions, and life in general, gotin the way Whi lockcown came, Lad ‘almost forgeten about tnt lonely Letters piece of harboar it had become like @ part of the furniture. was at 8 lass how to occupy my time, then Itjust hit me: why don't! do that Painting? So, 1 set to work The hardboard measured 37325" ‘and the drawing took me 20 hours todo as there was much careful ‘measuring to d. | encountered several problems, the main one being the greens, and I was quite ‘anxious, but told myself to ignore this feeing and press on regardless = 83 hours and 10 minutes later the ‘opus was achioves Executing this painting has had a benefcial eect 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 sto be able to paint en plein arto paint from life, and, when Iteomes to ols, toe able to paint ala prima, relish the challenges have ‘faced and the aavertures painting outdoors has given me. "have made the most wonderful ‘riends along the way and have been abe to create some great, ‘wld memories ofthe places | have been, Peen air painting is one ofthe ‘areas in art thats growing. and we have many professional antists from the UK who are great ‘exponents oft. Plein air sketches ‘and studies area great way to bull up reference material for ‘creating more detailed work back inthe studlo Inthe USA, plein air paintings hugely popular and well organised, with clubs and societies holding regular outings, paint outs and ‘even competitions. There are ‘many benef to painting en plein arin a “pat out” or gathering wth a group. ts healthy in that you are outdoors in the fresh air anditcan be very sociable 2 well Iwas wondering i Arts & Iustrators could not give plein air ploting a boost by publishing 2 regular column which could promete 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 additional ‘dynamic tothe wonderful word ‘of art and encourage people to. paint out n the open ai Artists &llustrators has been regularly supporting and {eaturing pln alr painting for many years, Peter = see Rob Pointon's How | Paint eeu 438) for starters ~ but would regular column and listings ‘appeal to other readers as well? ‘Write tous and et us know. Wriléleus! 2 Juboe Place, EMAL: ifowartsts vatlateartonak ‘Share your stories, ‘and get a daly dose of Artists & ‘mustrators tips, ‘advice and inspiration by following us on ‘our social media ‘channel. Sl enanamagasine EF ArttsAnastators ‘andimaganne 1 AandimagazineExhibitions FEBRUARY’S BEST ART SHOWS PISSARRO: FATHER OF 0 on sow alongside pieces by those ne IMPRESSIONISM Inspled, such a Caude Monet, Georges 18 February to 22 June Seurat and Pau Gauguin. Above al, noveve, Com isso ls considered the father of ssa ahead.ofthecurve versa wil Impressionism, nat least as be was the only be undertined hee, rom the eat, chunk fat Aristo show wotkin all eight Impressionist” marks of Fam at Montfoucaut in Snow tothe exhbions in ars from 1878 to 1886, optical mixing of Vw om my Window [above Now lost 150 years later, paiings Ashmolean Museum, Oxford spanning the French masters entre carer wil waw.ashmalean.or 32 February to 8 January 2023, Whether it's Peter Rabbit sneaking into Mr MoGregpr's ‘vegetable patch or Jemima Pudcle-Duck’s search to lay her eggs, Boat Pot lutated stories have enraptured young audiences since they fest appeared in 1901 Now you can be transported back to your childhood ‘with this famiy-tendly exibition which explores the artworks, conseration work an personal fe ofthis talentes watercolours, Vletaria and Albert Museum, London won. ae.kTate Moder, London. vwrwtateorg.ukHORADAM’ AQUARELL Finest artists’ watercolours * 140 + 40 colours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 paint [tend to mark out ark areas versus ight ‘areas and determine ‘focal point. Sear te February TIPS « ADVICE - IDEAS Organise your Use clean brushes paletto Once you have the Micuptne main colours bbs of colour arranged beforehand and organise on your palette, give each them. theep 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 Imuddler than afarmer's greatly improve your field inthe rin mark making, ate shapes: jnting is about creating shapes. The mallabilty and uty ‘of wot paint makes this especially tun. ‘Throw these shapes ‘and enjy 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 pent as you go, especially 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, a ‘ut paintings, studis.comUK £44.95 and save 30% Europe €66.95 * USA $76.95 &3% SAVE up to 30% off the shop price tute Ws like getting fourissues a Faber-Castell sketch FREE pad and graphite sketch set Australia $114.95 * Rest of World £58.95Sear te How To... ‘Wien painting a 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 futher up. Fina, remember an apple 's nota perfect emooth sphere, Sight imegularties of tone willadd a sense of realism. sm Penn eC eee ene ent terranes Pree enor oe een cnet eer Drawing with Charcoal by Kate Boucher Tutor Kate Boucher aamis that this book was writen during lockdown ang It shows - in a good way. Tis sa very personal rumination on ia) |) sawing as a means to an end, feshed PeTINs ere) Vig) 2th motivational “iasks' and dotted - vith quotes from Aristotle and Thoreau. The addition of "What 2” prompts encourage you to think more expansively about the subject too ‘rawood Press, 16,98, wwrwerowood.com eT ccs Why not try... Derwent Shade and Tone Set Repicate the sanguine hues of Renaissance drawing with this newly. curated misod 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, wwidorwontart.comrear THINGS WE LOVE a unin Andersons 208 patting ory on lyn tar Le tne land NeDi shows a traditional Jamaican barbershop. The poster onthe wall, tipped of detail and ta) Gam Life Betweon stands uns ntl 3 Apri at Tate Brita, London. ww: tto.rg.uk Entor upto two works by Spm to be considered for inclusion in the historic Roya Scotish Academy of ‘rand Architecture’ Annual Exhibtion 2022 this sarin vw soyalscttishacademy.org [11 FEBRUARY | Dont miss the closing date for entering the Royal Society of Portrait Painters’ Annual Exhibition 2022, which runs 5-14 May at London's Mall Galeries, vw therp.co.tk ‘There are more than 70,000 euros of prizes on oer atthe Royal Hibernian Academy's 192d Annual Exhibition 2022, sa enter before Spm for the chance to exhibit and win, wha cera Seegoercenns resources for artists on the iene ee Pree as eee Caen Aten eer PoE emetic? Reesor) PengArt workshops for all levels RAW UMBER TT tame MA Leste ole studios oe Painting the figure in Per Ie recy emer ea Painting the portrait in oils PAPA Pasa eo Painting the al Lizet Dingemans Jonvary 20h = 22nd9 new artworks, straight off the easel Daisy Sims-Hilditch Stoling along the ates of London's Chelsea, pat grand rede Vitoria noses, is not hard tobe ansported back othe 19tn entry vinen te area was an encave of acclaimed ats. Tony ts Printer trade, ed by former esdens suchas John Sing Sargent, JMW Tumer and James Abbott McNeill Whistler, is being kept alive by pen ar advocate Dale Sms Hldtch, whose inst patting of Chelsea ands surround (as wel as te snow-covered As) arto go on show Januory at the oy Potand Gal, One ats of ote who has fed more dct it Daly's atest work \ste Camden Town Groups Walter Sickert. A sub tute tte post Impressions ats in he depiction ofthe Pano Noble Galen forace, Dainted les recent enbton of his werkwas on dsply neice. ‘Hels one of abecite favourite painters explains Daly "was very pleased when te lady nthe red coat came tot down onthe bench a Iwas coptiated by Slker's we of eo eapecaly in his teste pictures” ‘More apparent Daisy's deicteceserntons of lght anc shade, a contrast mestigate thougrout he pln a work. “Paitin sts the nly way to fete interpret andtranlats the energy and freshness with my brush she explain. “Light nthe rel world i ans, le thing whch you must be therefor to capt that ting moment” Having stld ot the oes Cnares H Cel tuisin Florence, te London ot printer nas more recent ben developing er palette shoes tobetercaptre te way light lnvson deren surfaces, whether ts the dappled lit on emanued shop awnings ote auturn sunshine reflecting of svergrey pavements, a sen nthe selexplanatrly ted The Ser Exhibion tte Plone Noble Galery ther ec para wel primed for capturing has ube ‘arationsin tne that te changing ig ings bout enone Dasy 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 {oa pul. Tothis nd, sea ot of Burt Senna ach redish-bow bain in both there and on he bungsruming along wich lends a Suto harmoriing efor. oth the iver Tames andthe pine landscapes lend therseves serarousiyto« braver ue of color” ads Deiy whose astarful ttanipuation of paint serves axa rerinder what being a courageous can retin Dany olen rune 1228 January the Portiand Gallery, Londen, woreda. comFresh Paint RUTH'S TOP TIP “Placing cool colours over warm is Key to painting flesh - start cool and it 's aiffcutt 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 Institut of Ol Painters exhibition in 2019, she has since taken home the Winsor & Newton Young Artist ‘Award at the following year’ ROI show and the ARC Purchase Award in the Art Renewal Center's prestigious 425th Annual Salon. & copy of her painting Things Not Seen will even be sent to the Moon next year, as part ofthe \Uunar Codes time capsule project. Far from letting such success goto her head, however, ites seemingly hardened her resolve to push her porat and fgurative work further and have conviction in er ideas, Gathering Thunder isa case in pont. "I ook @ model up conto the Yorkshire moors to make sketches one day last ‘autumn she 6ay8 of how the painting began, “The weather at ground level had been calm; up inthe hil, it was wid found myself exhlarated 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, while there are suggestions of broader themes at play, such as climate change. ‘The final painting was developed inthe artist's studio outside Harrogate, where she also takes commissions. ‘She built the composition based around plein ar stucies ofthe mode! as well as photographs manipulated on her ‘computer. il pant was applied not as traditional glazes, but rather subtle layers of opaque colour: “This means starting fairly neutral and slightly warm, wth cooler, lighter ‘and more chromatic colour notes floating ontop.” Gathering Thunder briliantiy 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 te brows, brows to base of nose, and base of nase to chin, wil be roughly equal - but double-check that ule with this: the top edge of the mouth is often located vertically haltway between the tear-duct and the bottom ofthe chin” “Try iL 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 oo ang.” vw rutfiton.com ABOVE Ruth Fiton, Gathering Thunder, sistemFresh Paint PORTFOLIOPLUS Sandra Penstone-Smith When somebody reconnects with thelr creativity, there's often an almost palpable sense of excitement as they contemplate the mary directions their art could take. Currently on this precipi of possibilities following a 30-year hiatus s Portfolio Plus member Sandra 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, lft 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 Sandra, who enjoyed experimenting with different ‘materials. “Mixed media appeals because i takes you one. step away from putting paint down. I's not so direct and there's not 0 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. Most of the artist's works have begun by priming watercolour paper with .gesso 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, include using lin raller 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 and magazines. “I spend my evenings going through ‘magazines ooking for pages to se,” she reveals. “Everybody ves me ther old ones. have drawers 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. wonwartistsandlustratrs.co.uk/ sandra-ponstono-smith ABOVE Sana Ponstore Sith Blackberries and owners, mixes resi on pape, 421200m PORTFOLIOPLUS Every month, one of our Fesh Palat artists 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 + Showcase, share and sell unlimited artworks commission free * Get your work seen across Artists & Imustrators social media channels + Submit art to our online exhibitions + Enjoy exclusive discounts and more Signup in minutes at www.artistsand IMustrators.co.uk/registorKe) Brand New Products DNA aa perects ce ney : printmaker Esieiperio rite pert papeyeienent rained ‘The specialist suppliers of equipment & materials Eeeeerhrseyaeeaiabenencennan esas ( artet prtrenelar: Bristlene avaiavie nrough an good retaiters ee ee meen eet Inagio Printmaes Intaglo Prrimaker welcomes custome shop vere smal tear of pact inmakare Eaiibeop ene eee ed slfers an unparalled selacion of global printmaking poses aieneener te eenene item iat Supples, per advee and a olate ntermatonal mal ocr ar eater eee cel ee ee ‘sero, Beemer rere rouse Court ‘Open Mento Ft 10am - 6pm 62 Southwark Bridge Rood Sat ttam- 45m 100 SEI GAT saw inkaglorinikarcom Tel 0207 828 2539 GG wraglopinimatee Hockney to Himid 60 Years of British Printmaking Until 24 Apr 2022 ) pallant.org.uk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 235). The senior Roval Academician began his ine art stusies 80 years ag, 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, a talented photographer inher own right ~ so that ne can focus on the things that have kept him occupied al tis tim: 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 s eagery asking rhe can show us his stuclo. t's only ashe climbs the elegant ‘winding staircase, adorned with faded posters from previous solo shows, that he briefly shows his age, taking his time to reach the fst loor studio before that gentle ‘euberance resumes. Rosy of cheok and wiry of har, if Tigger has a grandfather, itis quite possibly Anthony Eyton ‘The artist moved here in 1960 and his painting room has a wonderful edn ‘quality: a waft of turpentine hits your nostrils as you enter; chairs and bare floorboards are encrusted with oll paint; every conceivable surface is piled high with brush pots and wellthumbed monograph. Even the most Visionary architect couldn't envision this space being anything other than a paintar's sto, yet it is stil a surprise to learn that an early spring clean has cecently taken pace. “The tidy up has made a revolution, which also becomes syrorymous or equal to revelation,” he says, sagely. To lustrate this, he reaches fora stack of photos arranged in arack~ beach scenes, nian temples,in another always want to et trigree ern) h 66 I’ve got to seize the moment and let my excitement about the subject galvanise me ” “Thoy were a realy independent. aways 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 eamaraderi ‘retons that spurred each other on.“ mean, itwas bound tobe a bit competitive, wasn't ie Artists dort talk about being agaist one ‘another, but realy they're up forthe game.” ‘says Anthory "I wanted to branch out and be my own man, as it were” enrolled in fine art atthe University of scription came in 1942 nt ofthe Second World War. He resumed his studies five years later at camber rather Figorous tutelage of Wiliam Coldstream \who waa bg believer in working trom ito and adhering toa strict form of signs ‘measuring that volved plotting points on ‘a canvas around whieh a composition could be constructed,In Modernists& Mavericks, Martin Gayfor's recent biography ofthe mid-century London at world, Antony is quoted as saying he and his fellow Coldstream pupils, lich included his good friends Euan Ugiow ‘and Patrick Goorge, were a “rather bigoted ot” too wedded to “the certainty of drawing” to uly embrace modernity. “It's always been a battle to break away from that accuracy." he says today. "I stil want that certainty, and sti to this day ‘maasure sometimes, but painting 20 ‘much about the excitement of the 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 this point as he stops himself inthe mide of reminiscing. “Can I come onto the present?” he asks thetorealy, bore continuing “I sudden fee! more alive ow than I was with the London Group. "more alive to change. ve gotto dig ‘eeply into the extremes much more, 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 efor.” Painting. he says is primarily about tee fundamentals -“Who am I? What have | otto $99? 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” Intruth, a 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 tothe mother of his wie, “Mary. “Heved her very much and we took the children out there and that’s how i all began really. This went on fortwo years. We went to New York, several visits, and 1 was obviously very intuenced by the Abstract Expressioniste~ Rothko and De Kooning and all those people. Tat was obviously going to change me alittle bit and then the vast skies (of 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 Ontaro, watching how fiends 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 golly biography would have you assume. I dd get prize, but didnt ‘actually win "he explains. “Euan Ugiow won it But the very act of winning a prize counted for something Establishment acceptance finaly arived 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 carted added emotional weight as his ‘mother, Phyls, a Heatherley's graduate ‘and accomplished landscape painter, had “danced with oy" at simply having plece ‘accepted tothe RA's Summer Exhibition in 11929. She sadly died later that same year, ‘an experience that stil colours everything Anthony pains. “Iam very much beholden ‘to my mother's paintings.” he says. “She was ‘such a good painter, and she was an 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 siting 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 yeas he has spent intense periods documenting theinate, changing structures of Brixton market and the developing skyline around Nicholas Hawksmoor’s Crist Church in Spall from the window ofa studio he once a After browsing Anthony's mind has wandered is fascinated me Now ancient the catalog 108 panting ofa modem were comingtogether and one church in De to the piles of potential sub, in his studio: ‘Tm 98 now. I've got to get @ move on” 9 with the Tower of Babeland the story of Anthonys work features in Stop and Star, which ‘Sodom and Gomorrah, Searching fora vigual runs unt 20 January 2022 at Art Space Gallery, ‘eferonce point, he asks his daughter to London. wow artspacogallory.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 i easly done once you have your inal weting ished. Read your ‘work aloud to hight any issues tke ‘awkward sentences or overrepeated words that nees carecting. Follow that up with careful proofreading to check for speling, grammar and ‘typos. you can rope in some help ith these checks, even better. Wiring needs toe tallored tot the task Think about wry you need to rite 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 8 ‘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 an antist’s statement or 8 description ‘of your wrk 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 in this context; they keep it personal and 9 The Workin tere tne ea ou having tw ‘ion des of your wing wl be stinmod by your readers. Ti sa harsh uh bu feal one. When ou tre sering 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 learned Better to repeat the information comes to writing? Allartists slong the way Fist, be yourself, __soveral timos than expect people to Wwillneed to doa litte wring Risimportanttorelax and|let your navigate toa new page on a website ‘at some point, even fit isjusta quick writingbe authentic. you keep t or hunt through a leat to find what ‘ABOWELaur2 poston social media. The way you simple and honest, you are most of they need. Last if you have a word sme, Winter at write can make the difference ‘the way there. Nonieed to worry about count, as Ido here, do your best to Corgartnoeut. between catching your audience's _dovelopinga wring style: you have meet itas closely as possible. ‘2oxASem attention or losing it. that already, even if you don't know it. wwuclauraboswelLco.k 28 Antss & Ilustrators£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 lansing. painting holiday forthe year anesd is @ guaranteed way to boost your mood and mativation, and you can be sure to make it ne to remember In 2022 withthe art gotaways orgonised byart tutor Mariyn Alls Trroughour the year, Maiyn join forces with two other popular artists to teach students different techniques and styes over the course of three days. Now we've teamed Lp with the artist an 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 alnury searont hotel for four rights and working in seaview studios, students can opt fer a watercolour or acryie-themed break, with al abilities Catered for on every course. The workshops are run bya diferent ttor each day and involve five demonstrations ina varity of subjects, as well as expert guidance and feedback. Meanwhile, a three-course maal ‘awaits back at the hotel inthe evening Tutors making regular appearances ncude watercolourists Trevor Osbourne, Paul Talbot Greaves, Dense Alien 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 tye 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 video sessions on her website, with monthly and annual ‘subscriptions also available for those after a regular schedule of online courses and painting content. Tofind out more about Tio Breaks and the art subscriptions Marilyn offers, vist rwmaritynalls.com, Five winners, chosen at random, wil each receive a £200 voucher to put towards a ‘Tra 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 wwwartisteandlilustrators.co.uk/ competitions or by filing inthe form above and returing ito: Mariym Alis Art Breaks Prize Draw, Artists & Mlustratos, Chelsea Magazine Company Ltd, Jubilee House, 2 Jubile Place, London SW3 3TQ ‘raw are available. Voucher cannot be used in conjunction wth any existing offers. For fll terms and conditions, vst isnot included. No cash akernativesTh Omas 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 and Queen (Charlotte actors Sarah ‘Sidons and David Garrick; 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 brant Thomas Gainsborouth, the Suffolk portrait painter who would rather hhave beon a landscape artist. ‘long with his val Sir Joshua Reynolds, Gainsborough was rightly censidered one ofthe mast important Erish artists workingin Georgian London. In 1768 the two artists were ‘among the 34 founders ofthe Royal Academy of Arts. Reynolds was the 28 Ariss & Ts exponent ofthe Grand Stve, Idealising his sitters without losing, 2 genuine likeness. By contrast, Gainsborough’s subjects seem more real to 2ist-century eyes. Compare his portrait ofthe Duchess of Devonshire with 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 rea, ‘rouble if she put her mind tit Likewise, Gainsborough’ charming 21759 portrait of his young daughters, ‘Mout ana Pega, has an immediacy about it as if dad has just positioned ‘them and theyre wondering now long ‘this sossion is going t last Fortunately forthe gir, ond indeed al his sters, Gainsborough painted ‘quickly, and the works of his maturity are characterised by a it palette ‘and easy strokes. With ts ar of historical unreaty, bis 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 actualy painted this young cavalier (possibly is nephew, ‘Dupont long before Reynold’ dictum was delivered (the discourses were olivered regularly at the Royal >tory is characteristic en: the diet versus the= a fusing the two sides of his output ~ the creative and the commercial ~in 2 series of very wellvecelved portraits that placed sitters notin their wn Crawing rooms nor his studio ut in cramatic landscapes that he would have been happy to paint without ary 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 Brincley Sheridan and 1760'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 ili (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 Gainsborouehvs sitters ART HISTORY appear to be sitting on a speciic bench under a specific tre, even if the artist added in those alfresco elements ata later date. ‘new exibition atthe York Art Galley links much of Gainsborough’s carly work tothe Flemish landscape pain ‘man. "Ifeal sucha fondness for my first imitations ofittle Dutch Landships (sic) the English artist ate in laterite when recaling how rs who inspired him asa young, he would copy the work af Jacob van uisdael, Jan Winants and Ruisdaet's apprentice, Meindert Hobbema. > ABOVE Mrs onlsply at neART HISTORY ee ae a —" Despite being a highly successful portrait painter, Gainsborough gained greater satisfaction from his landscapes ABOVE Landscape Ironcaly this connection nas only recently been traced following the ‘eatrbution of 25 sketches in the Royal Collection. Queen Vietria ‘bought them from the estate of Sir Ewin Landseer after his death in 1873, believing they were Landseer's ‘own preliminary works. It tus 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, 61746'50, painted when the artist was only 21 enatkon paper, It was money matters that rave ‘38x46em Gainsborough away from landscapes and into portraiture. After training in London, he had married the iMegitimate 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 for an artist whose scenes of rural Sufolk were not bringing in sufficient income, Even in 2767 when he was the most famous portrait painter 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 [ts in Birmingham) ‘Moving from Bath to an impressive house in London's Pal Maltin 3778 brought Gainsborough into the orbit ‘of many successful businessmen and powerful aristocrats His skis asa portrait painter led him to become a favourite of George land the royal amily, 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 presidency if the King appointes Gainsborough ahead of him.In his tater years, having grown financially secure, Gainsbor 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 creat ta landscapes in his studio. Paintings such 98 1780's Gypsy Encampment, Sunset (now in Tate Britain) and 3TB6's A Market Care were mast tkely created inhi 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 artificial scenes and ‘then iluminate by candlight Such dedication in his later years 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 aftera specie place. Nevertheless, with Fellow Reyal Academician Richard Wilson, he developed an informal school of 28th-century British landscape painting. The two ‘mon undoubtedly influenced painters of the next generation, helping the likes of JMW Turner and John Constable make British landscape ainting world renowned in the 49th century and bey In fact, Constable, wha was bom in East Berghott only 15 miles from Gainsborough's Suabury, retained the same affection forthe Sufoik countryside, The young pretender said of Gainsborough’s landscapes, “On looking at them, ind tears in our eyes and know not what brings them. The Young Gainsborough runs unt 13 February atthe York Art Galen wm yorkartgallory org.uk ove Lacy Sevage Lye, ofillustrations talks to REBECCA BRADBURY about the delights of the ing The artist behind some of today’s best-loved prints and book 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 rch waters of the Shetlands tothe hidden coves, precipitous cliftops and sparking beaches of Cornwall, the UK's varied shores are ‘a ceaseless source of inspiration fora landscape painter. Perhaps the only way to trump this vision for many artists would be tohhave a loved one at the helm ‘and a sketchbook to hand. And for Printmaker and ilustrator Angela Haring ths fantasy is very much @ reality, a8 she spends most of her ‘summers at sea with her husband, Mark, capturing the wonders of the county'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 tha inspires my work.” "You always See nature very closely when yout on the water with it” she adds. “it gives you time ‘as wel, When m on the boat I ean really concentrate on drawing and thinking about the images that want tocreate” ‘Yet with a studio overlooking a feld of grazing sheep at the bottom of hr garden, siap bang in the middle lof the East Mislands countryside, Angela's more permanent surrounds stil feed ito her art~ and tis these scenes that have remained atthe heart of her output. Asan art student inthe eathy 1980s, however, it was the more iruesome aspects of rural fe that ‘caught her attention. Cyeling through Country lanes from her home in Melton Mowbray to Leicester > © srooting Stars combines skserean pint techniques © Age wt stye ocnat Anists & Musratorsa6Angel's Fsning oter sretingscaras and 02 towes Polytechnic (now De Montfort University), she would colect the carcasses of deed animals using them a8 fodder for her arawing practice Despite the morbid subject matter, her dedication to honing her IN THE STUDIO. © aneua progress other Q wnter tors colour plete All that core drawing I did as a student comes out in stylised work... You can tell when people haven't got that behind them a stencil for each indivi layer of colour ina single pint. 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 oltbased, black ink, adaing ‘a sheen that contrasts wth the fat, matt coverage ofthe water-based coloured inks The colour palette is another {ecture Angela narrows down in orderto give an ilustration strength Picking ust four or fve per artwork, the hues are always reflective ofthe British countryside, with a rostar of spring greens, burnt oranges. dusty blues and earthy browns helping to evoke the marvels ofthe natural word The machinery behind much of her output is a modem replica of an 1828 Harry F Rochat Albion Press, which takes contre stage in her studio ‘alongside a smaller etching press When larger works are called fr, however, the ilustrator teams up with Dan Bugg at Yorkshire's Penfold Press. After cutting up the stencil, she wil then sen them to Dan, who wll perform the printing and ecitioning up, ‘One example of a work printed at Penfold Press is Southwold Swan. [Although rich in both descriptive anc personal detail tnat’s Angola's boat ‘moore in the harbour as she walks With ner husband an! whippets inthe backaround), the focus is very much fn the ominous gaze ofthe swan in the foreground. “The character of the swan is quite formidable” she notes. "think maybe the swan represents me” You can seer point. Angola is 2 formidable talent and her ical, engaging and exquisite prints inspire the utmost of respect for her erat vwowangolaharding.co.tk | O Arges | range of econt ook jackets © sournwo.s Swan pmapsAKING Vie 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 en eat oe erent cree eee eee Prussian Bue, French Utramarine and Titanium Pee ee orn ote oer Soa neers ore Sen) eee {'s hard to define what itis about 9 subject that makes you chose it as 2 starting point. This painting of 8 cats ‘an interesting example Animals are not my usual subject matter ‘butas soon as I saw ths stay feline [ght 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 ofthe 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 elogance 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 2 dood way of refreshing your approach and veloping your openness to nev ideas ‘and subjects, You wil see, however, that by using the photo and drawings as a stating point, his was very much a constructed composition. {An exercise in picture making: far more than just cute ite cat wr torenceearka20.uk > R 7 ORIGINAL PHOTOMASTERCLASS "began by making a super quick sketchbook drawing of ‘ny frst encounter withthe cat using compressed charcoal ‘ter a quick ine drawing onthe it, then drew a pose ‘that | tought might wor fr the composition, | began orawing the image onto my canvas using thinned acre palit. used the compressed charcoal ina very uid way and | Because acryle dries very quiet is 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 Vermilon-and Yellow Ochre Impossible to got right, but somehow trough experience you | ground with a mix of Phthalo Green and Phthalo Bue 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. At this stage, everything's fud and open. | was using tick, impasto oil paint throughout this panting, appiod -Ater more work on the acrylic washes, It the whole ‘over the thn acrylic washes. You can see here how the drawing of the thing ery thoroughly before starting wth the ol paint. chose | nead was quite weak. t's afiou getting to grins withthe unfamiliar {an underpainting that was very mictoned as this allowed me to | proportions of animal heads it was almost 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 ofthe underpainting wit | Don't be afraid of abit of a mess at the beginning though, let the help to old the image together as I develop the painting later on. | painting build and develop.Hore I was applying thick Titanium White ol paint labich has been mixed with atl Yellow Oohre to soften ‘The background shapes and pattems helped to define the for ofthe the contrasts, cat | wanted the arabesque shapes to somehow suggest the movement of was alsa developing the painting nts own ight, 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 | At this point. | noved some real problems withthe drawing of the legs and ‘backavound and gave a much more interesting context tothe | the head. There was an almost puppet-ike quality tothe face, which I did. space around the cat than my original photo. used a sketch | ke at all. t's usualy halfway theough a picture thatthe problems arrive, and from my garden to help develop this idea too, YoU have to tackle them with courage. | used a palette knife to scrape back the paint onthe left eg and "had somehow made te ltt leg far too long, 80 then used some thn Prussian Blue oto redraw the right eg. The positions | | decided to completly redraw the front legs. of both legs were ust slightly aut but adjusting them mage 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. 6 Ws always my experience that tacking the problems “head on’ ina somehow assumed that both legs were the same length but painting isthe bast method for achieving good results. Never leave anything | of course the photo showed something much more subte. 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 eontinved to build the backayound, using thickly apples colour to define the tal. also used a te arts licence by adding one small spat to the markings. | agonised ove this, but nthe end the graphic necessity of that one spot was too important tothe composition Utimatey, was making 8 work of at, nota pet portrait, so the quality ofthe image was my primary concern This really shows how to enliven black as a colour. | never use atube of black pant, preferring to mix one instead. Here | mined a “black” using Prussian Blue, Vermilion and a tle Phthalo Green, This meant I coule modulate the blac, 10 push the mix ding signty 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. 1 I inaly reworked the head, gradually teasing the ~ vate Crawing wth paint. This was a delicate process because | wanted to keep the brushwork fresh and lively, while also Improving the forms. You wil notice thatthe paint quality moves from very thin translucent darks, to thiok, fat highlights. Tis is @ classic oll painting technique, Notice too thatthe thick brushstrokes Doehing the neas suggest fur, rather than deserbing itn deta Essential to any successful painting is its abstract Cesign. A final fourish of colour adds tothe 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 ea's movement.In this sixth and final instalment of his series. Figure Drawing author JAKE SPICER looks at how detail can be used to emphasise a sense of depth in a picture wanted to conclude our ‘examination ofthe principles ‘of depth by showing you how the manifestation of detail can emphasise an impression ‘of space on the picture plane. Informed by the limitations of our wn vision, we expect to see more detail and clay in the nearby elements ofa picture, and less deta and clarity in the distant cloments. By introducing more individual expression to cose subjects and allowing distant subjects to recede, first into repeating pattern then Into shapes of unified tone or colour, we can emphasise the Impression of depth. This third principle of itusory depth, alongside diminution and ‘atmospheric perspective, is often overlooked because it seems so very obvious, Using concentrations of deta as a visual ove is as ‘much about your choice of subject ‘and vantage point as tis about ‘the manner in which that subject Is rendered, tis this principle of depth- through dtall which informs the propensity forlandseape artists ta framea view with foregrouna foliage ~ leaves hanging fom boughs above or grasses springing from the ground below. “The same principle helps urban skotchers imply space in a ‘rowed street scene, with detaled likeness picked out in nearby faces, ving way isto an ‘anonymous pattern of simplistic heads and then to the amorphous bob ofthe orond ise. Luke the effects of atmospheric perspective, the infuence of detail, ‘9n our perception of depth stems ‘rom our erect visual experience ‘of the world but itcan also be ‘manipuated to exaggerate or Uunderplay that depth, as well as being used to draw the attention of viewer. Wiile photographs are often limited toa single point of focus, ‘drawings and paintings are fctions bound by fewer imitations. We ‘can use concentrations of detail to.raw the viewer's eye through a scene, presenting mutiple points of focus where required. ‘The more time we spend ‘rawing particular part of a subject, the harder we look att ‘and the more detail we tend to see, while the areas where our hand and eye rest more Fhty remain generalised or hastily rendered, So, detail can simultaneously be ‘an indicator of depth, a device for Anists & Musratonsa?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 on the individual elements ofthat space Inthis example, | wanted to find 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 offeld to ensure that the viewers eye Is rawn to the subject, which appears in sharp focus while the res 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 element of visual language that we have learnt to read through watching fms 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 dtall ‘where our pencil dwelt for longer, allowing brief mark making to replace the camera's blur as an indicator of detail as Ariss & Musa 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 ina pont painting ‘mix optically a9 we stand back from them, colours and patterns which might nave nad individual identity up close become untied Into shapes at istance. We see the same device regulary employed in come strips and frapnic novel, with figures standing just behind a main character simplifed into shapes of colour and the buildings and tees ofthe background unified into single shape of skyline or forest. SAE rasPRINCIPLES OF DEPTH EXERCISE Prec ee ee ee) See eer ts Se ee oe eed eer ener lusory depth on the picture plane ‘Once you have a grasp ofthese principles and are able to recognise them in your Pirie ena) your images, magnifying the effects of perspective to exaggerate the illusion of dopth See et eee ree a ted Cee Ce eR Sree a ea? et rete tt ee for example. een eens ere eee) eee ee ean ‘obsewationally accurate, downplayed or Ce eee ey ae enc ene ene ent ee ee ea ceteris the pictorial space or “pulling” the receding ee eed ofthe paper lke a draworidge. Make two eee eet ay Se ae ed Ca ee Pena en esse reay ecerents ate Writ READER OFFER - SAVE £9! Artists & Mustrators readers can buy Jake's new book Figure Drawing, fr 8 reduced price of £16, inclusing UK P&P. ‘Order by caling (01235) 759555 and ‘quoting the code: 9952100052" Offer ends 20 Janvary 2022, Pe ere ee ee ened ‘sense of depth in your image, rendering nearer subjects in individual detail, Se ee eet eet as eed Peat ee oro Ce ee ee ety ee a eee ee ee ee er tt ‘ee i at tothe picture plane, making the Image more about pattern and the ere nn ent ere Aists & Musrators4@