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As an, ar tist, it is easy to


a su bj ect and style: you are comfortable 'with and, stick. to
it SIO tots month's issue is all

ab out encou raging you to try new tllings! Our. cover star, Michael

james Smuh, explains 'why he
decided to ILry a new subjec


matter S:Hll1L D udley offers up
(1 host

of new ways of making

marks :arnd Matt F orster even
reveals a very unique' and graphic technique he cans

uberpaintitILg' And to cele brate
TJ~ye' Big D'r;a'w in, October, we've

asked a few of the UK's

Reading ar tlsts and

tu tors t()

offer inspirtng advice to help

you think 3j,ga'in about your ,a,pptoach. to dnJJwtng - heSl,d

page 50


find aut more.

14 C!N:ANGING IBRITAIN Our cove r sta r M leha elll Jla m es
Smith rnakes a Iriis ky swiiitclh

Great iildeas for th e 11ew term

,'ERSPE:CTIVES YOIQJ r ,guld e' to w h at's on th ls month



A j oiiint show by rou Ir erttstlc ,si billij ngs 21 ES,TEllE ,JIO'URD'S NORTH KENT COAST Dn311maUca bst relict Iend sica pes,

46, TALKI· G TECHNIIQUES M,8itt Forste r ex pla ins his un lq u e' watereo lou r method! 0 berpaiiinti ng 50' 2,5 EX,PERT' 'DRAW'ING TIPS,

With 1[).8Vid P'8 skett IRWS 2:1' RIEADIN'G ROOM

Fea tu riiiln,g :a great. U1fJW' book a bout
artlstlc g,8IItJ"di!8 th r©ug)h1the ages ns

G et

~1118pire d

for The Big Draw wiilth

""h Jih A tr 0 me 'WIII1t1till e vetera h

" n Ipla'Illnt.s r

a dlvice from M 61ggi Ham blliiirng, Ch rls 0 rr Gile ra~ Sea rfe an d more d 56 DANICIING 'WITH ID'EGAS Le,8rn h ow the Fre n ch rna star pa ~nted hi is e!ega nt fli'g,u ees
Our new serles looks at teehnl ques

2:8 PO'RTfOlO
A. se lectlo n of th e best 61 rtwo rks
:SUI bmliiitted


0 Ur

read ers

33 'O'N COMIM ISSIIO'N A new public 'work in development 3S MY STUIDIO
With Nii'ci~18IS,f3Ira~g,er~Taylllor


74 L~TIi!RS 7,6 CRO'SSWOIRD If Iu s til e eh a nee to 'wi iii Iif a d r.8lwi ng

A waterc oiloluirist and j Q U rna llist,


award ~wiiil~ liilng pailWiting:~ n

Pat has written a gre at fe atu re

th e W'olrk of Erd,g_a r lOregas 0 n

Au thor tsa be~1 WollrH gets u nder th e sk in of' c ti aracters for her ne'w
n©velll 8 bo ut portralt pa inters

62 MASliERCLAS1S A greet mliiix:,edi m ed~ ste p- by-step a 6''1' 'C'LASS,I'C~N'CLOSE UP

classes and a Derwent pe nc'U set ,82 lUFE DR,AWING 'With IlFii ona Scott

~"age 5 6, Sh e is a lso

a mernbe r

of the Society of' Gra!phic Hne A rt, wh iieh ho lid s its a.nnu a I s hoW'at london 's M,enier
Galiliery from 3-1!)

39 BACK TO BASlleS D'r6iwi ng at West ~)e61nCo~ege i

Ex pi ore the meth ods ot consta b! e
~a, Vet

Il..ANDSC· AP' ·ES· liN. D···'ET.'a~IL ., .,:-, . -~. I nlll

a ctob e r:,

42 'GETTING OINI COURSE How one stlru2tll ing artist tou nd her '10 ice a nd scooped :an award

G ectf Ke rsey taelkJ es tre as

72: WATERICJOlOUR ESSIENTIAlS A diet 10 n airy o,f IM:8 rk, Mia king idees


& Illustrators


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·'". ix celebrities have been sen sationa IIy framed 'by an infamous art forgeT - and .'.······jfsall "been caught on camera! But you'Il be relieved to hear that ifs in. the _.' ' name of Sky Art's brand new show' .l"iame :r,n the' fram~f, The new series 'haunches this month and features Paul O'Grady, Tasmin Greig, Frank Skinner} Terry Gilliatn,) Lauren Laverne and. Catherine Tate sitting for artist
John. Myat l as he .11te:mpts to in co rpora~e

each famous face into a replica art work" The tables turn on the celebrities when ~ hey become the S1J.l ~jeel of Myatt's
q[uesttoning, as well as his pam ring,

J ovial char

amsin Greig channels her inner aristocrat, a,s Sargent's Lady Agnew

show host Paul O'Grady its quizzed about his love of art while sitting for 'Grant Wood's bleak portrait Am.ef~(CMl G.othj,(,. Similarly, comedy actress and The Archers star Tasmln Greig channels her inner aristocrat to.pose as john Singer Sargent's Lady Agne'w oj Loc.hnQ:w. The new series of Fam.e In the .Fra,me starts an Tuesday 27 September at 8.30plll. on Sky Arts 1.



Artists & Illustra


his" wo!nde,rflu~ n,6.w::set "Just A,d,dl'Water" ls des.i'lrned ",' ri:th, d'·ff,erllnt waterr"""slo~ub e~ anises.


efnco,ura.QI,e Imlix,ed media 'work

Wi,t'h ,he, help

B p,rofe.$si~ona'~ ,artist~5;:CatQ i'ne B,lets:is,,- An'lgella. Gau'ghaln and lind:3

Steven,s" you ,8lre "guid d thro gh three diffeflant step by s,t,. t,u'to'r'i,all:s usi , g a .e ect,iOon

Wa 'e:t<:~alo"ur,.U[iI,P' it'i;nt and A~,uatene~
s, paintbrush


-Ie se contalns 4 Inlktens,e, 4 Wa'te"col,ou~, 2. Gr,ap- itin't, 2 "quaton:",
I .


b1yilteiP p~~D1Celcts, wat1er,colfgu,r p"a:p;erand a 'p,re-prf'flte,dl outl"ine 'to tr,ac,e,~


. ...

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The International Print Biennale gets under wav this month in 15 venues across [he North East of England", See the best work in the 2.011 Print Awards display (1'7 September ,_ 1. October) at Northern Print, Laing and Hatton, galleries. 'WlrV1M" internationaJprintbiellnale"org·. uk
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The New English Art Club prides itself on epc'oura.gtn.~' contemporary figurative artists, '.. ·.··on~tmiss the hand=]n ,da'f:",:(30 September ' and 1 October) for its annual exhibinon at Mall Galleries. 'lrVW'W'" ne'wf'ftglishrar[cl'ub. (0. uk



De La. Warr Pavilion, will be hosting two 'new

Perhaps one of Engll,ancfs best-kept secrets, artist IMaltry 'Webb c reates strlkl ng,lly bol d a nd vi bra nt '~mage ry yet has so rneh ow







Artist Sharon Haward is ,Checking' Out warhol (2,6 September), while Dr Graham Whttham will be Making Sense

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of Modern Art (2 <=o,ve'nibe'r). www

Autu:mn might be a time for le:aves fal]in,g from trees but why not put a spring back into your step with 'the Society of Floral 'Painters' new she "('29""" . ·' ,,'" .' S =o,w ....'.~. ep'lLelDb'" er , ,_ 9-: co'er )''1:, S'<o'me. ~ ...... ··,····b·, g~n' ]J.r;!i, ~ ... 3 0 ..0': o.ri=CJ!. d,Ld,JI.,JlI,J!,~ n ;;: ·w"']" 'I 'I b... 'v' di spl ay "l'r ! «» on

ma ~aged to re ma in som eth ing of' a c u It con C8-r n~Th at sald seem ~ys: ,'11' Co/our:~ MIa ry 's 1.8 rgest solo ex ~~' brtio n to. date, m lght just cha nge a II of th ls, le kj In g 1)1 ce at th e Sal'~ b ury Ce ntre for Vi sua I Alrts,~ e a ns th exh lbltto n 'W iII d lspl ay m ore t~a n 60 of 1M ants pai ~t~'ln s, .a I'llng with g a collectlo n of screen pri nts, draw ings and colleges. The ex hibltio n w'i III a tso revea II a f'1I eage rly ;aw,a'~tedse ries of palrrtl n gs th at were Ins pir'ed by he r ti m e spent albroa d ih Uta h. A pupil ofthe late Sonia Delaunay, Mar~ls,works are consistently ' sq IU are '~~sh a pe a nd exist as an arrs ngem ent of vivi d sq uCI res an d rectan gl es. 1 e 71~y.ea, d ,9 rtlst ad m its th alt "co 110 ur is [h er] mI8~' h r~,ol n con ce rn ~~wh'li,c h a ceo UInits to r the 'V ibra ncy of Iher wo rk, butsh e ,8 Iso expl a~' that she strtves to ns avoid av ~ g CI ere~tre, or pe rt n of the, picture that clalms sttentlon mo re tha Iii th e rest", WIh~'lie you won ~1Ii be a bl e to. rnlss tlhe stu n n ing co 110U rs of the a rtlst's wor K, en cou ragli ng your eyes to search for a focal pol nt {or Iac k of} m a kes fo ran
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Stourton Memorial Hall. w'ww',tncs/p,org

At the Islington f9,ntf'n1p'orary Ar~ sx Design Fair YOt] can ....U·· ,direct [ro,m artists and across · four themed weekends. Look out in, particular for the painting (7-,9 October) and Illustration (14,~16October) ..'l-trw'w'.canaidarts.con1


II CELEBIRAliE HE AR OF CRE~ IVITY' Early subscribers sh o,u]d make a date for ';l'~,J A C· o,b,..... o· oi C~r·;?i"il~'i"t A t, he UK' 0" 'lour' ed '~J[...'-.,1."
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engagl ng v~'ew'~ expe ri ence, ng JrJ u.rneys in ICn,~ourru ns trom 27 Septlemloer to 4 Dec1emiber
Sainsbury Centre for Visual Arts, N0 rwleh

Pencil Society's annual open exhibition (119 September ~, 1 October) at Westminster's IC~"""''''"fa, H' ..1'1 sp,onsore,,.d ,'y F·.. er Ie··.. stell . , , '.' ( · , _ent "',,'1 a, ...'.',"., .... .... bv aib ..· s, as e. Lrp ("'0 ...... _(' W" or-v'. Mft.:l.- .. '-S.r_ .,~,-k'
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Artists & Illustra


'. l' >~:...':~ ",al Jo hn..M·· tIn ..A,poca,Y,
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End is nigh!
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Aselection of the UK's,best art exhtbltlons opening this month

(21 September ~ 151 january 2 012) hits Tale Britain with a ran 'g"""e"" d'"oom ed 11 g,t'h'I-. of l

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century landscapes .. www,··:.'m'i[k

R'iicihmpondl Hill Gallery eontl nues lts excellent programme with Berbere ,R',Clt3' {2:9 September _,23· Octo ber) !. a selection of the Royal Academician's 1 C- o·-=',I~o'-=:,I~ 11i'-f'ul abstract work
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E~ '-ul.

'~m-riI,f i·;t- F'F~m',;I!2I,w' __
f,; _ .~[~ V~I~~';~

.:riI,ril';r·e' . _. U,_ f\~1

Natura wonder
IE,xpllore the work of vlctonan painter Fordl Madox Brown iin Pre'-Ra,ph'B'lsllt:e Planesr (24
September - 29 January 2012,)

(17 Selp:tember ,_ 1'9 No'V'emloerj teatu res m aste rpleces by J oh n 8~ nger Sal rie nt 01 dl CIh a rl es. n N a j)i er Hie mry R.A. (ri,ght) but th e 'focus ls om the rare frames.

ww'W' .~:~l'Jm:,'..... .. : te .. 0' '

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*'h'" ~l. ~r'

'_'d·'::!III·o IIi"ioI LeJ'~'. '~~',j'Iii~""





at Ma,nlc:he·ster Art G,alllerYi ww'w~ m'B',nch'ssterga,fI,erie's .. rg o

IBeUeve! the hlyper
london '5 Plu s On,e Galli' ,ery return s w'lth .Exactl'tude IV 1(,1',6, S'elpte'mbe'r ,~ ,8,Octobe~)lf a 10,tlh a n n ive:rsa Iry ,exh ib ilt,jon


2: Po

,o,f:'~hypelrr,ea I'~ rt wUh a

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works, by' Pednl'C'amllPos ~ ~ (p,iiict!UIred) Sind era iiI W)d iie~ ~


-----------------------------------------:8 /\

rtists & Illustrators


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JIEWEllEIR'y Mu.smc IM.A.N.A.GE,ME,NI'i'



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1i.1"I"11~' D"I'A D· ·~:-~"I' "lUI , ]1If. III ~ IEK( 'IUIK DES""'I'~ N







liE,L[E"HONIE EN'Q,lI:I:RIES.: +·44 ",,0)20 7:11,4,7.015


10 Artists

& Ilhrstrators

The Social
A round-up of news trom your local art. ~ -~ d socletles groups a.n_
Sw'liss art manufacturer Caran D·~Ache·

BRISTOL The 'WindimilllHillll and Vi ctorla Pa r k. arts tre ~'II" A.n .on th~' Hi.U~, returns on 1-2 October wit h ,a rn ix o,f W·orksh ons oerforrn -·8-:-I-n"'·;Q,~ ,'y .~-' ..... I""·.... I. :_ ......
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dltJlld open studio




meMJI'9,8 typlcs lillycolOUrtu II state me. nt th '~smonth with the la unch of two new ~ C(]<II OiU IF ba rs in key La ndo n sto res. !f eve r you 've stu m bled ac ross a typica Illy dusty s ~ellf of' un marked products, unsure as to whether you are bu yi tig the right ones, these co lou r be Irs wi III prove a reve let lo n. Ea ch ra n ge ~ s piled ~'~g.lhnd explalned in dieta~'11 a for

The IBuc~ lngharnsh lre Art Soc leilt.Y·~s ou ng Artlsts Y A.ward s w'i III be p resente d by artlst IDenni s Syreet on 9 October at the Obsidian G,aIIe-ry., Tihe awa res col nC'1id e w~th the soclety's annual
autu mn exhlbltlon at. the


wh lle rno re experle need

ga IIe ry (,6·-.1.6 Octo be trl.
The IlEdmlund Gallery '~n1l8~~y

palette by '~illill rl up em ply til ns w ~th.s~ in ngle pen c.i IIs 'from al~y of' the ra nges, Tihe·'~ii col au r ba r C:C) n be tou In d rst o tJ1 the grou In d t~'o-o D,f to nd on (] ra p hi tc r ee~tre's flagsh ip Covent Garde n bra nc h (p i·ctured left) \lvh i Ie t ~ second ta kes e p rid e·of IPIlace in t ~e Ha rrods starl one ry

artists can builldl a personal

depa rtm

e nt fIi n set)


St Edmunds, wellcomles the
Soc lety- of E.a.s.1lt .Angll'a n Waite rc 010 u ri sts' a n n ua II exhibition O~ .1..5=20October.

Have you vi:!3,ited a G.aran D"AchecOilour ba f ye·t? 'Was lt a useful w·ay to bU 'it art mate rla ISo or j u st ai n eat gimlm~'clk? Email us' your thoughts to infO'@alrtistsan d~'IIII strators, co. Uk u

The IBrewery ,/1\ rts Centre In as, bee nove rwhel rned with more than 400 submlsslons
for new open competltton,

,Open ,Up ,No.rth~The show

begln S 0 n .1. Octo ber 'i n sites,
aleross the town,

lIINICO'LNS:HI'RE Eerily SQj bscribers st~'~1 ave h
time~ to"',enter -. -~ I!J..~II
~,uo'lrll", "" 1:'\

il"'ii I1II

Weiliandl 'Valley Art Society's 81 n n Qj alii ·8utu m n exh ibltlo n {3,-i5 Octobe r), Entlry forms
must be returned by 2:4

September., IDownlloa.d ttl 'eml
at wWW.WV',9S.,c:o.'uk


.. \rtists & .~ lustrators


With our columnist David Paskett, 'President of the Royal Watercolour Society














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Our society

NOTES \·· ON · S-O.·.••••

,he, Royal Watercolour Society CRWSYs
A M.tiU mn. Exhiul tio n. of new works 'will be the, backdrop Ior an attractive series of pal nring courses and lectures '[hal have been coming , together over the last six months. ,. lin order to curate ,8l, progn:unme of exhibitions that doesn't conflic [ with other shows in and around our home at [he Bankside Gallery, you have 'well coordinated and w,e:often Iook forward several years. The content and, themes of Royal We tercolour Society exhfbittons rnay reflect national '=II niv ,a-:l'"S,'=II ri ';::""5· and el ebra nons ~_,.v= ._
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non-prescnpnve, embracing the traditional and the con temp orary, and we endeavour to convey that m ess.8Jge" This yea,r our sole newly-elected associate member, Mark Raggett, takes the limelight 'but I expec t he' will be used to that giv,en hils experience as an art director on stage and film SIE:ts _ As a pain. te r, Mark works in '[he 'modern British landscape tradition, owing

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The RWS Autumn Exhibition
ru ns from 7 Oetobe r to

5 November at Bankside' 'Gall,ery1 london SE1.lan
Massey!s lecture on Patrick

next ye:a,r is the U I LULL.,. 7('11 r h '3IlR10]"V·.. ersary 0·£·' rhe G·eorge Cross so our spring exhibition of work from Malta should prove timely, and ''fATe win be. using the Olym pic theme m the surn mer ~too" '2012 is 3,]So. '[he centenary of Keitth Vaugh an \::~·]-th A· s gre "JIt "0'10'111 ri c it pa in 16 'hi andler and br Q~[ it IiJ1

- for e xample
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Ex,hibit.ions need to be conceived long before 'they are hatched

much to his mentor Graham Su t berland. Both have; beer msptreu . y the ric··h,g; ..'~.,.. 0 the Pemhrol ees ure.. . ,.., een ir pired]» 1!,.,1.e ri .. .. ,eOtogy of e em, u I 0 . eshir coastlme ~along with [he contrasnng min unae of details found. in natural forms along the foreshores and harbours.
Another 'RWS rnem ber, the

late Patrick Prockter ~win be the
artist fea tured in ou r a 1U tumn

lee tu re. 'Biographer Ia n Massey








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CO IIIpose r, he

Prock tor takes p Iace e n 19 October et 6~30pm~ www.royaiwatereo'laur socl ety·.co.u k BELOWD~vid Pssk ett Chair

'was. the consummate 'artist's a rtis t' and the 'RWS spring '[aIk about his gouaches by Gera rd Hastings promises '[0 be H. t teat.

,Partnership" 'w8It,ercollour an d
iill k on paper

'Our Bankside GaIlery 'Learn, call for images to publicise ill ture shows months in ad vance, even though some palnti ngs only reach corn pletion a few days before t he hand -in, We:are constan t ly in need of fresh batches of RWS members' paintings to adverti se our shows, especially ones [hat are markedly different from the last.

will talk about the artist's colourfullife, watercolours and aquatints. Prockter's series of Chinese: im ages, re sulting from his visit. in 19gO) six yea rs before' I arrived in the country sHU, resonate 'with me. 'li recall his Ilamb oyant p ersona li ty and, sweeping g,estUl res) which were a living embodiment of the Ire sh strokes in. his paintings" One' of his wor ks though contempora ry in feel) sal happily among '[he 19th-and earl y 20thcentury paintings in Tate Britain's \Vate'l'"cnlour show. Recently the' 0 fficers of the. RWS we fie invited to exhfbtt with the Royal Scottish Society of Painters in. Watercolour (RSW) in Edinburgh and, four of their members w'HIbe joining, us 'in our autumn show ne xt month _An four have distinctive approaches that deserve ar ten tion _John Inglis, [he RSW president, abstracts the Scottish coasr al 'land sea pe into viv id mappings of ,floating, structures while james Dunba r revels in the patina of elevated. sculptural remnants fronting the shoreline with heigh tened realism. [DiU], Me nrgpmery unburies archeolo gtcal footpri nts, fragments and f05SHs ~ la yeri ng, them into. hinted 'mythologies. lea n M arti n "bring;, collage and paint to gether with glowing
1 1


luxuriate tn com binations of treasured vistas and briC-:8J,-lJir8JC" It is only in preparation for a show' that I

realise wha t a risky business it tan be trying to. get across in a nutshell what each painter does- It, is like describing an assortment of chocolates - in the end, you just have to. taste each one and see for yoursel f!


~2 Artists


& Illustrators

iii .~




_ e__ ,'-__ _ ii y P'o.r_ extraord _ narv w'et in we't, bll,en,dlinlg



a F'iine

Mlist W,alter 'Slpr'ayer to, raw··ot-· yo·u [I p·a·iilnt'l;ngl c c ~" .... I I I·~. _'~'

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.heip,'ul thE! new A mlie" J:ote,ra\ctive temni,'que,s re'ally and and g~'i!e.sessons on compOi$rttiO!il~ dr dlvvi ng, tona~ IUIeS,~ l va
portra itu re and colon r mb::if1Jgl. P[ro1fes$~ona AJI'ti's.t Mlit.(h I

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shows .Just ho'w easya'nd

T OJ obtali III thhs FREE 2 he UI'"~uiiti,ona,l DVD featulf'ling
IMlii~chWaiite ~ e-m,a~ll:9aJI e:9ulkJieh MmfUllfillhl or c811m D12D4 498041: [For product, imOllmatiion,

Wa,ite. de rnonstrstes A,t-elie'r Interaicti'!l€'

~I ps & 'tec[h11iil lq UIS·S, ani iine Ig,sll,sry & :stookJsts

v~de(] demorlstlratllofls"

Artists & Illustrators



already sen like hotcakes), his wife is on. the

verge of giving birth and they are having an, extension
put their house to boot, He s bred and yet de spite being all but chained to his easel, it's clear the Essex-born artist wouldn't have lit ,any other 'W';aJ.y - even if the introduc tion of a new' genre into. hi,~or .r~ per to-;~ I' ,c. P"I"'Q, "V' '1· I" 'g-' , .... lll C--Oi-I" "-'U]'"1"""i in'g' (' I am -,'bu sy 1fDo' ~r;;
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painting Inndscape

a fter Is ndscape but what I really
~,[!:\.r '"" ~

Breaking awa,y from qutntesserrtlally Brit~sh Iiandsca pes, IMiiclhlael1 James Smith has found a new 'way to capture the ___ 1_,' __ , ,' __ ,:_'~~',:_ J __ --J},' _I __ '~: __ 'cL national character ......, and challenge hls workin _:,_, rneth ods g-' _11_', 1 __ .'1)_,

but I am just not going, to have the time. I[ takes twice as long, for me 'to do a figura'[ive painting, probably Just because
, .', ~. l. It ...... :
I,. ._~: I ~~

want to do is sit down and paint some figurative pictures I'W' '~'S asked t'0':" d '0''',~ mo .',r.::;. Jt .. ' the exhtbi ~ t- ion :', ~ ~ ~..._" tor "...."U '. lU ~~
,= _]



I'm not used!



While hi s response: to Iandscape

tasks is more

W'ORDS.: M,AIRTHIA AILEXANDE.R ichael lames Smith 'is currently putting the finishing touches to F'r'om Country to Contemporary ~the show' that will mark his progression from Iandscapes being his only genre of choice, "Another couple of weeks 'li \hriB 'be free!" he jokes, As well as the solo show' at Colomb Art, London, he has another exhibi tion in California (where his

automatic, he is enjoying experimenting, much. more with the figurative works, which he naturally finds more challenging. He's pleased and surprised with the results in e qual me as ure admitting that his paintings. are better [han he thought they would, be. It 's like looking at someone e Ise' s worsk"» se .

AB;(~IVIE.The Co,:t!n¥olds.~, olIon ce nvas, 102x7'6cm
~,4 Artists

So. many profes sional artists consider making a change to, a successful formula but vlery few actually make [hat transi tion for fear of sacr Hieing a sre ady income "Making the decision to dO]I is the biggest step," agrees Mtchael. "[ust be brave It's one of the

& llustrators

michael james smith
things 'I 'was first ta.u..ght by my father, Even with the first

the sqrta.n~and gingerly cutting into '[he canvas convinced I'was going to make a mistake but you have to give 'it a try."

1 cur.I remember



His father , [he Iandscape childhcod
.lt· '"

painter David Smith, was a

be come :~narchi teet, K'[ liked the whole ide 3 of rende ring and [he accuracy re.quired, but with what 'I do now it's there. anyway ..It's that photographic accuracy geuing everything in the right place" ~~
With that in mind) Michael st ud ied at

IBELOW MIlcha el gets to wo rk

on hirSI latest II.a dsca pe n

influence and. now the l~10 men pa tnt together re gu larly, situ ng side by side cha ttmg away,
I o f J!.e;rlnge:ac.l. tl """ii" " ~ O'I!, c.ons.t rue "ti ". _'llVe crlI!JCIsm.,. "O bvi '. .VlOUS] Y
spending, so much time 'with Dad's pictures on [he walls, it wa s pretty di fficult not to take something

fro In, that!

Sou thend Col Jege of' Art and Technolo g,yl, which offered a variety of
discipl ines includling,

especially in terms of composition. He never showed ID'e how to paint he told me how no.~[0 do it. He said at '[he time 'l don't 'WIU1Jt. '[0 force you in any one dtrection' but it turns o ut In, "y:., wor -17"I" p·O:;;'I"y. 1:'·1"'11" r to h,, . ·w···· .'. e b oth 11. n u _v '
"!i,I:', ~r.;J ~ .__ .ll , .. _ _ '... V~. _' ~ , _I:' ~1i .~~. ,: ;}, ,. "11 [,fA.,
JI." r;JI i;'.



try to paint the most ar cu.fa te pitt u res that we c an." That Ievel of precision in his work might be dow n to, ll-..-, f· ~er, our u, '. ..... I ..... ~~IS .,.'] .'.' L. to rus ra th ," b Iii- 3iLSO may resur J:t "f"rom hi ear ry wisnes Ct·

pattern design for matenal, but he quickly discovered that the on Iy thing t ha t he enj oyed was the painting, H'Wr;/ dlonly do an hour a week a nd it ju st wasn't enough," he recalls, "Isaid to. Dad, 'l don't really


wan ["[0' :", d 0' it".' I want
"~~; . ~ ~ _ ". (;I,~


t 0·.. · pa int . .• ~=~ !I..

H,;:;. sat d 'ok = ]~'~V~'
\.. ~ .~ .~

=..... " ..... Q,



A rti st s & Illu strato rs ss

michael James smit.h


M~ch,aelJames Slm~th
Born So uthend-on-Sea, Trained 1.9;1'6

So uthend Colll,ege off',A,rt

and 18cihnology
Ne,xt ex hibltle n Rum COOnlfyto ContemfJD~, 23. .s"elPt~'m r to g, October, be Coll,om b Art. G~III,elry!tendo n Mo,re ~nfo,


ist s

& lln Stra tors

college and I'll fund you for a year' and that's how' it star ted _"0 Luckily; he did n't need t ha ~long to prove htmself to his father, or the world at.Ia rge ...The first pain Ling he look [a. a gallery 'was sold. 'before he had made the journey horne, He has worked on landscapes since that time; but he has always harboured a desire to paint figu res. ~~ wan ted [0 try something di ffe r ell t, I stretch myself and see. what I was capable ol," he says. Surprisingly, Michael hasn't foundl the switch tough. 1-1is photorealistic approach is p resent. in all of hits paintings = he says he. doesn't think he could paint ;2IJny ot her way - and! the patient bru shstrokes are: :S) lso very similar, If anything he' has found the figurative: work easier, despite [he fact that 'it cans for greater accuracy. "With landscapes, irs difficult to see in the. distance and sometimes you have to make it up to a certain extent because you don't know what you a re painting," he '1 !=W· ". h fi -s ex piai - ns. '-~_. U.· . gu res, n~ more 0 -l!.. vVIOUS. ~~. One of the 1111.0 st di fficult things about it has been trying to decide what ro paint. "With the landscapes, ] would spend a cou plie of weeks every year Just rravellmg, taking photographs and sketching I'd come back to the studio with a. wealth of material but 'wit h the figurative Vif 0 rk 'K 'have laid! tn bed Ell_'[ night wracking my brains thinking ~w can 'I do?' ", hat Michael has only completed five figu.rative 'works ·to date and for each he has asked friends and fam By to, pose for him, using their aest hetic form but then casting them into ;2IJ. totally different role" His wife became a glum looking soctaltte wtelding a bon le of champagne.

· oth ~'I'~ n sh 1 A.,'u _"'~"..of hi W·, ork .::::'. 0- 'W' . ,;;:_ '<:]1 r'ecli ~"'I·-" g'" m 1an o,n a rk bench being the recipient of a canine leg- cock ... "My friend Steve posed for that pic lure bee ause he said! he'd like to be. in a picture. and! rd. already formulated the idea. of what I wa nted with the dog. It was actually quite. apt as that's the sort of thing that would happen to him." Mtchae 1 is cle a rly enjoy ing the novelty of the storytelling, element, ~~1'.sa 1












!l,J!, , ,.




",lL JL


If)''"!i ~,l1.


'whole new ang]e


he says.

spend hours just dlay

dreaming and not getting h _mucn d one somenmes. 'lPm


excite dl about lit and I dlo think this is quite. different." Whi le it is. hard RO think of anyth tug as, p·otent ly British H.S Michael 's rea listie landscape paintings ~he be heve s th at his figu ta tive wor k offers him the chance to say even more about the UK.,. "Ultimately l am not just going to be talkrng about cou ntryside ~Iam talking about society as a whole," Michael 'hopes thathe will soon have a consistency of style in. the figuranve works that will make them recogn isably his, Never theles s) he is keen to. keep the
different genres he works on separate 'in every waYl' even

ABOVlE River Wy:e~ Ws'les ol I o n ca nvas ~92.x.61c m


n HiDnS' n,1l tn ~'~IIJ~,II S"E ylr·r·.~t~:l~ ~'E ,l ':: y~ln~rjr i:::> tII~g



IFROIMTOP LEn The D·ec.en·t~.
ol len
'C',8 nvas

down to the collectors that 'buy them. 'He ha s de cided the figurative work w HI not go OUl to America _"The landscapes have been successful but I always felt I had, all 'my e ggs 'in one baske t and now I fe~] like] have got another st ring to my bow"


Uns.oclal' Ne;['w.ork:ing·, olill on calnvas ~7Bx.102c m; Can.rt

Ybu See I~m BusYr oil on ce nv,as~i.o2x'16cm

Artists & Illustrators 17'

'Witlhl generous attitudes and ,8 supportive father four artlstlc slsters have nurtured each others' talents - but how would they 'fare with a 'f~rstjoint exhlbltlon?
wo RDS,:


have ,any of your offspring become an accomplished anisr its plenty enough reason to be a 'proud parent. So imagine havmg four grown- up d:a.u.ghters~all of whom have:

consultancy in Hampshire, andone of Natalie's paintings was recently selected, for the Royal Academy
Summer lE x b ibttion. However, it 'W'3.5 'the dynamic Sir jack, ,3 former member of the European Parliament and owner of Dunda s Castle lin Scotland ~who convinced his d aughters to stage fOUl" B .'·us1~es"I needed persua ding because li don't paint as a Irving," says Nadia. ~~'BtUcarne I

TOP' ILEFT D,a ph ne S te phen son

with Iher paliintii ng: 'Theatre



'TOP RIIGIHT Nata Ile Sts,wa rt

C'llalirk a. n d her l.och Sween land seepe (b e Ilow}

exceptional talent with a paintbrush and, a j Dint exhibition planned in the heart of London's art scene. It migh t sound fanciful but '[his is 2J rea hty for '[he. four daughters of Sir Jack Stewart-Clark and his, wife Lydia who will be: exhibirmg their work together for [he first time next month. .Four .Brushes win feature the work of Daphne Stephenson, Zarina Stewart-Clark, Nadia Waterfield and Natalie Stewart- Clark. An. four have painted since chi ldhood but only two do so. profes sionally: Daphne is a popular na lve artist whi le Zarina is at successfu l la ndsca p e pa inter, working tn e,gg tempera, Never t hele 5S the other two si sters have a keen interest in art) too: Nadia runs the: Quiddity Fine Art
I, l

on board, because 1 could not thin k of any thing nicer than exhibiting wi th.. my three sisters, in a show

organised "by roy father.'»
It's touching how kind and g,enerons the sisters are \vhen discussing each other - there: is no sibling rivalry here _ H'We t r)l to encourage each other and I like ge'tting, advice from m'.ysisters," says Nadia, who completed, her A-Level 'in art las'[ year. "Zarina carne around in June and saw' me painting on. an easel at the table" She said I should stand and work 'big' and gave m,e'decorators

& Illustrators

sister act
pain t-brushes

it was advice that has really helped experience, Nadia

Their father deliberately chose a large gallery with
a singlefloorJor

me enormously,"
Despite their lack of professional and N atalie still have. their fair share of the famil y's

talent "I can Nadta the secret arnst," e~.pll,ains Daphne. ~~ has no confidence lin her own abili ttes but she has She
so much talent." Meanwhile Nadia believes that Natalie

the first joint show: "1 didn't want d' . ~d . t-.' h' ,ave . t-',0'. .•.··.ecl>f· w, '_ was 'olng.~~·..O·'WJ1SaITS " 0' .',_-., · 0 .. d· .. , ..t ."~.',' /



.' . -



• ,




is the one to' watch and. all of the sisters hope that she

The sisters' love of painting, was cultivated in '[he playroom of their childhood horne in. Sussex, 'where

might one day be able to dedica te all her rime 10 pa inting, "I aTE.] elaxed and feel [ am more of a hobby r
painter who paints for enjoyment when I have. a spare moment," says Natahe, who can't envisage makmg a leap into Iull-u me pai nnng anytime soon "I do think abou t

each of them would divide their time between drawing amd da ncmg '[0 thet r father 15 .J a zz and Stevte Wonder LPg", "They have always painted togetheT recalls Sill' jack. "I remember them havmg painting competitions

and they were fantastic even then."

ar t a. lot - not only bee ause of [ accepted 'by] the Royal ,At though this gave me a. huge boost of confidence but also bee au se I enjoy it so. 'l11UCh. _ FQu~'-B,"ushes has been a year in [he planning stages and the pre ssure is now on the sisters e ach pro du.cirng wor k th at they 11re all 'happy to sho V\l,;, "I am more relaxed now because Ihave. all my pieces put together," says
l' 1'1'

with big 'boxes of Caran dAche goodiesa.rri vilng every Christmas and

The girts were always encouraged,

bi rt hday, There is undou btedly a, s'[rong creative thread running th rough the family, with many of the four sisters' own children now studying art or designl ton" d "I am very proud b ecause h nere we, h ave a snuanon


Zarina ~the calmest of the


by a II ac cou n ts. HI t hink

daughters are right in '[he middle of the art world," explains Sir jack, who deliberately chose The

I am trying not to think about it being, too 'much more than a g,re:t1.topportunity for all of us. I~be more d nervous 1-.!'1-r 'Ii'V'lI s a ,c '0] 0 cLIO' ':'W but b e«: ause ]-'s t he to,.. u~~r t JL .::-[Jlj. J1
~!:I .' '. - ••

Gallery in Cork Stree l precisely bee ause it was a large

enough space on


single floor, "I didn't want to have





~.J: .. "











a situation where they would have to decide who 'was

of 'US,~ I am, trying ha rd not to get stressed" ~~

going downstairs and 'who was. going up." The pride is, reciproca ted with Daphne speaking for all on them when she explains 'how 'her father's input has in fluenced their hopes fOT the, show. KO UT fa ther has always succeeded at whatever he puts his mind to and on W J h uh ,'~no reas on whY t his sbould".., not . t, a succe 55 ~ sr e ere. s IS sr JlOU ne says. "Most of al], ] hope 'V!,le are recognised EOE" the


'individual styles 'we have."

,Foor B,,~ushe's ru HIS, fr'o m 3·8 Octobe'r at Th e' GaI ~ery~ Cork stre 01, London

ABOve: Blu.~' Tr.ees" paiints d by rNlad ia Waterliield "left}
[FA.R [LlEFfZarlna Stewart

ella rk witlhi Raasay fTo,mSkys,
(Iilns@t above)


& llustrators


3 -6 November 2011

S;pe(t~d Prke 2 Day' Ticket Avail!abl'e·

N E.·, .•rm i . . am CJ


ni'II iiil!:rva n IOI! .00000'1Y.i

Open 9,30am • 5..30pm

!Sun 5pm)


'rop lIil~S FROM .A!RT GIUlllDS ·a.5·0(111I1&5


FREE! IDElMIO'NS,TitAJliIOIN'$ IBY P01PULAR. AIm[5,1' DIIMONtSlRATQIRS InR-:- -e B-:O' ~ O'~ ·itt' A. bli E -W-· ':\' I :nPLiii ~ ','[.111..:. ,'.ItfIiI;UMJI·· ~ ~IE'ED-=" -0- nU',r~' "'p-'r Q- j[}.if"" A'N ~ll: 1'0. IF'". Iri.JI!!IlDIdii'", W :. BY lEISURE PAlNrJ1I5R THI~ARIlSr MAGAZI NI§S s
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- -H. - W· - FO- '-'H---P- II 1 51 R TI E R!CE0 F
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CH RISTMAS Q HOB8,V(jRAffi, AT n·u; SANtE VI!t\~Un; AT fH11! SAM!; TIME



10Igii !al~_ilne Art Re',n
Un riva Ii,ed col OUi r accu racy.


OIlGL liS sympaUletiic and
understanding lof the need for

• • • •


Your' F'i[i1es ~ Vi,a our

'. '.

Gii'cilrlie' f'ii Ine Art P riinlt, ...Are h ~v.a Ii ~ pap 8'1J', canvas· & Ipgmenll:t h.lase,dl __ "nlks·'·· IPho,t,ograp,ihic: f'iillm Sc.anniln'QI .. IN,eg,ativ'B &. transpa re n cles a rehlved . IFr,amiln'gl & M· Conservation materials &.

r. :-.::.:. •


the hi' !qu,a~iity dliigliital~tine art re procuctons Igielse prints and frs mlnq, .As such we onliy use material s that are 8Jciid tn'rele, .& eonservatlon standard.
Ex hilbit~on qual iity prints e,ver)'

f'as,t" S,ecure &. Re,liab[I,e ...Up to 2 G [8 Iperrfi I~,e., Emlai~1 Con',n Of iii,s Downlolad ..,lmmediate dI,e'~li'very", Neve'F S,e,nd DVIDs Or CDs [!n Tlh1e Post. Agailn ,~, e~liablle diiglita[1 R transfer of up, to fl"v"'~ d ~~ ~I '~':: I . ~ hl~'C!' at one 11m~~, ~I~



Techn iques,




Artists & Ilhrstrators


Oi'll J)8 inter Es,telllleJourd has deve oped a close ,a'ffiin 'wiith tne C:08,St 'j ne near ber 'Wh~tstalb'llej horne ity and an unusual approach to, her work has seen her If'teraJ'.,y leave no stone unturned



stelle jourd's vast oil paintings in stantly betray her love of the sea, Inten se
,,,,", !U ~,[, , 111

breathed itt all my li£e,~'~ Es ~ene" s.ays

.... ''-mm' ,~' ..I" dILL ~"n-, 'n·.... I .,,::;'d iate !L

Ct··<"1 u ~ S o.lL!(. .riLlL I, ,



focus, they reveal a

sensitive awareness of the seals ever -morphing na lure _They also reflect a life lived by lhe coa~n" Born and bred in Whitstable, Kent, theartist' 5 rela tionship with her su rroundtng landscape began from a very you ng age ~a fact evident in her paintings whidh are: imbued 'with an obvious :fa, rarit y 'with the su bj ec r. mil ~~ lived by '[he sea, for so long '[hat l 1've

"When I'm out and about! I'm observing a U the' time and forever sa ying:: 'Look at that, look at that' _I PUl ever ything into a "bank, in my head and, just recall it when I~'IU back in 'EUV S tu di 0.,
of l~

abandoned her idea of going '[0 art college in order to become a legal
secretary" It wasn't until she married, had three children and later divorced
t ha t

she eventu ally ret urned



origin. al plan and enrolled on a


is a series of sem i-abstract

works that ca pture '[he essence of time

part-time degree in fine art at the Kf~11t Insti t u te of ,Art and D esign (now' the
University for the Creative Arts):

light, weather and, most notably, mood with broad, gestural strokes and deep layers of paint, often applied with a
palette knife. They're also extraordinarily skilled considering the 64-year old artist carne to a career in paintlng relatively 1ate. o n le avi ng school and acting on the advice of her parents, Estelle

ABiO~ESnephEHTIS ,De'~gh:t!" o,ji110m ce nvas ~80x'oOcm

don 't need


be looking directly at u 'in

jourd was a natural and quickly began exhibiting and selling her wor k. She: also began 'to' develop a series of contemp orary scul pt ures and instal Iation pieces l' :l110St nota bly an tnteracti ve work called S (wted [hat took place during the Whitstable Biennale
in 2006" The mstalla lion played! OUl

order to pai nt it I've

'in 'it and



& Illustrators

dire cd)" on the tow n's shingle: be ach,
where jourd,
t he

together with visitors to

project, spent two weeks sorting

the pebbles on the beach into batches of dlfferent colou [-5 _ TIlLe a rtisr was left

with a lengt hy section of the coast that was nea dy arra nged iIUO colou red
stripes. "People would come up and say: 'Where did you ge'[ [he coloured

pebbles?' They were qui [e shoe ked when they heard how it W;81S done, 'Of
CO LUiS e;

[he. project sounds simple, but H was very effective and very inclusive. We had everyone Irom babes to' the
elderly on zirnmer frames on the beach.

sorting pebbles." This clever 'way OE manipulating material and ]:e.aving a transient mark on the la ndscape 'keenly demonstrates
and perhaps even affin litY'" 'with the nat 11ra II'world.
It also underlines her hands-on ani tude. ~~4 family were prac tical y

Iourd's understanding,

rather than artis tic ~n she explai ns, H:My

"There's something, about the flatness of the landscape around hcre., I love the subdued colours 'that it brings"
father designed and built 'his own "boats and '01y mum ltterally made everything "Even to this day, if I'm about to buy somethi ng, I c aID hear her say! 'd ont buy that, Vile can make itt I think that's she insists Whits table and the nor t h
Kent coast is, her premier mspiration.

ABOVE ,Su,mm'e'f

Sea ol I on wood,

huge ,ex.panses of sea and sky, which arechanging every minute T love the
• ~.. , L"::. ,~t:.It:l::ll " I' • ~











a.o(Xe·Qcm B,El~OW~iFT' Wav.e,
'0 Iii

on wood,


that it brings and the

light here itswonderful. Everything; ~[ 11 • . llove IS,·h ere" .~~ It seems 'many artists agree with


jourds romantic picture of Kent, and
the county has become a magne'[ for those, looking to belong to a thriving

"I spent. the winter in Portugal and I recently went down to Cornwall, which is also rnagn ificent with. its

aru stic com mu n ity, Su PPO[ t comes in the shape of
dozens of independent galleries, larger ell]t ura 1 institu nons (such as the, newly- opened Turner Contemporary in
Margate) as well as several rnajor art fe st iva ls, annual and otherwise.

where my love of creating, comes from,"
These days ~jourd dtvides her time between gardening! creating art and

dramatic scenery and rocks ..But I love being back 'ill Kent and seeing the.

marshes again .. There's something ,
about the flatness-of the landscape

wallet ng_ She aliso.takes trtps 'to other coastal d esnna rions [0 pain L~'[hough.

around here that means you




the Folkestone Triennia] to Canterbury "~ In ·IC,I,· . . .IS Festrva '1 (i ~r.hi '1] J'.-Q1IJ,]f'_d i

pa r ncipating), Kent has mo re than il's fair share of creati ve ha ppemngs an d it all make s for a Iive ly and spirited 11 • piace [0. ~live an.d war k ~I1 an ... " 'S



says Jourd.

"There are de fin it-ely 1110re places to exhfbit, which is great. And the ,ar[y atmosphere restaurants, Namle Est:elille JOUird
Whlitst~ble~ 1.'946

as well as all the bring 'more pe .ople

'wonder ful new' shops and


Into tow 11. 1'[ makes Kent an even more lovely place," states cure __···I.y· at jourd.v'My fath er was a
merchant sailor and he always used to say: ~ I've been over

TraJning and Design

Kent insnmte of Art MoOre ~nf.o


www ..starkg2ll111Ie·fIl··

the world and there's only one place 'I 'want to be _" nd I A totally .agre.e with him ..~~

Art ist s

& lln stra tors




Categories:: Endanl,gelr-ed'WUdli'fe Wild Place:s, 'WUdlife in 3iD"'W'illdllife in Action;, Young & Wlillld"Wiiild l,ife~ and Go W'ilildl EXIP,et judi gJ~ nc Iu d e 0 aVllid Shephe rd, fe now art is ts, (0 nse rVlorti0 nists an dl art rri t ks, r S ShOlrtJlliste'dworl~ w~lll~ ,e,xhib~tedat the IMlaI GaUen~es:~ on be' I land

Seve categories to .uit al artistic ty es an .

.. I ....


""':e:···"·a···' ..






. .



Entry: from now until January 21, 2012.

For full details and rules please see www.dovidshepherd.o g 0 cal 01483 272323
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Artists & Illustrators


Ric ard B,aw'de'nl's wryly-observed watercolours and prints have been charrnlng art lovers, f;o,rmore than ,50 years but his, approach to In!9'W shows rernatns as ramsbackte as ever

icha rd. Bawden has a [0'[ on his plate: The 75,-ye:ar-,old artist is an acnve member of the 'Royal Watercolou r Societ y~ the Royal Society of Pat nter Pnntma kers and. the

Norfolk's Bircham Gallery, he wtll have work in [he annual exhibinons of '[he Royal Warercolour Society

:srndl the New English Art Club.
With over 5.0 one-man shows under his belt, you would be forgiven for assuming Richard would approach exhibitions like a well-oiled machine Yet despite dec ades of practise) his working, ]'ife in Sulfolk is rather brilliantly chaotic with his studio every bit a messier and more colourful version of the' interiors he captures in rna-ny of his paintings and prints.

ABGVIE S:tf,ii lJfe wtth Sa na nas, watereol


pa per, 3.9x50c m
24 /\.T fists

New English Art Club. Being a,member of a society is about more than just the exhibitions for him, and 'he enjoy'S the stimulating contact with other members on pn ill ting tri PSI and even ts as vi/ell. He recently made work for a display at the Roya Albert Hall and alter a forthcoming solo show' at

& 11lu strators

ri. c,-h"'a',f: ba , -d.-n_''''d~' .' _:,,' ,.w e.,

Nevertheless, the artist is ambivalent when asked whether his career has, become easier over time. "Yes and no," he says. 'U] know up to. a point what 'I want [0 achieve 'in painting, dra wi ng design and prints, but there are ma,n.y facets '[0 these problems which 1 can See and still need to work on, That focus was instilled in Richard from an early age, 'when be already knew that he wanted to create :;3JJ."t for a livi n,@;. Iwas always drawing and I sta rted rna king ~~ lmocuts when I was about l l-years-old, using, a knife '[0 CUt ;aS Iha d seen my father do," JUs father Vilas '[he wa r a rttst Ed wa rd Bawden RA ,. 'whose work is widely celebrated and regu larl y namechecked as all. inspiration for printmakers today, Richardt believes being influenced by him and his mother ~ the potter Charlotte Epton, who he also describes as a "very good ar tist" = was inevua ble. The yO-D,ng Richa rd st udied painting, pri ntmaki ng and graphic design at 'Chelsea College of Art, St Marrms and the =1:)' oyal , C...' .h_;",L 'll "A': rt " ~~=1 ,lth,il nk a ,iL' l ,rubb .o,...J1 "off .' mI ~ ]0 ,'\.0' '. .oll ege oC' . !iJ"~!LIl ll.l on ,I
, , ,." , ". " ~'

than a, forced! mori varion. "Most artists have a compulsion d - "' .' '" = f . He 'I!.. to. d raw am.., ] gel very irnra bi e 1 1.,'dom, ~~ ex P11 tains. "I find it necessary to. dr:8!w,= you can be spontaneous. It rakes a long time to. pa lint and especially to print _ ", Across his Career, Richard has 'Vlor ked on both paintings and prints" He claims LO have no preference, preferring not to go 'throug',h spates of wor king in one single medium but :rather seeing both as an, itmporta nt itil on 'Ito one an o··'t' h DT' ~~ h~'''':. a' di . 0'" f' b o th I] ll,~ ii r-o, be says ' et "~, .J. ..... .v!...
'Ii"O ~ .-:I, .!l ..... It;~,IL.-I!,'lj~

IBELOW LJEF1 Ba'rhroo,m

,GaUe'.ry, watercolour on
paper, 48.,3x5Et4om

IBElJJW R!GIItT Pa'tte.rned ,r'>ha 'f' wat c ..... 11111'" 'l"Iil" col......
~ ._" ill., "'~ ~II.:_ "_" Y~I Y1


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"I believe a watercolou r should be a di rect expre ssion,
Prints are a way of taking au idea, further, consciously resolving a design _, lino CUI ""-: ~ ]S an uncompromismg 'me dium and etching is. atmospheric and painterly. Painting is more ISC1P eo vo··,u=== ~.ght~ ~ .spon,~~tan="= ,," ~. J •. '.. mi "~

My j ather Edward was a
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111,(,' 'I-JI• .::;I',






and very disci plmed naturally. I'm different b'ccause 1 live 'in. chaos an d have piles of unanswered letters and th lngs lying around, 'but I was bound to be. affected by him," The notion of 'discipline' crops up frequently, particularly when discussing the pros and cons of wor kmg for commission rather '(han pursuing one's own ideas. ~~Aommission ~however good,) Inust serve :@J c

from my father, He

a superb draughtsman

purpose. That is a discipline. You have to be disciplined. You mtght be asked to do a drawing, of somethmg you would not normally do or for a particular purpose. If you don't do what is required. yOl1, have failed no matter how good it is. Pleasing oneself can also have problems." Richard's brand of discipline seems [0. be driven by a passion, pleasure and compulsion for his trade rather

put colour 11nd shape in a certain place wi thou t thinking. But when you come to do a print you have 'more time to consider it and. ask 'why didll. do that? Despite using very dtstinct colours in his work especia lly his. interiors, which eeln involve. room s d ra ped in great swathes of Cadmiums, Ochres and blues =, it's not a priority for Richard. I am no t a 'colou rist 2J,S such and sometimes wish I was, Colour is imp ortant to. me, bu t composition, form! sha pe ~design ~strue ture and line se,em to dOin lna'te",)) _. " " He enj OYS sharpness of the lines that '[he knife crea tes
1 'n'

draug,ts,m1un, an.d very h I'" d 'nla,tu~aII',y.'m I';' d''" Ine' different because llive in chaos"
·1 _ .. "... ,,.: I.
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on. cut li no) which


what his father liked so 'much)

lou" His work is linear and graphic then, 'with an extraordinary attention to derail, a far cry from his chaotic preparations. Richa rd '5 solo exh ibitl 0 iii run s u nt i'I 5 0 ctober at B ircha m Gall err, No,rfol It. www.1m ~reh a Ih! ry~ctJ. k u


Artists & Illustrators 2~!


8:y Nor'bert Wollf

Sept-em ber 21011

I•.. " ',:

s TI)....'II'I""c esu I._"'d,"v.· us velum ~ investloates key a" pec ,·to() n es surnptuo G l'i;5(:!J.. ~,,~:::{cG'.<·u -0 of Art Nouveau ,_ dscorat jive: arts, arc hllitec.t:ure,~ fashion. dance, advertjisiing and more with sn in-depth approach and stunnilng lillustratilon~l~L

Art hlstoriar Norbert 'Wollf explcroe the movement as a Iloigicall outqrowth of th e historic forces from
W-IIC-Ih I'h';

't' d I ,; 't' , If arOS!9anc reoanns 11-:.8 prorrunence lnt'-II-Ie m I.\-.. pantheon ot modern art hiistolr~/.

Distlributedi by IMa,cmiillan IDhs,trlilbu~icm(MDL}~ HOM~dmill~" Brunell Road lBaslinglsih)lke RS12'1 6XS." Tel::'+44 {O) ~2.56, 30.2: 692" Fax: +44 {O}1:256, a 12 :55fL E.-mail: ordsf.s@111lacmiillan

Prestel Plub~ii9hiingllTO, 4 B.lbamsbu ry Place London, we 1A 2QA Tell~+44· (0)2.0 f,32~35004 FaJX~:+44 (0)2.0 [1636 80041

E=m~iil: ~ales@pr~stel=U1k:,co"u k

'~pTIRr-..:-'E: ·S······-'IE· L' T''''-' _:_,

.1 I_:_J





Artists & Ilhrstrators


Will,lam T Cooper

Awa rd-'Wii n n ing iIIII ustrator
Wililliam f

Cooper draws

upon more tha n 40 yea rs experience pa ~nting lrds b 'for th is encou r~lging,

gorge 0 LIS r if ,ex.p,ensii \N3\r 'techniq ue vol ume, S P
Val,e" £2:5,

Ma rga ret Davi ds 0 n

I~ii5 styl is h com pe no luIn

con O~ pts ,8 rid
,8 nd

tech ni q ues strad 0II s the e

th e more

tra d ltl ona I, 'co m bl n iilng ~eSSOf1is lea rn e d fro m

es or, '~'jntenti ona Iift~l"and 'n atu re ba sed ma rks' ,.A dlii ve rse S~ uret
and iinfo rmatlve rea d., ,S,p W,atson GIlJPUIII, £24.,99

'IN irth en tn

.. http://on &
I nspirin

the web

g idea s from the inte rnet

Debra N~ Mancoff

yo~ can now 'watch th e plr'(9tvo us week' s l P,ed~tTng & D r,8wi ng Clhann,eJ programmes online. IRecent shows. l'~ ellu d e .A,rtists &: lJ.~ustra'to.rS'co ntrl b~tor Joe, Dowden painting Vie ~ '~cein watelrcollou rs, Www',t.hepli)'intinganddrawingchannel


.. e

If knowing your hollyhocks from your hyacinths has never been a priority, I'd wager you'd still be interested in, this book. Following on, from The Dlog in ,Art) publishers Merrell have done it a.gain,)creating a. tome s.obeauti Iul and, appe aling that even tf you have no interest whatsoever in the subject matter, as an artist you will 'want to own it" 'The ,Garde'n in Art 'is. not simply enticing because of the pictures generous]y reproduced both, in, terms of size and clarity - but also because of how Debra 'N',Mancoff draws from such a variety' of sources, in order to ,give a full account of 'how the ga!r'd.en, has been depicted throughout the history of art. We travel back in time and across the globe, as readers get introduced to (or reacquainted with) such diverse 'topics as The Secret Gard,ell! ancient Egypt and William Morris, eacn from an, artistic perspective, Mancoff 'writes with, depth and enthusiasm on each i111..age in the book. She discusses the garden in terms of season, as a metaphor, existing for work and, play and 'beauty - the history is relayed chronologically, taking us from Botticelli to Monet and beyond, The timeline at the back also helpfully ties up, any loose: ends. MA

'Wa nt to' know m ore'
a bout lhow the I'~ k;,esof' Dall and Ro1~ painted ko key 'works? Downlosd th e frs'e' Mod ern Pai nt POdC8fStS an d II sten to t Tate co nse rvetors
examlnlng 10 m1aJor pieces on dlsplay,

tate.o rg ..u kj .. arn:1n,g; e

earnon .inle/modernpaints Th e Scottish INatlonal lP'ortra~t 'Gallery Is set to re-o pen iIn Nove m be r fo~ ng, 191m ajOlr' lowi """"""""'......... ~ ....... rsn ovatl on p rOj'ect In ~ - --=-~ ............... the rneanttrne, you can or-o~._ fo ~ th e p ~ogress ln low ~ o~ , .. _.' IHe 6ds. Up" sn ex ell usive bethln d Ie see ~es blog, www.·J) .. ·ordpress .. om w c



.' " ~
~ ~ ~ ~ ~ ~ ~

o •


~--.~-, ~~























Me'rrell~ £,29 .. 5 9

~ .,

Artists & rUustlfatnrs


Canoodling in the Loqu.a ts, wate Feola ur on pa per.

~lin my sister's galH~en in C'OlrUJo 'Grande, Spain last
May, we· iW'e re 8iwlken eve ry rnorni1rtg at dawr!1 b¥' the d iistinctive fl urtli~g

wh'isUe. nf' Giollden Ori'olles.
As we stu m 0,1'00~nele,gantlty and sp,eed~llyout of bed r we

were Illuclky to see U'Ha'biir,ds
fesstl ng, on 'the' ripe loqust f'ruits" USJ] ng,m~ hasty sketches and photographs!, th~s pletu re emerged, ~ wwwLartistsa nd ill ust raters, 11 a 0,0 ne

zsArtists & llustrators

Heading Home, acryl lc 0 n GEl nvas, 25x51cm jl:.Heading Nome' was ~ nspl red by the rnaglca II ex peri en ce of w.atc.h~ng rockhoppe r

pe~guiins coming in
from the sea 'j n the

lFa~ kland s. II ~'jm ~ted
th € pa letts to fllve colours 81t the expense (,f sch:mtifi e il~:M:~CUlrac:lIj' !!]cjin\g red th e red hea ks end pi n k feet to ye Ilow ochre for the sa ke O'f ha rmony.!>
w'Ww.a rti stsa nd ill u stra u k/ jac k i ega rr1€ r


Gary M'oore (right),
gra phi te on acid-'free
pa p e r, 29x.4.2cm www.a rti stsa no

ill u, u kj
sa rs mo rrnon e CATHllERII NIE LYLIE S WI Life ._Ve,getables
(centre right).

gouache, .27x32cm IRIJlII!'III'R'·II:'NA' ,An-Tli NA. Ili.IUI··lE .n

S ex, Drugs and ROCK R()J~ .righ t), (far


a cryl ic on ca nvas,


GlmLIl., SMI11H



wate rcol ou r, 18x29cm "'We have a theme to, palint eac~ month at IRoU·eslby Art Girou p jin IN'orfo Ik, In October last yealr~,'~h·e,he me t ·"Au'~umn" a nd my paintii ng was chosen ~15f,avo~r'ite by,cmr other melmbers" Fond memories ,o'r my clh~lldhoodl 'insp'ired me to pa lint thls, What fu n itt, WellS to coUect. th ose Ilovely shiinry' h,4....~ . OII:;jE!' C h ie~lIi IILI t.6" . .io"'::;. -

.::;;10 r'ii'


wWW.arti5159nd j, u k/

Artists & Illustrators


10M IDE: FnnER Looking Out to
Sea, oil on ca nvas,

80xBOcm ~'IIami \!Ie~' kee n on represen'Ung dalrk and ominotlls .skies but, in addition to the th rest of' the slky in th ls pal rrting, I w;arntt,oo to creete the efwect. ow the s~y retleeting on a smnewhalt choppy and wi ndy seafront, The pa~rut"rig was ex,t~H~Mtedi ~g,(31 usl
1P8Uete k nU,e'f as w 8111

brus hes, ,gllviing 'it ,[3 n:mghr-,a rna-smooth

wWW.EI rtl stsa no

u k/

tho rnasderltte r

DOIAAJN N E ALlDE N M'attes8 Toma toes,
watercolou ron pa pe r,

34x21cm "Tbls piece ori,gii~a Iliy cam e about as a cha1111lengefrom a friend ,_, f'tter seel ng a Imy wOlrik ,8 nd other 1P81intings off' reu nd, perfec1!lly she ped, EU sta nda rdl tomatoes, she elal med that ~t
WiD~ Id

be more

dI~fffiicuIt to work on ~nH9fl rloom' tomatoes .. Plte r seUing Uplr IIf rst 'w,orked the sketch with a fi meIiinerr then used! a eh ~~:a hite, w crayon '~,o plot ourt the re~lectHons on the 'hu~tIthen proceeded I to, use ,8 n slrnost d r,y brush metbed by us~n,g one or two IIa:-yers ow UQuld
w,ateroallo~ F.

www"tl rListsa no
dora nnealden

u k/



& llustrators

English Woodcock
wate rool OUI rand

ink on paper.

59. 4xB4. lcm
"This ~v.aspa inted from Ilife as pa rt of a nollectien f,'o~,a [British Ireste Ulr81fit. At f~rst I w,asril"'!too excited by th e 5~b~~ct ut w~!e!l1 b IIstarted 'cr18aiting the pattern and tex1tlljre and Ilayetring the ora ~goe'a nd ilrld~go ~ ks that wo~~dlgo, n ~ erestl ng, his cost, nto IIrea Iisedl w halt a bea ~t'ifull creetu re the woodcock lis., A,rt rna kes y.o~ see th e wfJl~da rQUI! d yo·u with fresh ,eyes a nd d1iscove r ~ow comlpllicat'ed a~d clever r1lature· ls," www.artlstsand ill u s tra, u k/ rio na oshea

T(II b e consl dered fo r

Poi1ffQIio, pie ase em,ail

contact details,
Info @,iirtlstsand

qUQ[e a nd Ilj',.;res. digital images u'~your art to: iIhJs:~rarors.Go.1J Ik

Alterna,trve Iy; post a CD
contal:ni'ng th~ images

and teKI to:
Artt[sts & mustmtl!!lws,!

suite U~~
.15 Lots Road


For more information, visit:.

'WIN~v., ut

/\ rti sts & 11lust rat ors 31


re ee!

aterco ours

nnovations in Watercolour
• It. started 'w,ith p,igments ••, •
.,..using colours no on.e had heard of

Perinone, Indanthrone, Carbazole,

Quinacridone and Perylene, These little know synthetic pigments were extremely lhghtfasl:;, beautifully transparent and revealed colours 'we had never seen. We knew we had something great~

Colours from the past
As our in terest in pigl11eflts grew~,we looked back through history

resurrecti llg some of the classic pigments 'used by artists from antiquity

through the Renaissance. Azurite, Lapis Lazuli and Bohemian Green
Ear ~:h, ere aJl10ng w

of It he early colours made usi ng n atural rni nerals,

Next, we introduced the Hemal ite pig,m, and jo u rneyed intothe S outhwest for Sedona. :1n the 1ast ,6fireell years we have form ul ated 38. new' pigments; aU mined fl'Oln unusual g'emstones and. minerals, some old classics and some previously unk nowrt '[0 watercolou r,

'Watercolonr Tubes to Sticks
Our next big jump carne with Wat,en::oMour Sticks, putting: the power
of our co lours into a. convenient, take anywhere stick format. Today 'we'

manufacture 4.0 amazing colours that combine '[he best of drawing and painting, 'These beauti Ful handmade sticks have remarkably rich, vibrant

colour and a re truly like nothi n.g else,

• N,,····•.' '~,O':· ,r·s.. met thing ..~·~ma :Z'~ -.. '0',',W . o a ng~..... We bring you Watec'Colouf 'Ground! Transparent













watercolour has never been so versatile, You can turn just about anything into a wateroolour surface, Waterco~.ou.r Ground can be ap,plied to 'wood, metal, stone" cloth, (just about anything):" lalilng watercolour off the paper and! i11CO the
.... yr":~ fio:1'D'OT W:· b ',.

"'=A!b ..l.lIL,II!, l

zorld ....... I" xed medi "f, m
IlL!! '" ,"--..91, ,,!ll'li...

"1j, . ,!ld.,"

'We love' what we do and we' are so proud that we can make a. difference in

the work you. produce,

'Paint: & Enjoy!

,C1l:RVG",[)1 UK~ WOIO'VtUTS,., 'rff~MN,~W W~Rf; 1,'NKaJ If)P IfND HUNt( :DliP£CTLY IO'lV ritE &VItLL

551 ,an'd illustra''tio'n p'rojects' 'Th,e inside story on the' latest art
Jane Stobart
BRIEF: Create a work for the atrium of


new bu~lldli'ng,at University Centre Harlow scatfu ld ilng, a n dl1lthe $ky., IIIcreated fo u r 'wood en
panels based UIPon the many drawings that I ~ad made on slte, "The d eslgn process, was co mplex due to my 'Inltla I idea of mlallking each palnell overl ap one, oth er, IIn t ~e ,end, th e ,C() ncept {)f sepa ratl n g th e bI0 c ks with 01 ,ga p was ba sed u po n th e 'Idea of a com ic st r'~ or g raph It novel, The p palnell s we re In eve r p rl ntedi, ,as wood cuts, generally are; instead t~ey were lnked up and hung directly onto the waiL ~The coil a'ga' a pprove d of my idala of u sl ng rnd~stri,al construction as, a metaphor for ~'~glh r ed ucation, ilnvo Iv~' g idea s of 'wo rking e n together, builld'~rilgaspirations Sind re'achl~g for tin € stairs. Ev,~ryone ~as bee ~ extremely su ppo rtlve and bac ked eve ryth i n,gthat I [put befo re th ern .,"

ne'w unlverslty hulldlng on the site of Ha rlow Coil eg,e iIn ESSex ls nea ring _cOImpletl'or1 anc 'w'ill be packed wit~ s tu dents th is month ~ B,ack ln J an us ry, I 'Wet S a p p rOB ch ed by' the coll e,ge' an d as ked to s ub MI it a pro posa I fo r the posltlo ~ ,of ,artist-l itlres ide nee, fa IIIO'W ~tJ1 i th e' va rio us co nstru ctl 0 n stages of the DU~'d. flh is post involved an II educatlonal aspect and aliso ,8 commlsslon to prod uce an a rtwo rk th at w'O uII l be s ited tn the d co IIIege '8 tJ1 e'w atrlu rn'. '~AsI was intending to draw from the' buildlng wo rk ,as ~t progressed, Idee ~d ,~dIth at t ~e fii~ a II a rtwo rk s hQ'IU IId rel ate 1[.0 co nstru cti 0 n materials. III pent some' glorious days drslwing, s o tJ1 site, as th e b u iId~' g progressed, loo k i n,g at n the actl an a In d the sha pes that the co nst ructl on 'workers mad e aga~' the nst

Artists & rUustlfatnrs 33

PanPaslel ,-a re·voludonary new 'waf ta use colour ,f'or paintin,1r dr·awin'." m'ixed media ,art
• Mixable ~ a'l~80 colours can be mixed like paint, directly 'from

the pan, for an ~nfini[epalette, ~Apply bloclls of col. ur quickly - for und er-pa ~ ngs, nti

P,ZtI1IPa,stel® Co ~ ours ,are

paper's "tooth"
.' Low dust

washes & backgro und s, • Compa6ble with tr ad itio III a~ p aste I st icks, Art ists' ps ~ nts, (0 nV'1!nti'on.a I fixat'ives a,nd a rt & I( raft SIJrfa ces (fro m I,ow tooth to high tooth), 'making th,em ideal fo r mixed medi a • Bu ild UIP l1iIultiple layers - wit 110 ut overf I~'i g th e n reduced.

profess- anal artists' quality soft

pastels, uniquely manutactured in a pan format, instead of a stick, so that the.y can be mixed &. applied lik.e paint Trhey were developed to otfer artists new creetive possibilities.

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~Erasable·- colours, can be' easlily erased with any eraser, ~Lightfasl·= made wiith highest qua~'imyartists' pigments, rn in ima I biin d er & f I~,er esu It~ iln rich, u ltr a soft low r ng dust co I0 urs,


tel: +4,4 (0)'192:6,492211,3 • email:

info@lpr,emliulmartbrands,;,c,om • web: www.prem'

Artists & llustrators










TR/fCf< PROlffB.6SS FOf{ HIS LATE."sr fXltI81TrON


renow ned figuratrve and still Iife painter for more than 20 years, Nicolas GTE. nger- Ta y'lio:fs SIn all studio is deceptive. Tucked away in the back room of a flat share in South London it appears to' be a typica Uy cluttered workspace, piled high Will h fJLS many references, 13.r tworks and general clutter as one might expect f rom an. a rtist a"bout [0 stage his f list, solo exhi birion in eight years,

fumirure and lighting for each different painting he is currently working OEl. As Nicolas prepares £O'r his show, he

one with notes on compositlons he has started,

has set up



wi th det ails. of completed

wor ks.

Look closely though and. [his dark

room reveals a Ieverishl y organised and
agile mind at work. The classical C'Os a nd a r ti st mono gra ph s are filled on pu rpose- bu iI]t shelving, the' selection of keepsake S are 13 rg,ely set aside as potential subj eel m auer and the carpel is even dotted with masking [ape marking out positions to re-set

~I can see Viol here I am I can see where I've 'been. and I can see where I've go t to go" It's satisfying and, comforting 'in a wa y" Only the s o.gge sted completion dates detract slightly Irom '[he image of model profes siena lism, "A lot of [he ones t ha t were there in July are, still there rn August he smiles. Nicolas was forced '[0 move out of his last. studio in 2008~marking the starr of an unsettling period for the- artist '[hat ell lminated in losing his mOLber to cancer t\VO years ago" As he came to te:FD1S with his Ioss he: sought refuge m his new studto, ~~ of the thmgs that One
Jl W l ' l

Nico lias Gr,an.gelr~ laylor

helped has b een walking ac ross the CO]D'EnOn to the studio, gathering found obj ects and appre ciLatin.g nature," he says; (~I an e ssay I wrote recently, I said n that a studio is a safe place, I. don't know if I u sed the word c sacred ~bu t it 'ilslike that for me." Af te r a p ertod of struggli ng to settle at the easel last spring, 'Nicolas confes ses he is t aki ng
~~....r-m'.!UJl.1L.'" L.d its t~~L a.p '.,[!Uo..[ I .... m···e 1l,"0., l.i;,o ~o -1P~'-r.""'C~l·'~
c ... ~

1..0mid 0ml, 19 63



Kilngston P'olymch ne:

Blris,tol Pollytechn lc: Royal Aca,die,my Scheols
Next exhibition

Recent 'Work, 2:8 Septeltmlber - H3, Octult}8Ir;Jonathen

Cooper Palrk Wallk Gallelry, lomdomSW10
More info

to hils work now'. He 5[i11. spends hours pottering around his. studio 'but it is more purposeful. "I'm then fully present with the painting in Such a way that it can tell me '\V ha t rye: got to f x. to make the painting work," he says, "Taking a step b ack helps me' see my

Arti sts & l~'I ustrators


hen I plan a,

novel, '[he firs [
thing [do. is to decide what my heroine does for a living". beca use: her choice of career will al read y tel l me so muc h abOD [ her - the kind of ed ucation she's had], the people she IS likely to know ~and. wha t she does on a da y=to= day ba sis, 'For this, 'my ninth book! the idea of portraiture [he revelation of one human being by another) inside and out - began 'toe:xercise a powerful hold, 'R ilna,,girned the intensity of the encounter between artist and siner. [he awkwardness of it, the: complicity in it,













and the 'intimacy of itWhat would 'it 'be like to be painted? Would one feel vulnerable and exposed, a little rid iculous even ~ or wOiJlldl one gl3i.d]y su to the llld~ .. painter '~ gaze 7 "tU out , one, '-b e anXIOUS s t ve that the finished picture 'would fan '[0 Hat ter? Wou ld one sim p]y be b ore d sitrmg there staring at the same piece of wall, or 'would [he ttme fly in

conversation and 'if so, how candid

might 'that conve-rsation be? I wondered \vhat the portrait
must be like [or the artist, scrutinise the sitter, trying on canvas not simply that skin, sinew and bone, b'UI


as they to conjure person's a part al

least of their very sou n These were the thoughts tha t fille d my mind. as 1. began [0 plan The Very P~,ct~H~e You. I decided 'that it would of 'be first and foremos t a story ab aut the
people rAT ho sit for my protagonist Ella; Irmagined an elderly woman. wuh a tra,gic sec net a. politician with a C onfession to make and a Frenchwoman who's dreading turning
l l

40" Then Ella receives her most te sting commission yet - to 'paint her sister 's fiance, 'Nate. EUa loathes and dtstrus ts Nale ~btl t as she starts to paint him she sees him in a. different ]i,ght and her feelings, da:ngerollsl Y begin to change So with '[hilsstoryline in my head I

For her Ilatest novel.Isabel Wollff has turned her atterrtions to, portralt palntlng, Here the bestsellmg author excl lUIS i'v,ell,Y' reveals how she got under the, skirt ot her sublect :J
I.. '

approached five leading portraitists f01\ hel P with re search. Thei 11:' insights both technical and philosophlca 1;ripple through the book, From Iune Mendoza I discovered the importa nee- of body language, ~1 want the person to ten me who they are," she explained. "And the way they sit! stand, lean .oli move


al rea dy te Us me at Iot abou t them. - so
the body language f.s the composltlon."

June added that her sitters do talk, abou t (heir relationsh ips ~their religion, their even ~ and so I began to tmsgme the stories that my fictional

ILJEFr ANI£) 8 ELOW ,/l. nestas iiElI

puts the 1Il1ni,shing touches to her po rtre iit ot lsa bel
SJ nd

(bel,ow) the

,8 uth or

sitters 'might '[en.

sees it for th e' fi rat tl me,

Panny Rus h told me that she ·~UL


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A.II photos: Steve, Pi III

personally find.s chatting a distrac tion. ~~need '[0 concent nne on looking," she I told me ~add mg t ha t '[he pa inter's ga ze is almost like that of :aJ lover" be cau se they notice every tiny nuance of the

other person's face. Nick 'Offer said that for him it's not 'important '[hat the
sitter should talk, as he finds that the a w 1{'\.v3,rdne ss inherent in [he encounter can impart a tension and an energy that add S '[0 the portrait's V 11taliry.

Paul Benney prefers his sttt 0' be ooen: "A' portrait arises out of a.
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Paul went on to say th at a finished. pai uti ng could give the sitter a differen t perspective on his or her self.

,~n order to lend my' novel authenticlty, I decided to sit, for a portrait myself"

"It's as though you'd ove-rheard yourself being described, 'but with a new
tnsight. There's the expected likeness,


h u ere s a lso a reve "I ,- ~~ana t hran anon. J


YeO' admitted that he likes painting people who 'he feels are complex _~~'I

fi nd it more in teresring to see th at t going on between the. con flicnng parts
of a person's personality." T-hese and myriad other thoughts

IPOlrt.rait painter Anastasia Pollard reveals her methods for capturing a lik,eness oflsabel
~(,Prefe r to III
'~IU S9' a fal'~ly IImite d pal lette of F1181 e Wh ite, ri k

have gone into The Very Plctu",·c of You. BIIItin order to lend, the book as much authenticity as possi ble ') I de cided to sit for a portrait myself. I~ already been d very struck by '[he enigmatic, luminous
pa intings of Anastasia, Pollard _We me'[ and, impOr19.11t]Y1' liked. each other, and so.once a wee k for six weeks I went to her small studio ne ar London Bridge: and stood looking through her window

meet a c ~ nt ie fi rst to dI ~scuss
a portra it s]tUng a nd get a feel for what they wan t before we ste rt anytih in g. j(,After wr;) tatk about that, I IiIke' to gO' to a

onto the old Hop Excha nge while

Ana stasia painted me.. She do esn't like her sitters 'to see the pictures ill [heir earl y stages, so it was only at '[he fifth sitting that I first saw DIy portrait, ([Do 'you like itT~she asked

rtf ter a moment. "I love n," Ireplied truthfully, H] think lk t-" ' h s._.,_ m,e_ The Very Plctu,re ot

;s,i1lt.te-r's,horne, Ilf possible, and see 81111heir t clothes _, it sounds re,811y shallow but I think 'Very caretu Ily about what peopl e aIre we-aring, III~ke to h ave a c h olce of' d iff-e re nt clot h resso i IIIca n try ttl e MI aga lnst d '~fferent back grou nd s, III liso want the, cllent to wear somethlngthat a they' feel rea Ily is th ern, ~'I IwElyS sts rt by' ma kln g ,8 dI r,aw'ing, 'flii rst, a Then 1"11 ake an oil sketch to work out the m GO Iou rs, I use it as a WflJi'ij to ex plio re co 11.0r ,~ u a chance, for me to work out the' comperetlve colour val ue relation sh lps,

Ivory B,llae:lk,R:aw SietJ1tJ1a., admlum Lemon, e C',admium R,ed! A~'~zarin Crim:son~ G,obalt Blue ,and Ralw Urnl ber. l'rn hesitant to sa(y t~at I use Fila ke White' 'lIes become so taboo ~ow but I th ink it c reates more bea ~t'~f IIsk if1 to nes. u ,fJ,A lot of people ask how long, a painting takes. Each on e is, d Irffen9'nt _, some seem to pa int t ~em selves, oth ers ,8 we e plc struggl es,.

lt's 111H~erelatlonshlp: you usually know' early a

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~~ tra nsrer the d raw'~n g t-o a pa tJ1 e II or I !'II
ce nvas a nd rna kJe a sc ru b by u n d erpa ~ tJ1 g'; ~t~ 'very IIoose, very m uted, I then J IlJS,t com pl ete,ly repa int on to p of that, beca use I I~' to. see ke br ush mar ks, lt's 81 'Very pa lnfu I way to. get an a'l/a pri'm',ei' resu lit



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R'eturni'ng to practical classes after a long lay-otf', 8Jt buff Malrt,ha ,Alle,xaln1dle'ris trying her hand at ,B range' of dlifferent media and skills. This month, she heads to' 'We'st Dean College for ,8 tricky challenge drawing complicated architecture

aptism of fire were the words which sprang to

sta rting with a challenge 50 that the: rest oft'the day would be a breeze.

mind vi/hen Christopher . Corr, tutor 'with '[he.

M,agnifice nt TOiWn$Cape,s

focuses on

Magnt(icent TOMJns,apes
course a [ West De.8J.n, ol lege asked us C
to get to wor k sketching the Chichester Cross on our VfE'Y' first morning .. , Octagonal in form, with arched entrance S and gothic accents '[hat

inc lude open-mout hed gargoyles, it
is crowned with va [ions Gaudt -esque e Iumps nd burn 'F'.;J' an d "'1; collecti 0'1'1 1l,J, )~" . "n ....":..' :_""
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capturing, the architecture and sense of community within Chichester and Arundel. Close enough [0 'Wes ~'D ean College to rerum after a day sketching, bot h locations serve IIp mtrigu tug examples of British architect 1Llre. An award-winning illustrator in his own right, Christopher lis also a. very c alm and 'peaceful course' leader. He isn't bossy and doesn't believe in giving

of fl ags and clocks; it is be aun ful and ab'50 lute ly extraordi na ry to look at. his

also 'I reali sed during nly third attem pt

step- by-step tnstruc lions ~preferring personal exploration to structured les 5011$;, He teac he s reportage ax t],


at simply outhnmg the shape, easily

the 'most d tf ficult structure to d r8J.\V in the 'whole of England, if not the world I hoped v1ery much that we were

M.a rtha sketch ing:; heir arch ltectu rail

d!rrawiings: the
stu d lo at We~5 t Dea n Colllle,ge!, and the exte r'j(] r of the Orang,ery

techniques and methods for painting 'on the s'treef and encou rages the use of a variet y of mediums, Christopher does ple nty of sketching on [he cou rse and it was greal 10 see his WOE'k, "which capt ured movement a nd ex pression but remained loose 11nd free, IIe ,vas keen on getring us '[0 appreciate 'what was going on around us in the urban Iocarions and he asked

to question it: who "were these people? What were they doing'? W11,at are these spaces and structures. used for? Christopher's own drawings were ;(3J, perfect example of how' a. few lines c an tel ~ a story. ] really ,enjoyed. In:8!Jdng studies of people in [he street. As there: was no way of tellmg how long [hey
would s t8!,y 'in one p~ace for it really encouraged me ~,Odraw with more immediacy and conviction. for the 'most part though, the focus was on the buildings themselves.

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realise that it \V.3.5 ok to tackle a subject
however] like, and that tmagtnanon is 'bet ter t ha n perfection ,.'li certainly fel t
like this. when. it came

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A Iter star ting at the Cross, Vile then, moved on 'lO the ca thed ra I before iu nc h. There 'were six students 'in the class
and. all agreed lhat West Dea u itself

drawing agai n am finally accepung that they don't have to be perfect and
the less I obsess, the better they are. o ne thing I 11t11. still not mas teri ng is learning to lrus t my eye again ,_ I have forgotten how to see exactly what's in front of me and instead keep reverting (0 what I know '[0 be '[he true size. of

after looki ng, at so. much. detailing during the da y.~I wanted. to continue . focusi ng on t'h:8Jt in rHy pai ntings. Ch rtstophe r's own style is quite bold an d natve so he 'had advised to begin

'by keeping, the palette simple: a. yellow'
stone for the bricks ~a pale turquoise

or jade for the coppery roof of the.
cathedral and a p owdery blue for the sky" My first few watercolours were com plere w rite-offs - the colours and shapes suddenly felt weak compa red to the drawings a nd I wa n ted to toughen them up with black tnk .. In the end I thought ~'why not? I stillat the stage 'm where I need. the security of tho se 'black li ne s, to hold the: painting
together and. provide '[he detail. M a~t ha ,studied 'with West Dea'f) Colle',ge~ Ca II C: 0 1.243) 811301 or visU

"vas reason enough '[0 go. on (he course. An enormous manor house set 'lin acres

.of parkland, it's an ideal 'base for
artists, which must have 'been 'what Edward James thought when he. founded the, college. ja:m-es had
tnherited the estate and was a Itfe-long patron of paimers and. supporter of the arts. Now an. sorts 0'£ classes take place a.n yea.r round - mainl y in the bright
studio. set in [he college's Orangery.

a, su bject, As l sat. on. '[he gras

5 ou


"-ave y,jj~ recently retur,ned to art after
a I~,ng la-v-off? Or

t he 'Chichester cathed ral looking up at t he S teeple, 'I had a moment of madness (or ext reme 10gic ~depending on which way you Iook at 'it) 'where 1j ust C ouldl not get it into my head [hat the steeple

reoerlliny taken Pal rrt in
an i11~,eresting !i::OU:~S~ I

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lEltll,a~'1 nfo@·(Brfists i

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Three months in, [am certainly becoming more confident with my

from [his particular angle, was actuall y shorter tha 10. the wa Us of the t ransepts 'Litke many novice ants ts, I ha ve a

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Patricia IF,alrr'arW8,$, struggllng to channel her creativity untill ,9 distance-learning course helped her tOI find her own artlstic voice ,_, nd S'C:iOIO'P an award tor exce ence in the' process a
WOI~:[)S:j[~[N NY 'WH [lifE

liiiiiiiiliijiiliihen stu dent

B,EllOVil A" sell e e1tJi on

go off and study that and still keep
within die structure of [he course." Whtle the techmcal aspects have come relatively easil y to her the:

Patricia Farrar

Iearnt she had
'''''~I'O' ·ttJ '!~ n


o:::J11f1I iFj'llTI .o:::J1] 'k- 'I~,JL,~~J,L J~I~J

of Patrlcla's art.worK and sketc hbook entrii es
fa r her OCA cou rse

sa ys is to keep pushing and pushmg "Try using, different mark making or usesof pain[·= just experiment."

Richard Ro bbins award for artistic excellence from the Open. College of the Arts (OCA), she. was stunned .. "It didn't occur to me that , n1.y work would be 11'[ that standard," says the Surrey -based g,randmother who is currently ta king, the 'OICA~s 'painting course. "I was over the moon." She first learnt about the 0 CA.eight years ago at a socia I ga t hering and immediately realised that the college's flexible approach to distance learning would fit 'perfectly tnto. her busy lifestyle. [~!u time, Iwas the the principal of an independent school. I wa S findtng work quite challengmg

bigges t cha IIenge has been the quest l for her own artistic identit y,. '~Ifi.nd it
easy '[.0 copy and do representational drawing but to actually find your own voice - your own expressive way of doing something is a huge! exciting and rewarding c·h.a].1enge.~ The k,eYl she

'Her tutor, Emma Drye, encouraged Patricia to. stretch her boundaries. ~~ Emma was very demandi n.,g. Even though l could draw reasonably wen] she was never satls fied with rha [ and never lel 'me get a way with Just. then. She'd always push me to go further 'with what 'I could. do.

"Finding your own voice ~ your own expressive way of doing something ,- is an exciting and rewarding challenge,"
and. time consu [[1ilng, and I rea lly loved the [houg,ht of picking up a course that would run alongside: my career. S· enrolled on d rawing 1""0', nirse .,lj.--oa< "--= ~ '..... jJ,!l\-,. . J"-and qu ickly found. that ilt reilgnit,e dl

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always had [11a longing for drawing, t and painting but I went into te aching and loved. that, TOI sorne extent I channelled my creativity into my job, btl t. thea r tist in 'me 'was still st ruggl ing to ~getout'," she saysPatrlcia credits that initial C0111.rSf:. wah reignning her creativity and giving he']' the solid grounding in drawing that has allowed 'her to pro gress to a fu III palmi ng course now that she is retired. Although she. has more time on he r hands now, she stin loves the OCA~sflexible approach to t, k learning. "I love rne fact that [ can take ' :8JS ]ong as I Iike with the work ~if l be-gin to obsess about one area, I can
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~When l produced a representauonal dtawing w 11 I thought was good ich she'd saYl 'Yes but what do y~u want to say f' Where do you want to take 'it?' Where is ..... vour voice in this? ~She wa s always dfa wing, me back to the in ner sense of responding [0. a subject ~~, The resulting work is strikmgly successful but Patricia. insists she its a. long way .from being, ready to exhibit tr. ~~ I win \vhen I reac h a point Iguess where I'm happy with it bu t I did nt star [ the con rse 'in order to exhibit - I ,. ,.. . ,. ,.. started itt as a personal journey." Pameta's priori tie s have pro ba bhy helped her to ffi.ndl her own voice too. The mature student is a great believer



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integ nt y: o.',f real art "It's =~~..J~ [~
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honest expression" It's not just painting, to sell pictu res or to please other peo ple, it's ·wha l you wa n t ·[0 say.. ~ ~ She adds that she has Learnt as much about herself as about d rawing and parnung, "It's very much a Journey of self-understanding. I am discovering wh a t I C- an e xpre SiS and wh a-It's ·]['1115·]['1de me. That sort of thing doesn't S'[OP when you retire - it's a journey that goes on rig,h[ through Iife and I. think [he reason I'm so exerted about the COli rse is H gives me that sense of a personal inne r j ou rney," 'W.' from, a purpose-built studio in her garden, Parncta focuses on the
. '. "I 1 ,'(" ,.'. ,. " '. '1',
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Richard R0,0 blns
SlW6 rd


Patrtcia Farral r



M G,re of Petri cia's
sketo hbook entrles


na tural 'world around 'her, particularly trees", ('1 always go for the natural; Ior the things that are Just lying on the



are there in front. of 'me. I'm

no t. really interested. in setting things up em a Pl)~'[tydown '[0 earth sort of p erson and I. want to be able to express, the incredib le be auty that's there in the most ordinary things." I Iove capt uring rob auty In tne every d ay,~ ''11.. .e BOo] stered by success ~she. is keen to see where, '[he course will take her next" "I hope it Vi ill help me keep pushing illyself beca use 1'[ gives you a fama sttc

sense. of freedom and understanding


yourse If as an individ ual. It's unfolding in front of me and I don't think lin ever .ot ,1: he end of· ,.iL. ,g'L-I 'Ito IL.. '6 ,L. . '. ..... ,It


Pat rlela is studyi nlg with the


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Arti sts & l~'I ustrators




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At th e' sta rt. of term it ii 5 a bso ~ Ily' ute worth iinvesti ng in Ilalr.gel 1[1 uantltl es. rJf cecent IP~ int - you' IIIIce rta[ii fl! Iy use it an d it's, best for the budlget.


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.£49 .. .5 'For 2.,25 Iiitres, IDale r-R~o,wney 9

~D' ·nus

_i\ rt ist s

& Illu strators


••Wheln I was, Iealrnl nl t,o Ipalnt", II e,nJoyedl l'nb~'rplret'llng the·er,collou rs ,of Rowlalnd



most of IM·att's

NUder," Matt r,eve'als~"'His, ,comIPositiolnls, 'Wtu,e perfectly ba lainced, an,d he had a Ire311 u IiIdersta Ii1d'~lfIga Ii1d COlntmII of the Im,ed[luIin~"

we rk:, he f.a,ullIliS Boclkllilgf,or,d 4,2:5gsm g,llIgh Ipaper whl Ceh 1i1'D:-,~r-·~C- h;q;- hilm.fS"" ___ ~j'[I-'-a-k 'th~' 1I:--:-IIII!i'1i'_ I"r -air'.. _ SO ____ _,... _iI _'" _ {II_ _____ __ __,..., 5111. e __,... 5 ,ow'r an he IlIr belo Ire IealVl1g It to d ry' ~n as, cool a n p lace, as possl bll·efor at le'as,t 241ha Hits,,, Fair

Matt pa lints sta ndillil,gup,. which ea n hale ~t;s p~yshmll ,str,esses IpartlcllIlla lrilybealr'ling In

b ru:shes he fa YOUrs 'lro Arte 'rll Iene, an,d ':olr' pallots, WlnSOlr & Nlew~olilfro ml the tUlbe'~

mlin,d tlil,at he 'Hnlshls I',ac:h p311nll ng 'lin o,ne' slttllng and eaeh compos~tlon ean ta ke up to e'llght ho'tJfs, tOI oom ple,te'" [H,. II.' - -:, -. ::- h,'~ h:n-,1" ,"", _I_~ """scs ill __Ird ~~r Ibe'''Q~tC_I ilI!!S """S .Il ,an 5 U rID' 1 !I,;rv- _ - !hI.~B - 111W'9 __ __
there Is no r,es,ldulal mols,tulre lin the palpe'f ..

. .



Sel·f,'~--'~auq'"····,··I1·t,:,,watercolour ._' r ,~', " -'.' .....". _,,"L -ha.s,-"r,~ , .. ,,-::,C1' ius'.' OIW"_ ·,M g··'.····.l:tl,"/:ery· '. ..·, a,tAd (JtA a~f£t'MatJ torster .' e.sf"db'I/!;l1e~' -, il·, '~='[--' .... /' _ 1'1, ,.= " '1.-_, · ,r!~.," ,"~, '.-' i'" " 1:·O'-_'A I r'~,1Vf; t. F'J'f-: l~i)~~ ,~~I ¥'I,~' , ,.r~I~, "I, i i~' '~.' Lrl,. llf"·.·' I. I)AI~pr'~ natto ..···,.J;AIt1,···.·····,f,',vP,p,"I'+At:,' tr-',I ..rlA/I,':AIr ~~_)r "·V '~A;p _s--. ucce: r ,V r'~ 1_~lni:4'·.·-·lIP Hb",p'r,:·p-··,".,.,(ll.~A:+i$A,q". '+P'c~t.4'~~~ _.," ~·.··' \\ l.s cOfil'.sttfl1tly evolVil1q/' .he tells Marc turner: Photo.£:Mari< Pit1o(er
:c' _,








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till ':." '~' ~,J.J. ..


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t he, town o-f' Hexham in INorthumbe rland, h e was

~~h:e~~~~~::'I:~::C::: :;t7s~~n~,~o:~~b~'~t~nto
the moment Mlatt Forster picked

ups brush

'-'-':'''';:::'''~''-Ilf'"-" IL .~, ort zas L~ lJLL i lell: neet ec ,-0, {) rnyse I I n th e I-NJ'-'-'41'-h' E'·~:,·i' but i telt I-II-.-'..- sded t 'g::,,ab 'ubll- '0 Iu.-.-'~ mII)" skills·~,O the Inext Ilou',DII ~, '0·" ~ \1 .. . 1:'\1 to ,~II~ '!GOA. ver CI !WI_ road '*11-'".-. take ~
r _.


ding Stones,




watercolou r on pa per,

SIPo-i IIad for geogra ph ica I inspl ration, 'with the la Ike' Dtstrt ct to t~e west, the C~€'\dots to the In orth and

t he Penn'~nesto th e south ..
When hie was st8lrtJng, out, he, W81S shown the, basic tee h n j,q U~,$, o-f waterc 0,1,0 ur by re now tJ1 ad IIcca I a rtist
Ro~ Thornton, but the malorlty of his craft Is senta ught, By the age of 18,. ~e had a Irea dy die/veiloped hi is. ow n d ist~'n ct~ve :s.tyll ll b ut lt W,8S n't u rrtil h Ietoo k an e
extended trip overseas that hls lndlvlduallty really began to emerge,

'worked 81 d ex hiblted hils,pa inti ngs as fa r an e,1 d as n 1M co., So ut ~east Asl a, ilt.h~'US ,8 nd Nli~w Zea IiatJ1 dI exl IDuIf ~n fi tlh ts t ~ Ihe P[J S~ed hi So c reanve bou nda ries, me ex perl rnenting in pe rtleu tar wIlt~observattonet draiwi ng, ,andl a bstraet wo-rlk. Mlatt '~snow bac ~ ru n tJ1~'ng h~ sown ga,lll,e iIn Hex ~am ,'" ry but the experlence he gained and the technloues he developed on his travels la id the foun dati on for SI co ntemoora Iry sty lie of waterco Ilo~ r that he calill s,

l'd been runnlng my own galle-ry Torr three

t hat t~ me," Matt .says


y.e€us by III was J U st sta r1:~ to esta bl ish ng:

"Uberpainting is about reducing an image to its core elements of line, tone and colour"


Arti sts & llu strators 41'

lk '. t ,a,~lng,



,toe>c, nlques~'.~ ~, ".:~h _- i..' I I.,-:,,-, ~ I

BELOW 'Western ,iS~,e'5,

wate,rc~)lo ur 50x,70c:m



'ulberp,8inting,!P or ovelr~p,a'~nt~ngl' Obe-rIPainting is. Sin '~An ,d'dOIF\~+1f:!I dan 1 of ·I'~ ~,I ':j'~'!I..j,'1'6 ~'Ablio~vcillj.~'" 1,1· d ,~, lm p IIIIf"I'~'UI '!i~(_;:I""'S"1'o·IIII 'U tb 0. ~ U b i ct h , .. " "1' loA says. Peop lie sele in my' work a mode rn inte rpl retan on of lmpreaslonlst Ilalndscal~)ie-sbecause, Ir~kethe ~I pressl o'n lsts, i alm tryl ng to. C811Ptu the, essen ce of m re a pi ace rath er t ~altJ1 to rna ke a p reel se copy ot tt, The eas iest 'way to imagl nIe 01 be rpa inti n.g is to t ~nk ~ of ~tike al sl lkscreen p ri nt, 1M ,9p PIies I,ayers of' I att d j'f'feren1l! col ou red pal ~ .0 n top of on e' an othe r i~:set nt she pes ~w~th e ac hi on e be'~ g darker t han the IIast, It is n these successfve laye'fs that glve the' composmons th e'iIF' hi lgh II1' styl lsed, t ~~ee,-dme nslo n at IIa ppea ra nee, ' i You cain sle-e these laye rs bu~'lldin.E,n th e to ur images i of h ls s'f1gnatu re worlk! Silver Sire h p~'ctured ~The m rst stage sh ows hls pe ncl IId rawltl,g togeth er w~'t th e 1fi rst h 'walsh co mp rlsl n_g, ,adi tu m Yellow and a touch of Cm A llzarl n 'Gri mson, Stage two edds Cobalt 811 e, stage u three adds a mix of French llltrarnarlne 81rJ1di Alr~zarin Crimson ~before the, fin all stage adds, a mix of cadm '~u m Yelllow" Cad mium Red ano Fre~clh Ulltr,am,arine. The centro IIeo I,ayer'~ of fl at!' trsn s oa rent cot ou r aliiI ows ng d iffelr-ent com bl natio ns to elm e-rglt9 in j)rO,gre~ssive I,ayars .. berpalntlng ernpl oys a wet-en-d try rneth ad where' the' wetercotour m lxes on the peper as, we III as, on the pa II tte, III e nord er for the piaint to- ad Ihere witlh out b Ileimls hes, MI.att ha s fou nd th at ea c h con secuti ve II iy:e r m ust beat least ,1,5% da rke r t ~a n tn e 011 e before, a W'~th StU ch strict percentages, th e m SIX imum n U m ber of walsh es he ca n a ~)J)lyls fi ve th au gh m ost use just to Ur. W~ththose teu r washes it ts possl bte (.0 create '0 n ~y 16 d ~'f'ferent cOilou rs (inc ludt ~,g:th e w'h lte ,of the piapie r) .
'O ...... '-::!i
I ~

'U 10







Matt Forster expllains hils unique new technique of laye[riing, watercotour

Undelrstandlng 'iiberpalnl:lling




U'I b.egi n wi~h1the d rawii ng a nd then a 111 Wet sh O',f rst

e,sd m iu m ~e III w with a tau eh of AI lza ri n Or1imso n," o



'~Next. [Iad d ,8, laye r Ct~f pure,. Ccba It B [IU~~wh~ch a Is,Q creates the gree ~ wnen IIe ld eve r the f!lIrs,t ye Illow


Iayer~,so now' w'iith two washes, we [have feu r ton es (inc~ud'ingblank paper],"

... ~I<e .,U bcrpatnting IS ~~k a ,sillk'screen print Matt applies layers of paint in ,s,et shapes, with each being darker than the last
ii ii Ii

... 'b


~~Th stage aidd s a purp lie rn iix.-of Fre n ch is

Ultra m a r~ne and AI lza ri n Cri mso n, creatl ng 8 tote I of e,ight possl ble tone ,8 nd col ou r corn b iinatiioril S from

j ust t bre e walsh es,"


,Nl"he fI~ I stage a dds a ,brown VII,as h, a m lxtu re of nta Cad m IlrUlm Yellow, Ca d mlli um Red and Fre nch

U ltra rnerl ne, so now th e re is a total -exf16, pass iiblle

tones. ,and! colours from

four 'filet wash€:1s,.~r

talki ng- t ecl:1n~',eS" -- ", --iqu '-.''''~l<i :
Some artlsts m lght 'flii dl lt d if'fliicu lit to work. with so 'fe'w n coil au rs, b ut nat M att. The II'~ it,ed n Um bar of coil 0 u rs m


'~sa ~alllm.ark 101' my styte, It '~sonly by reducing an '~malgle to lts core elements o,f colour, line and t,one that the 'uber-ness' ,of the subject emerges," One of his recent corn posltl on s, ,Sta n ding ,St,one s, die rnon strates t ~ to eye-catch ~'ngeffect, ,(~'s a st r:~Jng im age," he ls ~t k says., "l've painted thls scene in 81 number of' d'~fferent pa IIettes but the 51-0 nes rea Ily su ~lIPU r pl e ,andI ye IIow." To th e u nt ral'~ ned! eye M,att!fs, Dal~' ngs may a nt~ slmple, but ln reality ,atot ornrne goes into work'~ng t ~em up ~~,A.s, a IIII(1be-If'pal~t~gs, StandJng Stones 'W ith tJ1 'w'i III In ave io'n e th rough m aybe 3,0 d iff:e re nt des lgns bef:o re III\N'aiS ha p py w~thtlh e resu lit. Th 19' work ls contl nu silly ref n,ed to em ph aslse th e most im perta nft f,e,altures, of th e im age by mee ~s of co nt rast a n d co lou If' com b~' atlo n s," n IIh e pal ntl ng of tlh e 11 II ~a composltlon offers c ha llenges pa rtticu Iar to the uber~-p recess. An ~lberpal'~nting 'Is meant to represe nt perfectlo n so th e re '~sno, room in the work for

h im to ex pierl me nit w'~th t ~e· Qb ef- p recess. Fa r lnsta tJ1 ce T he ~as tried grad in.g: .0 ne of the wash es, as, OIPIPOS,e to d h av~'n th em 811111 - 81 S ma II c hange, but -0 ne that g mat ope ns UPi a ra nge of possl b~Iities, '~My siltylie is CIO nsta nt Iy evolv ing," he' saIY.s, '~I post a IIIIof my sketches end pelntlngs en my Tw'itte-r pege, so' thet's ,6) go'cd! place to go to ,s,e,~mlYwork developing," Mloltt ls think~f1~about expanolngthe Gber-conc-ept lnto stl IIIIlI'~feflgu ratlve, ,8 nd narrstfve eol c wo rk, to o. ~ ~As, I me ntlo ned be-fa re, ij berpal nt~ng is a bo ut Ired uc ing an image to its core ,eleme nits of 11'~ tone and co lou r:i e~, -Sinc,e ,all subjects are comprlsed of these, I see no reaso n 'W hlY the ma,thad ca In nat be us'ed fa r SUI bjaets othe r th a n Ia no seal pes,"

IBELOWHighla'nd'~, atercol w

ou r

on paper ~,3 5"x50em

brushstrokes or drying lines,

,(,f,'WRh ce rte in pigments, su ch as ce ru Ilea~ IBII e, th e dI ry~ 1fL lim e ot u ng

t ~e- p.a'~ t ca n be m e'.a:s ured in n seconds ~S:O Y.O u Ihave' to- wo rk both 'Q ulc k.11 a nd a ce uratel y., y
Larger com posltion s are more
d~''f'Fricu It to corn pllrete' t ~ n s ma ~ r a II,e on es, beca use, the b igg'e r th e image, ttl a fa ster you must. apply the wash," As Mlatfs. pal ntln gs become more complex, nlew problems a nse, Talke I' fo r exa mlpile, th e series of' v'e rtl calli IIines crossl ng the, ho rlzonta II tn Standin.g Sto.n es. Pa h1t that is co II,eeti ng a gal'~ st ,8 tJ1

II .•..0< IIJ.~ d Iry...... II [I.0' 1i'"'·IIZi"'ii'n'ill~ I 1·11'II IIe' ..-'
I).. Ii"iI

·IIE!' .'~,i=!'J ~\l .,;;..,


*'0 IlL'·

control, but w'irth a ve-rticslll lin e lt

conti n ues to ru n 110n g after tlh e n Ii"' o...J W~s u11..~._;-: 'II'S Oil ~ ~ Ii 1'1'~IIU ~, ,!cii_;

M 0 re corn pi rcetec corn posltl ons aliso test M,Btf:S-IPowe,rs of' memory, "·1don't dralw every detall of ani mage beto re I ste rt. pa~' t~g~, ,0- I haive tlO re'm,em be r ~n $ alill the, d'flfferent elle mlents that miG ~.e UIp ilthe p'~ece 81 f1d these can number ()ver a Ihundr,ed.,l"At the, pia n n ing, stal,ge, tlh e ~ast flew refi ~em ents, a 1IIIowIh~' to I~)fact~'se ml t ~e' ~il alii WO'1f ~.~, but the ,exec ut~'on ~ of th e' P81~'rn-n ng st~ becOlm es SIS III rnQJeh ,e f:eat -af' me mo ry SIS it does of sJdllli W~'th e'xpe rien,c,e,p MI,att~s pe~'nt~ngs hav.e becOim e' s har per and ·cI,~a re r', a ndl th is, ~as 'e na b II,ed

Throughout October, huJltdreds. ·()f ve~'Ues.up aVId dmvf1 the country ,w;fl be lA' . t "- ts f;""- .-rIA' vlIU4p,c11qrr J or ,vrawlfllg ,.s vlg ora»: ne'rc we ~i'ave'pu:t ~-'. £. -. 'fl~ 7\ II 1'.,( . ',IOJ;,- lJ1qcvelit s ror ",IC' toqctncr a hosr of qreattfps. to help you qefs.ttJrtetJi


Magllllll" 8lnl,st (.0 bo've,,: I fi no th e p ri st~'n e wlh iten ess of a new sheet of dI rawi n,g pa pe r a b it off p uttlng to worlk '0 n, pa rtlc ula rly if lt's ,9 II,a rge IPi ece, so apiart rrom the arsas nf 1fLh e page th at w~'~be the I h lgh II lghts in t Iie d raw~' III II~ ke to cove r the rest of' the page ~ c hal rcoal, n,l, n i tlhen b loc k '~n e a reas th at wi 1II1 be dis,kest wRhi d a rker c hal rcoa 1 rnarks th r so III Q u ic kIlyhave, 8, n .ov1er,alllton a lim pressl on of the wlh01e dI ra,wing that ls .alre.adryfull of texture and then III can realily get stuck lnto working O~ ~'ti nd always A rem e'm ber: d raw w halt yo U slee,. not wlh at you t~'~ k you SI';H;l,'~ n A
I' In 9

1. ~~ 1" NGr ,ST14'{,T~lJ

NI,gell H,allll~ RA" sculptor:: ·~Iallways carry a notebook w~l~ me wh en ~ ,am, travel I~ g:" T~ey n ,9 re fu II of ideas fo r d r,aw~' gs andl scu lptu r'9;S,,, n I ,8 tso use notebooks tor d ra,win,g,e lements ot Iandscape an d th '~ngsI ,SI,e'e' a f'OU nd mle that III think ,are lnteresttng, Not'eboolks go


,eve rywh ere with me and w'h,e n III t~rn arou ndl
in my stud 10 ch a ir; I ca ~ .s,~,e live,s, fu III o.f she the m ~dati ng bee k to 19'6:2, Ilh ery are vita 1I1Iy im portent (.0 me an d III 81m neu rotlc about

'so ATt ist s & 111u stra tors

2,5 expert drawing tips

Maggi Ha mlbl- iin,g, Dlrtiist,:

Drawl'~g ts the basts of ,all my '\lIl0r~ pa Int I n g~, IC UIptu re ,0 r S prlntrna king, I keep a sketch boo k 'where I draw, usually tn graphite, from Ilife 0 r from the lrnagl nation _,'~tts a visual (nary,. Drawing ~'s the artist's most


lntl m ate .a ndl d~' reet respo nse to the worll d. It is a Ik'fn to han dw rit~' g. IDIr'8'w:i1 g from t h € figu re is n n an essentlal d ~sc'~pline ~ tra~'n~-n2 ~ the eye and tlh e hand to wor k together, MIi,chel a ng,ello" Rlemlbra~dt and Van IGogh numloer ,among my 'greats' as dlra ughtsm en becau se every msr k th ey rna d eowas d~ cteted by the su bj e ct,"

M a ke yo UI rse If a v~ew1fi n de r by c u rn n~81 recta ngu 18r hol e -0 ut of alia rg',er p]ece of cal ret IIh e' vi e'wf~ r serves 1-0 lso Iate' palrts of you r nde v'~ew ghi~ you a c lee re r ld ea of wh at to ~ ng draw. Thls will II undoubtedly throw up more lnterestlng cemposltlons SIS you begin to a pprecl ate the re latlon sh'~p between the o bje,ct a nd how' it is pi eeec on the pape r,

Wo,r ~ in.2, w'itlh ,a si n ~Ie II'~2ht sou rce on you r su bj'ect wi IIIIIPlr'01ji~dle stro ng contrasts
between shadows and lighter areas, settl ng e subject up' IIike th is,ls a greet w'ay of' practising your tonal values, and w'~111 esult r

in d rSlwings, of gn98lter dept h a ndl 'loll ume,

D,illV'id HO'W'8,11, pr8s,idlent of 'the Roy till :S'O (d'e'ty 'of M,ariilne~ rtists (bello'wl': HWhen A work ing outside, ~Glllways prod uc e ani n iilti II a p enc iii dln3wi n,g that dete rmln es the cornposltlon comolete with IliiJ~'tand

Chlri s 'O'rr RA:: M ateri a IIS 81ria im porta nt,


rh~y alre pa rt of the ,s,e ua II~ty of d ralwing ns
and their use should ,g,~ve' you pleasure.

Ch a nge materia lis; d on It ,OJ Iways sf ck to the tried and tested, 8ilmlpll!e materials are ~'Olm etl m··,c, 1~,h~I.- :t" '1+ '= t'I. h ~'j :.. 'n't ~.~:.Iuo 'to ~ UI'I ~ I!L'~ a\J' do ~'t" II. Ii-. a ""'~ ,:-.
~. I.···~' ...



s hadows tl1l,atbecomes a refere nee as th e
pa intl ng progresses, Illf pa intl ng on th e spot isn ~tpracti c a I~i wi IIII prod u ce mo re d eta ileo d raw~'J1 gs w'~th gra p hi it.e a nd cOilou red pe nc'~Is t that ca n be use d fo r pa ~ ngs ba elk in the nt~
stud 10,. Drawl'ngs have

be ex pe nslve to be good, '0 n th e- oth er hal nd, I 'dI,d get some siosollut,elly black as black ln k trom Ch'lina that i w.ould tak,€ another trip th ere to, 2et agai n"~'

Se'l ec1l!J~ g the r'~ght pe ~ c~' wi II h€; I P' you get II t ~e best 0 ut of your d raw'ing~The standard grading begins at '9HI(the hardest ,gr,adl,e,of' pencil) and runs down the, numbers to HI. Then comes the, If' (~iine point) and HIB {hard b Iac k} pe n ells, w hh~~1have a mecm u m h

vibrancy that


photograp bs ca n ever match


even 01

th ree-m iIn ute, pen ci II s ketch is a falf -0 ptlo n th a n lJIS'~ g a ca me ra,,~ n


The Roya' Society of Marine ,Artists" 66th' A RRual Exhibitiop ru n s 11.. 3 Octo ber at. M a~I Gallelries;) 2 Lon,dol. www.rsma-we,

hardness, Then comes B~28, and so on ~p
to, 9B, an extremely soft lead. The Bs stand 'for blackness and the darker graphite ls

recom men dad 'for beglnn ers, ever Io.s,ing on e bees use ttl e:y Sire dis ries as weill~AJways ca rry so meth ini to jot down ideas, ~ Nat on Ily 91 re they usetu II at th e t'~ but n. me a IIso -0 ne 'C81 Irefe r be ck to them yesl rs Iater, n o~e 8111ways Ih8 s, 1mor~ id €h3S th a n :y.o u ca In ml9 ke in te'rm,g of SCIlJ~p!ture' anyw,8iYbut when you go bac k.~you ca n p i,ek. up th re,adls and devellolP i,d,eas that hav.en 't go~ e al~ywh ere. Artist-s lab OIS t,oty' 03: H,Ige,' ,HaIlIA, tiUIS until 23 Octob e r ill t the Royal Academy of Arts ~
jj j

ChealP sketc hpads ca tJ1 seern Iiike a good way of' savl ng mon ey but bette r QuaII~typa per wi ~ II CilIIIW,ayS m 8 ke yo u tee I b €!TJlte r ,8bout you r wor~c The text~ re ,of p,a pe r ~ im p'j)rta lift too" s Sm oothe r'" h ot~J)res,se PSI pair' ~'sgood fo r d re~d er'~ng d e,t.aiIIs ~wh ~'~ rough p,apelr' e r.l3sponds better t.o harder H !pencills, (,~H~H3ilP t nu 1mber 8) ,and ()ff:e rs better b:~txtu for r1e tone I d r,9wings~

L.andon .. www ~ rD.YI:lacade ~uk

Jl\.Ttl sts & IUustrat(rrs




;Y Ii .,11,;1111Il10 11;;;.;;;",,, II III!;I,II" ••• 11 ;11 •••••• ,",-Il10 .. , .. ~ II 1111 _ ,I;IoIIoIIoII~ 11

,e:ra -lng erea C e1 Ib tLaunching with,

iiiii iiiiity t-lVI-Hi
II , .. IIII IIIo;m ~ _







Kings Place, '90 York WayJ London Nl 9'AG

11\'8 Big Draw"s Big Splash

Sunday 25 September' /'lZ ... .spm

Join Quentin Blake, Herve Tullet, Marion Deuchars and Bryan Talbot in workshops for children, teenagers and adults .. Details at'bitly'/bigdrawl1; book on 020 792,0 14:90 01[" just drop -in.
,_ ~'------.----.~~ _,_ ---~-.~.-.-.~----,-,----_._._~~~---.-----~_,_,--,_ ----'-,------_._.__,--~~---I

Selected, I'r,eeb'ighlights
Ke 1lY 'Gal],e:ry. Gtas.go-w' 'G2 4JET
Royal Glasgow Institute of the Fine Arts

Sunday 2 October /12,"3.,30pm

Grayson Perry and the Teddy Bears~Picnic
The British Museum. London We1B 3DG Saturday 8,Oe:tober I 11am-4,pm,
\N'hitwortlh Art GaUeIYI Manchester

Big Draw in Ihe Park

Get your FREE ('o,PY

Saturday S,- Sunday 9 October .I, Brighton, Li.feDra.wing Sessions N·ew'England House, Brighton BN1 4GH Saturday' 29' October

M15 6ER

of the SAA Horne LAp ce :',d,' ~O' S,n;;:..d cat:~ 'g' ue CaU 0800 980 11123
I ','~


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s'eries o;f

sho;wcases some ,of the, v.ery best inte,rn'ation.Ed

IndirviidUialvelum as teature the 'work of Ca rry Aklrcyd" David _ B"enne'U Terence JI lB'ond C"arl B renders K'-e' .... II 'S'li"iockJle' '_lIU I,;". _ "~Yo' __::'_ _ J . u", n· IU· -,. -=' Robert 'Gliil~lmlolr~Andrew Hasten ToniY Hopkins, Jonathan Latimer, James IMe:Cal~lum David IMilllier. 'Chris. Rosie R,.aymond She'ppard" R", Tamse, Halph Thompson, Archibald Thorbum, -R'''!ic. Md- TraI~~' J- ,0"·' 'h-" nl Th... -I~ ::-I1··;g elta II
II, __ '\.III!' _" ' , __ _ _ '__ ' . 1,,_ ;;I!',


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compuatlon volumes trorn AINF ano ,SWILA, projects.

IMicha,E!,1 Warren, D'on.alld 'Watson~ Darren Woodha'a-d" aliong with

II .... ~

Elmail: sales.. @llangf.ord ... p Ilnte~rnat:ional~ (+44), 177',8 34113,2 • UIK 0'1 '118 3411,32

notord .....I p.', Iress ~I ......,

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2,5 expert drawing tips


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,6 era I Sea rfe" iililustirator dI anld -','Iig IDlraw pat,roll:: uTo get a Iikeness, IIIusually sta rt w ~th eyes CiS th ey are
the most expressive eleme nt,

obJects". The best way to begin ls to make free I' long, f req u em c~' u liar m otl ons a bove rc yo u r pape r 18 nd th en lowe r yo UI r pen ei II ,down u~tli I 'You begin tO make the marks on the, ~ 1tI~·. -,1[1,'. U " ose :~ nrun, u,,I:'-": P~ ee ~ Re' m e'lm1L...·e· . If"• ~IIII e III'·11 ..... s I,\.;..;'"'i; ILJ IId [""";5.


then draw the ~05,e and m outh to get an overa IIIIfee II'~ g~I j ust go n stralgbt ln w'~thpen enc ln ~ _, IIIfee II sketc ~'Ii ng d~ Ives t he en ~rgy!,a nd I wa nt sso my dlraiwi n2, to have 'energy and ~ife,.I lik,e to, work from th e 50 ~ould er and tlhrow mysell f into lt Physi ca IIIy'. I try to take on the pe rsona of the person IIIam d r,aw'in g. It's ,a VIEWY strange p recess. Whe n I em draw~'~g Dcni~dI Cameron, IIIml'~ght hear his, vo'~cein the back. of my mind, Hs has a tiny II~ttlle mouth and j ow'lly ch ee ks and I exaggerate everythl ng" Ilf
the 11Jn_- ~l
nfte~ "!l;uQ~'

By foe uss'~n g ora th e Space a rou tr1 d a n obj e ct you a re a b lie to better a irJ!IP ate th e olbj ect reot it,sI~llt Shading, in th € negative spa ce ca n rna ke yo' LJ If' dIr,awi n ~ ,ap pea If' 1more 'W ho 11.e,0r oa tan ceo, By d raiwing, t~e 'ernpty' speces around the abj act ttl e po:s,iUve form Ibe,g:~ s n to emerge"

15~ liME YOU:R,SElF
Next t~' you d raw" try settl ng you rselt a me

tlme UmlIrt

ls h"II'd make lt _:~Iu-e'l __ -_u_···:~1 Ul~

§e U,~!

h"ld §!E' ~I' ...... u~


oossible~l~" ~_.·~.I

10~ EXPERIME,NTWITH NEW MEDIA ILen NI,;u;sey,., d r'awi ng 'turt'or at It,he! RUJa I
Colilleg,e' of Alrt (bellow): J~T~re are some e lmportant polnts that ~'feel are good to consider before, starting dlr,SI!\iving:: 'Why eire you d o~'n g th is 81 ~ d wh at do you wa rrt 0 LJt ,of '~t? re the mate rials you have chosen to A wo rk witlh 'fliit fo r p~rpose? M aterl a IIs be have '~nditferent ways, some pa pers are vefY absorbe nt b~t fa II 81 pa rt whe n tlh e.y get satu rated! ~ro f' exa rnp lie I naco mm en d that yo u go fo r a wa Ilk iIn t ~e' cou ntry or a I~)a k ,8 nd collll,~ct so mjl~twlgs IF' b~ts,of dr'~edl,~r,8Jss .stuff tlh at 11'00 ~s '~f1it.eres,tiIng. D'on't t] se mate ria I t ~8it is, grow'i ngl~use 'w hi at has f8111'e n off':: aiUtiU1mIn is, a g',DOd[ tilme for this. fry using the ~'te-ms :you ~ave' collll,ected ,on your 'wa Ilks., ink pen s cal~ be made froml ,g.rsisses and tWi,g;s, or you 'can w ra p ,s,om'e twi gs 'Ii n tli tJlf:o iI a ~d pll.ace theml 0n a smalill '~ilreto Imak,e yo ur own chan~oal., 'Wh~te bn:lad can be s{~ueeze d and ~sed a,$,,8 n e raIS€IF,.''''

lf you a re IIa clk'~ ln conflde nee W'Ht h y.o UI r ng d' g" sta rt by W'O rki ng 0 n natu ra I form 51 tJ'1 that aren't perrectly symrnetrlcal, Olbj'ects
symmetry - bottles or J)I ates, for exam pile ,_ 'co ml'e W'~tt11 n add ed a pres su re to repl lcate t ~at pertectio n, Ea r'lly ,0 n ~th ls ~ind 101' press u re cal n be' dialmI9Igin,g, to your ,~on~~dence~
wrt~ recogntseote

or 15 minutes. J~is wllill fo roe yo u to pno ntlse tlh e mos t im porte nt aspects of what is in 'front of you., There w~'1111 be no, ttme to think, and agonise about detall .. By work ing QIUItc k,ly~you Ie\8 rn too lde nt ify t ~ e


most essentlal elements of your sublect,

The re a re va no us exerc tses d eslgn eo VOf artists to get a be1ter sen se of' cotJ'11lrOII ove r thel r' drawings. fry d rawin g an obieot wnh ,a pend II attach ed to 91 liang stick, Then" dir,8Jw tbe same object With the' plenc~'11 ttached to a a shorter stlck, Finallly,~ dlraiw' the, oblect wtth a pen ell as us uSIII. You ca n se~ ~O'w yo u r work grows in te rms o,f control. S irn iIIa f'lly~, ry t dIrawi ng wit h yo ur n on-writl ng he tJ1 d. Th en dIraw t~e sa 1me' obJ~ct. with you r ~Btu ra II hand.

Lea rn ini to dIraw al nell ipse- is a usetu I ski IIII for ,6 d raughts rnan, as th,ey can be us!edl to representa variety of clrcula F'.or spher~'ca[1



11~ VM,WI'N6r FOR p{f,INn'N6fS
Maurl,c;e Cock_rllllll'A: #Draw'~ng t,ow'.afidls lPa~'~U~g diff.ere~t 'fo!r ~'s e,venl ,art~st a nd every IPa~' g., rntil~ So'm,e 11'~ke M,ep out mlora ,or to IIess exalct Ily Ihow the fi n.a I pal'~nit iIIIi 'W iIIIlook,:; ot~ elrs w'~ be sati:s,frj ed II with 81tJ1 ~ ~fo rm,ative sketch!, ,8 free, st~' mu IIt] s fro ml which to, getJ1€rate, 1It1h~' r~sulrting pal'~nt:~ng"Too, ml[jclh co ntro IImlay resu IIt iIn a t~ Iht", j' ~ ~ j' b'~ted pa'~~t~ng~ Som,e ~'~ ~catio of the colou r of t ~e d ~ p'~ct~rle would b€! h~'lpfUlI at thi,e drawl~g s,tag~'., j~The Imost importa nt way to IIearn ,and! 'imlprove
you r ow~ draw~' i'~s st~ d1y those .o:f at her ,rlrealt ~ to

8Irtists;: st~dy the,if cholce ,of subJect Sind their te'ch Iii iea I treatlm en ilL Try Re m b r,andlt T~tia n PoII0 C k~"De Kt)on iIn g 81 ~ d As'~al~ a rUsts f:o r tlh ei r ca 1111]glraIPIhk~ QIU 8111ti e,8,. Theli st is, en d IIless .,1 i Wo,rks IOn Paper from Fi'e Decades rll~ns, '1 2 Septembe'r to 30 No'Vembe'f' at the Royal Acade'my of A.rts, to nd 0 iii~www~rGyal aea d,emy~0 r,g.u'k .>

Art]st~ '&. nu~trators 53

2S expert drawing tips

11. '11{y'JUBTLf COLOURS
Wiilill Tayl'or', IP,res,idenrt of the Soc let,J ',or' Gil'S pbllc IFllln'8' Art,: "Fo r :you r sketchbook, try using, on Iy 81101ue c rayon for sketch es: it narrows, the range (If tones aval~'lab h;~,rna kes the
drawlng closer in tone' to the paper, and

d ~'8COU a ges ru bbi ng .0 ut 11th ca ltl he IIP If is P rsctlse IIoose r d raiw'in2 th at ,a'vo'~dls u n necessary detau, AI so, try using a gn9y -0 r ml~'dI=ton d palpe r TO r d' gs ,_ e ~ W',~ often unthilnlk'f1ngly start wit~ the most dI ra rnatlc and cmffl cu It co I1t rest o.f b lac k on b right w h ite,"



tu rn 'edl d raiw'~ into ng,

;8 n

obsessi on. 1Most

Chlri,fj 0 rr IRA,::~~ea lrl1 the ru d'~ nts o,f L me piers pectlve and th Ien re-t nvent t ~Ie woorl d a roun d you in the way that yOUi S:e:N9 'fit To
not u nderstsnd perspective is foollsh; (.0

importantly be relaxed,"

Ne,v€wl' ever th ro'w away ,any a.f yo~ r'~gs~ no. matter how' ellelm enta nl you rn ~'~httlh~n k they a re, Sav'~ngyou r work is an on gOh1,g:

use p erspectlve sllaiVish ht is to stu nt lJ'OU r-"11m,cr'II' ~ !1-II~l~-" i --'Y:b- 1fr19ii1"1 on ~

TO:-:--N' " ..... '_. I.. I .' ,. _ -' 22,.' M"'AS~TER'...... I E IN S-"~MPlIES~TE-P'S;-:

'Value sea les comprise the spectrum of' to nes, fro rn II~ghifLto da rk, th at provioe d epth '
'In drawings,

exerci sa, 'Ii n ch a rti ng you r p regress ~~ nvest iIn 81portto Ilo case and s pralY you If work w~t~ fixative to p,rev€: tJ1 t s m udg~'n g.,

Practice by drawing,two


Iines a bout ani nc hi a JJ.8 rt. W~th'~th ese, n
rlzonta I I ~nes (;11 r.SjW' ~~'n e vertlca I lin e-s.. to.

'hi s is, a good warm-up exercise to get you to d raw what you see' ratner th an what y.o t] a Iread y k now a bo ut ,8 n obj'ect. Talke 81 otlh er n 'draw~'~,g! an olbj'e,C:tor a photograph, turn it upside dow n .a nd d r~iW tt, Vi ewed upside down, the' sub] ect beeorn es u n '~,dentfi,abl e i ,9ndl confQj S'~ ng, fo rc'~ :you to follow 1n 9:S a In d ng i ,8] shape something a III great d ra ughtsmen

create elght SOlu 81 res, The a Im is to slha d e ~ n each box in equal steps .of tone, from Ilfgjht to dark, Start Iby ~siin2 the f'ulll range cif pencils. fro m 9 S. to' 9' H" and as yo UI ~ mprove I' restr lot th e nu rnher of pencl Is you use,

B~~N lNSP'R~,{)? . NOW Gr~T INVOLV~'D!
Thie' B,;g D'raw wst,he Campaign f,or Drawrnng's anlnlla~ m,ontl1-long festmva I,.
designed to, rarnseth'e profi'le 'of drawin,g as ,B to,o,1 for social and ,cu Itum',BlI

~f:s, g'lim mlc k b ut try d raw'~ 'W itho ut IIookl ~g a ng at you r J)ag,e ,_ ln stasiol foe u S so Ilelly on you r .su bj ect, Tiry to d ralw' at tlh e sal rne place .as
your eyes move ClC-rOISS tbe sublect, It can

engagemtU1t. Thi~s yearP 5 f:,estlva I launch·es, with The Big Draw's B'ig
Splash o,n 25 September
at. London's Ki ngs P~.a,c·e wwth i~ str ate ran d Iu

pat ro n

'Quenti n Blake., .A proglr.amime of free ,events wi n ru n fm-oml no'o,n to SIIl,m, wruth

be tr~tky at fi rst but you w~'II begi n tOo 'f'org,9' I
a bette r cnn n ectl on betwee n y.o u r t3ye a ndl ~and by repeatl ng t~ ls exerol se.,

run attendance

inc~uding Marwnn

should strive to do. every time th~y pick up, a pencll,

DeIJJchars" NllnCl Ctiakrabar1tJ and Herv'e Tull~et~You can reserve flre'e tickets foW'
tim,ed events 'from the boxof'fice dlire:Gtly

Draw'~ni a rea IIstlc han d can be the und oing l

on 1(.0,20)

75,20 149 .0 or slm~]ly

of eve n the most competent dra ughtsman
wh ~'c mea ns pi enty ot p ractlse she u Id be ~ ded tested to lt, TnI' draw ifll yo u r own he nO. un de r a I~'gtlJt:$,0 th e sh a dows created by the dips betwee n you r kn uekles are, more pronoun ced, First, draw hands w'f1thtihe, fi ng"e rs tog',ethe r. S p rea d yo ~If' fi ng',e rs ()lrIlly when you I1I.ave 1ms:st1erleda ellased han,d.,

IRllssell1 Cobb, ill u.strator ,3nd "'ormlor chiaiilFDl81n of the Assoc1latlonl of II I uIstlraitors, (a bove): r.alwing is a IIIIa bout II eSI rn'~ to ng co-ord ~nat€ you f mind, hand ,and! eye,. l've taught Imys,ellf to pour eve'fyt~'~ng onto paper, observatl ens, ld ea s, .~Ive ntlo n8., me rna rles I and d reams - the 1 goes on. Be prepared ist to fa iII ,8 nd fre e :you rse If of th e eh a c:k~les of' d'~ r1ect rep rese ~tait'~o. f~ rn yo u r wo rk, '~nto,a ~ pe rso ~a IIClia ry ,_ th,at d ~'dth'e tlr]c k 1.'0 1me 81 d r ~
j~ [)

,droOp by and loin in!
Th e Bi:g Dra

w 2.01,1. runs ,1=31,

'O·ctober with thodusands ,of mndiv~idua[ '9V 9,nts tJlanned In venues arounld U"9' ·country~ To, find an 'event in ynur area.


,or share
Q,U r

deta i1.5 o,f yo u r ow neve nt.s on

F'acebook page, at wwwJaJcebook\lcom/ Art istsA n dIll u str ato rs


& Illustrators

• Over 200 drawing and painting courses • Centres in stunning loc-ations across the UK '. Weekends start from £1,65 '. Range of levels for all abilities • All tutored by' ~ d -.. experience',- artists! 'Vol

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Alrt In,slP,iiired b'y the Na,tulral World

Oeen ID,~'~I~'I'y 0,",' -,Q,""D' 'alm=--;- ...:5~.', D,p~,m::::--:' '0--r , "lr~_

"gl~ ~_' '1"

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Further' detalms: D,2IJ' {'9'30 18844, MalllGaml~'riesl 'Th~ IM!ali,! ondDnlSW1 ~

Artists & Illustrators



Artists & Illustrators

entlon Edg,ar D,egas~and peopl e lmmedlatel y lit hi n k of the ba[111 A,s a rou ndlng member of et, the lmpressrontsm movement, he shered the ,gJOU[P'S fasclnatlon w~th modern pastlrnes _,the, ra cetrac k, bcatln g and tlhe theatre", HQ,weV,fj r, da nee he Id al [piartle Uti a r att ractlo f1 to r the Fren oh a rtlst: Ihe' 'was ~aunted by' the human figure' in movement, W he n v is iting, the e,1 erl 'l ~ d ngra's. in Ihis stu d lo, Degals wa s tol d, [Draw [I nes" you ng, rna n , ma ny' Itn es~....It ~ ~ s ln this 'w'(jly t hat you w~'I[ I[become a g,oodi a rust," And so he d~'d"study'~ng the' Ol[d[ Maste'rs~ draiwing, relentlessly on locetion ,8 ndl ln Ihts stu dlo, and p re-am p,ting, iIn hi is, [~:H) ray a II C'T m ove me nt, the lnta nt tee hi f1 0 I[,ogyof' rt cine rna, eventual [1'1 becoming: what ,An n D~ ma S" curate r of the Roy,al A,cadernIY's forthcomln g Dagals ,and the ,Ba'lJ.~t xhlbltion, describes as "one o.f th€l e great draughtsrnen of al[1tlme,"

Glr,adual[ly,seduced by the charm and brilliance of
pastel he also developed en explosive, Ibew'~tc~'~ng

palette: antlcipating ebstractlon and turning himself tnto on e' of tlhe' few masters of bot ~ C 0,1 0 Ulr a In d lin e~

Seduced by t:he charm and brilliance of pastel, Degas developed a bewitching palette

Cr<EtfnN(jf .fl- ,VYM4MIC' COM'POSln'ON
[U'ke many members O'T ~~sclass, Degas was un ,abon n e' (0 r 'seeso n-t tc ket hold er') et th e Pari S 10 pe ra, 'W hlch entltl ed hi im to go ba ckstage, Th e' res ~ lit. of th i s prlvl II ge was a ce I[ebrated se rles of pa inti In gs .of ba IIet e
rehearsal rooms that includes 181-'4~s The' Re'hearsa/. [I[~ this palntlng, the :EM1Jst consciously fi,ew '~~ the face

of the tra dltlon a IIa rtlstl c. IFu les of the period to ,C reate ~ • .. I p ·',6 fio' In I,\." '~t "I ,;;;;;.,U. ,II Ii .6'~ rs ·Y"II' 't..I!~I'. d exc "11* (f eo bot IA e atl e-f· ..•... ~ 1i'Ii,o; ~ co m·" 0 ~ "1'iIll."1 on ,t Ililyl IIII~ Ill."lin .~.'.
iI"'N Ii"i 0;\1 iI"

As 'W'If). ,al[1kn o«; almost ,anyth i FI,g ca n make a p,icture, 'WIh ethe r 'lit works or not de pe n d S '0 n 8 seem iIn gly ">

-- .:-, z . II - -- d ;anclng WIt.h 'd,eg,as
BELOW Da'ncer

(Pre'pa,ra:ti.on en d'eda ns:JF


Imys.te ri nus ~'nterl~111of sh 8 J)9', ,CO u r, I~' tone and ay lin ne, space IL;'Fiio'UI~ '!:l"S 'co m IrJ 1!l.1.'....n' lin T.h'.o R-·oh·,o~'iIi"C~J,the tliO"~'I*"I"O' t\ b-I ..'~ .. ~ ,,au:1


1111·t., 'i"i' 1I11 '!WII.~.







oharncalll wii 1th stu m pi ng on bun ~,8IPe'f, 33.. x"22,. 7'cm 6
PRIE,V110USP'GE~MA~IN PHirUR,E The' R'ene,ti'rS,8,' ~ 'Q~I
'0 n C8Il!lr'iJEIS,


strons th ... 'Y'l_ tbe snlral staircase draws r_ _Ie ..,Ii UI;C!.... n'f" ,Yo" _"""




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i."'Iill II If" ;Q"llf~ '!;J!i..l!!1 ..... :J .....

tows rds th e d ~'St81 de ncers, w ~'~ the Ilea dl n g g,'~l "S ~t II,e r ;8,1 en d er gestu IrE, lirects ~tla th e' da In C:~master to th e d v
large group O~ the rlght,


INiSElLa Danse 'G~e\cque

(Da,n.ctng .Balle,r.fnas),
paste lion j oined paper

I,aii d own on board! d


H ,aving two gro UI ps d iv id e d by',a centra I space cou Id Ihave' been d lsastrous but it w,orks here ~ pe rtly because' lithe,dell~calte '~lloorboard diagonals hold ~t togeth er a rMJI partll)l bece use, '~nth e llght of' ~ ls grO'wi ng tami ue r~lywlth pbotogra p~y" Degas de,cided to a ba ndo III convs ntl 0.1118111 tra ml tJ1 g, cuttlng off pa rts C'T 11th e' su b j ect to, create a 's na ps ~of ettect, Other ~In~"fyin.g, dievicie;s, '~ncIIQjldethe 11'~ghting,! wlh~'clh d~' rects 0 u r gaze fro m th e w~'n ow to the iIIII m'~ ated d Un edges of the, grou p ~ the foregro undl and th e s ~owy ~

wlhlte t utu (If the gJll Sit tt1l,e be ck; ,8nd th e col 0 ur with r 2',0 Id a n d p'iIn k s as hes a p pea rl ng '~nboth grou ps, Nlow'~,'we' ca n:rt a III ,get ba cksta ge at a Fre n clh .0 pe ra {tho ugh you 'cou lid!try p h on ing the [Ioca II ba IIat sch 001!)!' but try mal ~,i e, p re IImin a nl stu d!les as De,{la.s, d id, usl n £ n i both dtr~iW'~ngs and p hotos, en larglng or redu cln g them 00 n yo UI r corn pute ran d rna kl ng tree ings of tlhe res u Ilts., Expe rl m en t 'W lth th ese' u ntl 1 you 8i Fie ha p py w~thth e' ,GJ rra nge me ~ t beto re us ~ ng '~t s a basis ToO a r your work.

V'1{,tfWI'N'6r·~ItE Fllir'IVRE
Wailite r 8i eke rt desc ri bed D,eg,as as 't~ greatest I~ n2, e vi d ra ughtsm an' e n d rn a ny of hts ot her co ntern pora ries agre'ed., T~ e F rene rn a rtist's wond erfu IIsense of 11~'n e runs llke a thread through hls long career, whether 'lin ~ls ad m irat Ion 'for t ~e Flo re tJlt~nes, the s e ns'~t'~ve, fi gu ria d rawi n g of his m idldIe ye'a rs or this eXlper;~ nts he d ld Iate r in Il'life,. me ILlittle' matte r that h e raga rded th 15' h U m a n body~,e'spe,cialilly tne 'female' one, as a plece of mac h'~ airy best s ulted to d eve 1.0 ping, 111 is d rSiWi ng n skllls: the endless s'lilk.:~f'smooth P'EHiICU and C~ a rcoa I d r.awings, often e n tree ing, pa per, of you ng, mode lis posed ~ ~ ls st ud '~o00 r be II ,e n as n ~ ri be h'~ it he' seen es wou II f nd thel r wai'! into ndl d ~ls work ini collectlo n realdl~l to be used! ~n
a pelntlng,

Degas regarded the figure ~ f machinery to -~ as ,8 piece 0" develop, his drawing skills
Illn The ,R',ehe,a'rScd~the seated da ncer on the righrt.wou Id have been taken trom SlJlC~ a d ralw'i ng,. Seu rat sa ~ I[) r,awi ng, is, tlh~' ~0 1111,tlwi dI, ng,

out o'f tt!lle Jl'ft p e r an d th is, s~m Ipll l1iu;=a ns th at y a flig,ur-e mlUst halv!e I~'ght" ;s,had!ow' 8 nd forltll (or soll~dity), ,as 'well II, o~tline. We see how D,eg,as a,c~'~,evled this in Dainoer (Preparat'iQn en de-da,ns) by ~stu 1m ~ gj' {or SlFfl u d gi ng) IP~' t~e ,c~arcoal,.
9 ""

.....~J!'c. , ~it.o'

For ,a refu rence-'i ni, to be :S,U ,ccessf ~ I" it mlUlst ,81:s. be ,co rrect ~yIPrOIPortio ned a no w~tlh the .o Ilimbs, 8it the r~'ghtang,lles ('very fmlportan11t '~nthe, of' 'tl.\o;;D g"'llr'll'~;I;111..0~D ~IPlla\t,od Ilo'd'Q, ro "lin a ubi 'i"I' ~ .1~'~ '!Go~ a '!Go .....
;-,~ ~ 1I;;;i'::__ " !'
~_I ~'~' ,~, '.

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typi,cal D,egas IPose)" All IItlh~'s,can be ac~heved w'it h the Iha'IIP of' 91 j)8'nc ii" as you ml'lim i c: tlh e mlal'~n a n,gl'~.s, of 11th' body; ch e'c k, th ei r d ~'IF~,c:Uon d e ,8~ arml held at f'ull stretch~ sll~de yot]r thumbn,ail ~p and dow~ to Imeasupe and C()lmp'ar,e the II,e ngth of d iff'e'r.enit s,ectio ~s.

,C-A;,p:r()({IN« ,MOV~M,~N'r
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• Ke~p the a n d the pa int '~llow inIl, 'fa st. j~1 thlnk people get a lb~ttost

[JIOHNIIHIIUNI A Hill Ne'ar Stro ud" watercolour on pape r; 68x~5[3,clm

First Prize, RWS/Sunday Times W te colcur Competit,lo 2011
,~' try to pa int on Iocatio n '~fIIIca n but th is was, p,aintedl ln [9 house O~ a ~'~III Stroud, ~t in halo _ th is, ta ntastlc vi e'w a cross a va lilley" I did al eou p,1e o,fr IIitt lie s ketches fl rst and tlh en set UI p mry ease I b~lhe 'w'~ t ndow, i Iert 'lit th e-re' and pa inted t he scene, every m omlng tcr th e' In ext few days. .~ sta rted wlt h 01 dralw'~ng an d then loosen eo ~t I ~p wIrth the' palnt, l'd Ilove to paint without draiwi ng ~iirst but I ca n't, 801m etlmes the
drawlng is quite d ~'ffelrent SQ, you S€:h~'

and then when

~lOU see

it, you manage to do it

because yo u've put all of' that work into get to th at poi nt wih ere yo u ca n get it down QI u'jelk Iy~ I lhave' a very srna II na lette, maybe :EH;9ve n pal nts ait.the very m 051.. 'You can ~\t m ake green s, unll esS),you have a II,oveIIYj,stro ng ye'lllow ito

balance 'with the uttremanne


"My i~lustrationclients wanted detail but I don't rke that in my watercolours"

Fo r tlh is p,aintl ng, I wasn't gettl ng, t.~e
,crr~ ~ ns ...r~"Q"htl·r'.. ou ghp ;e; 11;.0'...... .1e;".. t·~ Y •. ,..

when they do gilmlh1'~cky t~i'tlgs wlt ~ tooth br us ~es an d masking 'fIIUl'~d,," .. John f,9vOlUrrs a of' AIlza rl nI C:r'~ mson Burnt slenne, Frencih ultramanne, Cad rnlurn Yellow,~ Veil low Ochre 91 tJ1 d INeutra IIT~'nt, 1'111 ow what kn those colours w·~11 ,and! ~ow do they mlx, ltl have a b~gier piaIlette~ I often f nd that I d on't use it vie ry w[e II.,~' • F~' detal I sh 0 U Id be- kept ne
to a rnlnirnurn J10hn picks out

so' ~ use d Coiba IIt B IIue
and a deep Caldlml'~um


pen ci 111ma rks, i In ever both err ru lbbi It1 g the m out bees use, it 'lis nice' to see, th elm (:0 rn'~ g th roug h,. n "That :s.k.y j us<t ~ 81 ppen e d ~ IIItook ho lid of th e mo ment an d p a inted th e' wh 0 Ie' tlh~'ng:n .a bo ut .a t rnln ute, I like the olldl advice wlth w',~jterco,llours of d oi ~g ,9 Siky every day., Illfs Just practl ee, [IIth ln k,

Ye'lII W ilton'~tJ12them O d o'wn wlt~ a bit (]fr Nleutra I Ti nt, "I 'W3IS an ~'lllustrator for )I[ears and with ~'IIII ustratl on tlh13, c IIh~ ts a Iway.s, wa nt d eta ii, ~ detail, detail ~built I don't really HIkethat in my' wate reo 1.0 UI rs, IIIt r'~[ed sh a ke ~toff eve r the to' , years but it becomes part .of you in al 'way,,,~

'w'~tha sma Iler brush, Ulst]adillya Nn.,4 or NQ;,,5mtxeo-balr frililberrt

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Rown ey A,2 Stud la ~d w'li lte mou ntboard
0',9 ler-

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Artists' Quall'fty" not from a ID'IIIY store'!

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Ac'~d -tree tl SSt~ 011d e, 'S' .,~I! - h eet m"-I'IIIII'I;,i, 'I.'!_s"
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newsniBners, etc -f4'-~'-, ---

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Veneti,a n Red,
Cinnarnon, White and satmon. ,allII caran

D'Ar;hie Neocolor 1I1I a rtlsts' wax C r~lyons, was d1,~11lghted when I wa s,accepted as a mem ber Q.f the ,So,clety of Glralp~lc F~ Art a grou p of' pea pl e ne

IIIaim pa rtlcu Ilalrlly tasclneted by s ma u-scale domestic arch ltectu re espec la Ily t~e bac ks of DU~' ings, 'W hie h lid h ,6Ive m Ui'C m ore pe reo~a 11'~ty th a In the ti dyl' res pecta bile h fro nts I' ~t ~~~ m"6 ~ -norim'o U '.:J' In II o.a· u re 'I t' -:=.. 'V·I.oW- r ,~~,~,,~, s I'v'" 11l..:J'., ~. O·I'·I'.o~ . ~ '-" ," '-,_rJl I' ~ ..... ~'-,~ =

Burnt Umber, 'White Indian Yellow, Sep'i,a~

_ passionate about drswlng '~nalii tts forms, Draw~'~gis really lmportarrt to me, trom large expressive gestures

R:,edlEarth, Cr'~rnson ,
Iijj Irq uolse a nd BI ac k:: alllllDaler:_IRorwney IFW Acrylic. Artists' ink




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Ilike- t ~e earlly rna rks h ere, to m u c h mo re ref ned! deta iii ng iIn th e Iate r stages of' m~lwo rk, For th is mastercl a SS,~~ decfded to exp,e'r~' ment with pal ntlng ,8nd d r~I'v!ili~g 0 n collage, The term m ix,€!dI med ia is, rea III "1' j ust conven ient sh 0 rtha n d to d esc ri be any worlk that com bines seve ral dI ifferelnt med lums ln this W81Y,. One of' the Joys of co-III ge, is belng able to a hid e' IIttll e refere nces vI/lithin ell co m positlo n, s uch as i app roprlate newspaoer curn ngs, fragrn ents from
Clothing cats legues, sheet music an d 8'0 on,

ech oes fro m th etr own Ilfe experlen ce tn o ne of my fi n'~s ~ed p,i ec es Ib. ut Imy work '~smill clh rna fie ,8) bo ut the me rnOlry of rna ny pi,9 cas" rathe r th 8n be'~ :91 rea Ilstlc ng re p resentatlon o'f'al~ actu a IIIIccatlcn c reate' silty IIsec t worlds to; produce a new version of' reall'rty~based entl rel y <0 n wis htu I thi nIk~ - a rath er '~dealll wo rid that ng h.sIS so me res 0 n a In ce for evelryo n e~ The Society o,f Gra,pII te Fi ne Art"s 90th ADDua,' Ollen Exhibitiolll ru ns 3..1.5 October at Men ier G'allery,
m ~

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.' The tdea for a mixed media cornposltlon usually COn1€S trom Imy '~malgi natl on but IIIwill IIofte n base the pa inti ng on sketches ~1118tVe d one on the sp ot tn va rtou s locatlo ns,



'Io prepere an initial ~ra~illg2rid.1

PREMRIN5f 11' 6r({IV

began by selecting a

half-an eet of' Studl and Mia untboard and tBlpl~ lt ,down to a 'draw~'~g g boa rd '~III ora er to, p reve nt it c url in,g, UI p Us,ing Ven,eti a III Red and

For ease of' refe re nee, ~ like' to. begl n QYus ing, pa int sa m pie' Cord s from mi~loca I Dl¥ store to' s,ell ect ,~)O urs that ~t ~'~k"'w'i II work 'well II I 11'0 n togsthe r, i 'w'~ th.e n choose s imil a r s ha d as, to. use iIn my d r6'w'~ g fro m II n a ra nge of water-sol uble wa x crayons,

C~'nnamon erayons, IIImede bold llnear marks, vertlcally end

horl 2:0 nte Ily,p across my s u p po rt, Th is ,g' ·01grl d t ~at I SUJ bd Ividied ]rnto sm a IIIller a reas ~u nti I ~ h a d al I~IIea si ng Iayout that was suggestlve of buj'lldI~n~"s, and ,8] roonlne,

..J. IItook the TU;~U~i~~'illk~nd mixed

2 PifIN'nNfi" 'mE Jl<Y'

it with some white acryltc

pal nt, modi ify~' n g lt 1furt her with 8 'few d ro ps of' Bu rnt Umbel 81 n dlI811ac k ink to glve me a slky colour that was c lose to th e paint sa mple card I had selected, I mix paints, and inks, together '~nan olo alumlnlum food d~'s~like the one pictured _,thls nne has a large fiat bottomso tt is '~dealll1for m ~'xi la rg'e Qua ntitles nf co lin ur, Th a, ,8Iu ml n'~ ml is ;81115,0 a ng u good ~ ~eut ra IIgn~~~t it is, perfect fOIF j ud,g~ g c.olou r mlxes, so tJl

structure of rooftlnes more clearly, ~b,egan to outline ,everything uS'~ng a scrap of mou ntboa rei dl'~ ped tnto t ~e Bu rnt Umber ink, th ls gives ,8 p I,~,as'~ p ~gly rlgl d set ot I~'n 'Veey d~ffe eSt r rent to! a regu Ia IF' brushstro ke, IOcca si on ally th e ln k wi III ru n into th a, ct'eS:SH9:Sof th 6' mou ntboa rd sc ra p~, ut th 1:9, b adds. more inte rest to the llnes ,andl makes tlh em look, Iass; mec ha nlea I" 'W~en the end of' th e card gets too. .soggy, j usiltcu t it off and sta rt aga'~ with a fres h piece, And of c 0 urse th e' ca rd ean be n tr'~ med d own to ma ke s 1110 rt IiIn es, ml

1.~t~;!~!~~ !!~~~~~!~~e



INO'W ls t~e time, to setect col ~a'2epapers IIIopted to r a mix of o I,d news palpers ~used en eye 110a ed ~',81 J)ag,e:$,!,u nwa nte'd sh e at m u sl c p ,and even cal men u trom my local takeaway cu nry resta u rant, These are, (~U to size a nd pasted down w'~tha dill uted e rtlst's o(~ue IIty PVA gil ue., III t i w~' etso gilue torn tlssu e paper over some areas of the rn ountbos ro IIII to vary the, texture. Artl sts l' PVA is th lc k and 'Ie ry stic ky~so it works m uc hi better if' I d iIute ~t .0'/50 wIrth ta Piwate r {a n d do n't th row it 5 aw',ay atte r tlh is stage, you wl III use' rno re Iate rl) ~

r: ,,f,VV,COLL~6r~~L~M'ENrS

6. f!!~i~~~:!~~~t~~l£~~berin~ roof
over the 81 S 81 ~d soml€' of the h OU:9,efro nts. As acrylle in k is perms nent rea o nee dry:, some r~alillypleasln g ertects can be ach leved by II ,y~ring up a severo IItransparent colours _,for this pa'~nting~ I used Cr'~msoO~" eIP~'a~ S Red E,arth and Indian Yeillow.,


...TOP.,,·'Ip,". '-, '
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every th'· ..

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,9 nd

I~Sin2 m~re mou~tboard screpe dlpped in a mix of
,9 ndl IBI,Be k

eu rnt

'~n I aidd ed 'w'~ dow sha pes k, n

oth er dleta,'~ IIh e ls,

D '. Us'~ni w'h lte tn ~ a nd d ~P pens

mountboard scrap can be dloped ,and!dragged across the surtace nf

the p,a int~'ngto ,g:~vea sou m 1011 o a pp e,ara n ce to th 'e in lk, too" T ~ls can e be, used to look like weath ered su Irfaces 0 r ref ectl on sin gb:n,;9,!,and by dlragg,ing the csrd downward, the 'link, ls Ila~'dIin a gr.aduated 'walsh, da rke r at th e sta rt. a~dl IIghte r as th e ink, ru ns out, l

ru Iinli, pe nS ,8 ndI sera ps o.f C fa rd, EK~d w'lindow frames to tlhe buildings. The white ink frOMI DalerRQown~y's FW range ~salmost completely opaque provided that you re me m ber to th oro ugh Iy sh a ke th e bottl e' befo re yo LJ begl n, as the heSlvy plgment cain settl e at th e hotto m of th e bottle, Th ls '~ri1k wa u lid! b,a Imy idesert ls la ndl~prod uct as IIIcain It be, with out '~t!


PICK. o()r I:HGritLl6rffrS

mastercla ss

J •At thls stage, areas air colour can be laid down
II~I~._: ._:.'._:._: ~~


onto the surface' UI~=f~n2 the, fi.r'_-"'-Ioo', coto r ~ ~cravens and miors u~ _.~ ~ can be ~...,jlr-~:w-"II-n-"I Th e-' c ravons g':_"-I',v~ a- smooth , ;Q;,ta---: -II-I,r:;; '_: on' i.:l, ~ 0. .. .. _ IU '_:~ ..... g LJ.._ o,,'·_: :._.' :._. OP:8'q fi nlslh~but tt's :still pass ibl e to move the plgrne tJ1aro u tJ1I 'W ~th a wet brus h or U~' t d even a fri ngertl p d'~ Pped in wate r beca use th ey are water-sol t] b lie, If y~JIUpee IIoff t ~ e paper '~)Qver:~ng the' crayons and I,ay them on their side, you can achieve' dregged of eft'B'cts, th at 11.00 k 9'SJ)e'c ia Illy good on 81 textu red s u rface ~too,

411 BUILD' UP tee COLLAfirE'
More coiliaie ele~entscan nO~b~added ma ke curta iIn S Sit. 801m e of the w'~ dows: sera I)lS of n to











pa per tor tJ1 fro m m algalz~'J1 es, 0 r mal IIord er cat a II ~LJ es t O are ldea IIfo r th is, ,And by tea r'~ th elm an d Iay~'ngthe m ng onto- th e pal ntlng befo re yo t] stl ck t helm d own ~you Co n ensure that harmon lou s coil 0 urs are ch osen, Th e same d 'j' II ted PVA ,ill ue mix that yo u prepa red to r t ~e' 0 rlgln a II u co,liIagi ng, can a tso be usee 1:0r tlh is" I

','. using pencils, pens. and other drawj'~i tools, the, 'fii ~ 8111t~' dletsl'~ls ca n be ,added" in (::11 d~' g th e ~y un
brickwork around the w~'tJ1do'ws" cracks in the plaster

'.' "N F,"'N~ l)'~Tfll,W 8RI'Nfif 11.



F1NlSiflNGr TO()Cft~

By applyine: 8,cryllic paint to textured wallpaper, llnear marks carl be block

and ot ~er wea r-a no-tea r m arks, Note how', ~(lvi ng, sta Irted with bo lde r rnalr'ks ~I grad U81111y red u ced the sea Ie of' th lese malrks th rough out the d' process ~,g ~ ntll I at m In ow fii n'lishI!ng off' wi t.h the sma IIest d ets Us Pi,gmlent pens are good 'for crisping up details and correcti ~,gany m ista kes,

Ipr~'tJ']ted0' nto the roof to ps, For tlh e 'fliinalll touch, I marked in the C81St s hadows u nd er n€l'ath th e' ealves; 'wi n d owsl [III ,8 ndl oth er p rotru d'~ng ell€ m ents to gi ve the s suggestion j)f depth. R:elme'mbe-rthat even parts ()f lithe curtains w'ill be' ln shadow', IM:ylast a cti on ls a I'W8IYS to th'~ k of a t~tl _, ln th is case, The ,Artist's No use ~ I don 't n e Uve in a small whlte house near the, centre of a town, but ln Imy lmaginatlon it woulld
be ,~'~n g'. u~ al ~Iu:,-IIII

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IUsualll' £10 !Utlualli, ,£7:2
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lUisuallli,,£'1'20 £:.,lU:suaUiy ,£,144,

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,A,rti5:t9:, & 11~llustra;to,rs,i's n ow' ,av,a.iil',ab,~,e: s a dii,gli!t,al~,ed'itiiollill" wh ich i a cain be dlownll'o,i)ide,d to your desktop computer; laptop or iiPiad,.,
'Th e downl' Q,Eildi,Ellbl e m,BI,al~in e is pale ~~ued 'wU!h a,~ the 1t)ldlvii,c:,B: and I ~'ns(p~lf,e,ti :y'Ou 'w,oul~d on expect rrom ttl e best .. el Iing mag,8lli.'n e '1:or'artists, s but iin ,8' new electron ~c'form at ~

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Steve Pill qet to grips, with a gloriOUs. t:l1qlis,/1lanascao« fro'fM a WI6(s,terof the qel1re


:8'2~:5:-,o-:~II ,I", canva ,',', ,S:,,- 1-1 ,4',',--'2. "~"X"11- ,"',:7','-3-c',m"':-'1 on ,8' " ',' " ',,' ',. :1:"'1' "n I' - ·C,,'JA P'" 'c',.r, , "" ;;',""'1', ' " " loA <'r bo ,:"n' ',' ,,J' ",' sec a ""'l vu',wr n n. turc Oltl, cry ,r.lt1~, rrowca '(1 U1a..}i~erptccc a
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nuS. WI'ol1th, quest' lecturer RD5fJlfHtA Whyte tll1d


ROS-A:L,I'IVf),: ~'IFIO'R C,ONSTIrBLe, ritE SKY,,' ,R~PR6J~N'r~'1J Cft,f~F ':TH'~' O!f{t,1t1ll~ 10f J f:NTI M ~'''lT' if',AlD It~'W,fS Olv't IO,F TltE'
Fll\JT'tiRTISTS RE:t'rLL,Y STVDYMrr~O{\OL06r~C~',L ,CON'D"Tl'O,NS ilN'D Pfl,nf:RNS O'F' W'f;,fTH-,E:( "ND ,LIGtlt'T:


Itt:f{~ ,it~ !C'({~lfr~J 11'rf)f<J3IULI~NTSK1Y TIf,iT' ~C'ItOII~ST:ltE' DRt1M,tlTlr,C F6~L IOF T:ftE: P~INT'INGr.IJ'

Wlt~r<£ TO FIND IT:..
Maste"l)iece A M'onth, ,4-30 October!

Du !wich Picture' Ga !~,ey, r GI811 11 ery Road, London SE21. w'ww~du iw ich pictu regs ~e rY~Olrg;i k i u
1 1i

UNIIQUE: TECHINIQUE:S o ne of Joh In consta b Ie's su IFV i~ilig pa Iettes tJ1
that the ernst used a combination

.. rH~ INCL'()SION OF f1.- .....
revea ~ s

of commerctai and

self-mlxed p·~gmlenits!.lncludlng Vermil~'on" IlEmlelral~d Greelnr ehrome Yellllo,'w and Coballt Bllue" He also tavo u red P(~IPp!y o~ a .5,1w-d ry~' g m ed iurn ~ II" o H1 jjThe brushwork ls very vailr-'~ed and textured," Rosalli ndl says of 'The Le'apln.g Horse ..'~Co nsta bll,~found '~t ~"f'fi'cllilt to corn bln e- th e size of' POi'~ t.'~ni t ~alit wo u Id d U til let hi im n otleed at lithe Roya I Ar; ace ml~i's n n u a II .a exh lbltlo n 'w'lith tlh e 'fash iona b Ie srn oath ness of fi n ish ~~' In 0 ra e r to get a fOU nd th 1's"t~ e artist d eve Ioped th € u n u sua I tech In ~q ue of' p,a'~ t'~ gla nt o,~'11s keto h e's ~ijrst, ~ ng, Compa Ir~ g th ese sketc h es to the a rtlst's fi n ish ed n ca nva S9'S. p r()v ides grealt insl ght into Ihis tho u ghts,:: 0 ~ The Leaping Horee for exa mpl e Con sta b lie moved the wi IIIo!w tree out OiT tlh e pat ~ of the Ih orse to mal'~ inits, nta momentum an d strengt hen the 'CO mposltlon.

STffRTL~1J M,OORfftN ItDDS TO' TH~ DR-A:M-/fO,F THe Le:7"1" p""""N"" ~" H':' OR.Jc
",C/.··. •

Arti sts & llu strators




'Do ffwi Forests tricky to depict without qeffil1g caught up il1detai/~? J~' the fourth pari you (lour series, watcrcotourtutor ,6fC:off ······t<ersc:y helpJ you to Jee the woodroU1 tne trees:f f f
i .·



. .




T7<fllvI<J.4 '..•.•. .. tilLS OF l7f~ '-" ilM' ". hJ~IDI;; " Wt'- fr~llJ~uR· '~"1f~wv.~ ..... ..f.lRI<INt/r FRoM 71tc' BIICKfitr<O····....-fIII-£l rORW:"'f<DJ ·,{)l $'1'\ ~~ •. - - : . -- . I., '.-

Bt/ILDvp rHi Da)1RTf;D~ro .

. .. 1M.1) DRICD f:t1LWt1JH~J

WHeN 17f5S€ l" '" - .

n ml:y' oplnlon, no other lendscape sublect reflects the chan ges in the seasons Qlu~teas rnu ch as trees 6r ~ d woo d Ian ds, M IJj C ~ of the type of S LJ bleet matte r shown here iIr1 th ls a rtlc 11'19 1'sve'ry- access ib I e to rna ny cd U s in th e U IK, from a tree-li n eo Ia ne to. a path 11though ,8 r 'wood ed a rea; av'an a stroll I tin rough the Il'Ocerllpar k, if' th e' cond it'~ons a re r~ ght, can :y'~ell a wea Ith of' exc ~tinJl dI 1~la~nt~'~g matertat, fa ke for instance th is par'~ ~tling of' Harlill Ileys Park in 1M oek, DI~rbysh ire, i lhad th e id a'a to, par~' t th ts ea rll'1' atl ~ on e .s u nday' morn ii'nr£ in 'October Iast :year, III a Iways spend some' tlme QUit and about in the earlly autumn, II okl ng 100 r su bj e cts, it's, a maglea II but q ulte sho rt o seaso n c.ryi n2, out to be pa inte d 'W he n na rks a ndI wood tan ds ere '~iill with th e war rrn, br~'ght,gllow' of ed red s, ora nges 81 nd ye IIIOWS"

'0 nee the tree tru nks and bra nrches hardl drled I

created some opa que co lour by mllxlng a va Ir'~,etyof the o rca 11ges and :ye II Cows wlth so me 'W ~ 'ite ,2..0 ach e., 1 ~ese u .0 paq ue co tou rs were th en app Ilied! r~ smau dashes on
top ofthe darks of the trunks. and branches! uslnga

'2 fine' brush. Ih~'s gh/es the lmpresslon that our v~'ew o,f the trees ~ss Ii,ihrtlly obsc u red by t ~e ,aIUtlU mln fol harge, t ~ sine reasl n g the fee IIing of Ii,ght ,8 n d d epth, u

It's worth no1l!Jn,g: that a lth ough th ls is a n a utu m n seeme it stli II has so mie s hades of green, 'W'~ '~c h e,IIP.s, to hi

ba Ianee the e ()IOU rs a ndI avo id lt becorn lng ()ve rw hell med by a III the' 0 ranges a no yell lows.

Au tumn on

cromtora C'anaJ '~sa palntlng


a typ,i ca I see ne t~at many of us. wou IIo n 't h ave to go too far to fi nd, IHowev,e r, lt is the handll ~~g Ilrght and colou r that cain tu rn of such a scene into astrong palntlng, ~kept th e; slky ve ry sl mip Ille w'~th a th in W'aJS h of IRose MI,eil(~ld,einto wh ich I bru sh ed r another thin wash of cobalt IBllue et the top. 'Wh'~6' th e sky was stl I~ I wet, ~Ib rushed ln a
t~iln wash oftne same two colours to

suggest the, s,II'~ghtly misty shapes of dlstent trees, Whe~ ~'t arne to the maln lndlcatrons c 0" autumn 'fo,1 lege, I brush led ln yellows, ora nges Bind gree'rlS, Into the stl II-wet background, lilt is lm portent when 'work lng wet-l me-wet 'w'~th m u Iiti p,le c()11 ou Irs that yo t] IProgress fro m tlh 8' thl ~n er wa sh 9S, th rough to. the t~'lieker 0 nes. Th ick washes ove-r thl n C8 n create t ~e: Uil Y'ca u 11'~nowe r sha pes, that III Slim sure yo u h ave expe rienceo.

, c-4DI''''~ .~.~. ~7f .'V'1lI the same

·Tlt~,·rFO··.···,-CUS .-

This ps l'~t~ B'oats at ,Mattoc.k Bath" con ta ins. ng,


autumnal colours as the

pa int ing, of H 011111 eys PEtrk, but rat he r the n tlh e L
trees bei ng th e ma in su ibj'eciltof' trn e ps inti ng, I have used them to frame ,and contai n the real subiect: the boats and reflections ~ the r~ver., n This, is a not her good exempt e ot ~(JW yo u can in crease the im pa e:t of a pia inti ng by' se lectl ng

contrastlng colours


in thls instance, the

oral n (ie-yellow wIrth th e b II e, u I used Cerulean Bllue' for the boats and Fre tJl c h UIitra ma rl In e' fo r tlh e 'w,ater. Ih iS was irnportant, as I wa nted the boats to stand out, not bien d in" II atso tett it was v ital to dIlstl ngu lsh th e natu ralll b IIue of the wata r wit rn its r~flilect~o ~ or the sk.y, a ndi1ltih ma ~~ma d e e' pa int co Iau r of tlh e boats The su bj ect cou Id In ~'t h,ave be'en more ready=mlade, as even the red/ brown va rn is h ro u nd the to p of th e h u 11115 nd a o r1 the seats (Bu rnt S le n n a) contrasted! pe rfectly with t ~ ceru I ea n 13,1 ue. e

Vi riid la n '& Go ball t Vio Ilet

III t ~ls exa mple, Ir.e,~s in th e' New Foresti' you n ca n 5·ee t hat alia in I halve us ed a Iirn lted pa IJette to prod U ce cool b Iue-gree n s 11181d1 es in th·e d lsta n eel' gradua Illy '~n trod uci n g Iblr']ght~ rand Ib(~;11er ye IIIows and 2 reens ~. the to IIiage can 0 PY d n to suggest th e'strong SU InII'~ghtb rea Ik'~ g tlh rough n ,_th is, ls ern phas lzed by th e b rig,rnt light on t ~ e' gro ~nd .a ro ~nd the dar ~ ba S8:S, of t ~e' trees,


OFT(fE TREES W/ru /LA " Jll_Ap c» ru:s r 'n- r7fL~. I IW,,,,, " ~r: f;.,.J' J rnrrfJrMtJlhfLLY NIfRf<OW -;1S Wf; 40 INro 71t,~'f)ISrIlNCE ,', .

1 rR/~ ts« LO TO j'tI~tT5JT fI LV:..h.r ~D L1




Tn \~



o f:; IT



The swatcbes op poslte sh O'W some of the

Vi rl d ian ,&. h9SS

eo bSllt Vilall et

CadmI"I'II'lm'- Lam- O"11'"'i II iLI'Q.:_
I !.:..II -0'····1

N lckel iii ha nate 'Vel~ow

m al n 'co 11-0 ~ haive e m p IIay'ad in th is see n Ie. U rs IIIh Sive used V'~ d la In, w'h ic hi ca n 81 Ppea r ,9 blt ri b r~i,lhilt he n u sed stra i~Jlt f rom th e tu be', but w ~t alms down very effectively wit~ the addit~'on c nf coba It Vi 01 et, creatl ng 81 lhu ge' va ri ety of' cool grey-green S". To gij\{e th at ,Sl~nse ot '~iliv'lidl b r'~,glhtn es,s, at the to p of the see tJ1 e~ i have used a 'fs'w tau ches of Ca dim lum Lemo nand Nk::ke,1 Tiltan,ate Ye'lllow~, w~'~,c~ slrnllar to the ls cedmtum lemon but a touch less acldlc, ~thlnk the' 'final touch to this scene' that realilly' gave ~t :9,0 me pu n ch W,9S th e tree tru n k j u st to the IIeft c,f cen tre to w h~ ~add edl a th in was hi o.f ch A~rel[)II~tJ1 ano Burnt Sienna to' add warmit~,.

,'!<'J.....~..""'f{" ~= ". 'N



., ..




."I'T- r


. [_W.,

. . - - ",'.'. ..' :~.
". ".

- .. '

,.',1'1., '~"""~"".'~"
: -._. .'
•. t.

.'. ... . I' ..'".":'. .~.". .
'. • ..•..

B'-····'RO,"····· """','~':."
r. .... ..'. . . ••



. '. .



. .r




It. is im porta ~t. n at lito ,si~,e tree lit ru In ks as just va r~aug, shad eSJ,o,f lbrow n'. took et th e va rlety ()f eot ou rs in the bark an d obse rv.e ~ow these (~O 110 rs a re affected IU by IIght a f1dl l shadow In this example, I mixed! a va Ir:~e~y' co II u rS~1n C'~ud~' g [II ian of 0 l n nd Yelillow, Celr'~llean BII~e; Nlapll~s Y~lllow
anc a mixture of' Burnt 8~'e~na~

80tit Ctf'DMU)M L~MON-liNDNlCI<~L nrtfNffr:~ YCLL06V_ifRE OP'lffA{)~ SO .... - ... TlfW' tfN" B~ UlftD·.:.·TtV·· fNTRo,r;UCf. HI6f(tLl~rs TO1'1 D?fRI<,ff( tfRE,f
I, ~ •. , .'::.~,'~" ".' •••...: .•... '


lifLOWIN'5f LI6r/f'T
For thls 'footbridge scene, also from the New Forest, I ~ave, u sed the sa me colou r scheme

Fre nc hi U ~tram a rlIt1 e ~IRaiwS te n na and

as the pa inUn,g 0 p postte, rNiote how III~ave
used Cadmium Lemon to create 18 bright gllow in th e ce nt re of th e seen e 'W hi le hi GOon trasts

Bu rnt Sle n na ,. 0 n ce these m ixes
rFJIPrepa red, IIwet the w hole tru nk ,8 rea 'wIth clean water and drop ped them I'm" Bllillow'i ng,them to mix ,a nd me rge on the pa per, co n ce n tratl ng

with the cooler, quieter grey'·,greens that su rro
U In d

it, Fa r contrast,

Wdllr'ml'e r

GO Iou


re addeo to. t ~19, two mI8~' tre e 1ltr n ks n u

the darker colours


rds the

an d a lso to. the b ridge an d rfve rba n ks,

shad eo s ide of tih e tru n k. IDo'not over-work t~'~s:: is better to let the R co 110rs sotte tJ1 and b len d on t he~r IU own~, h ~c creates n,ew',p interesting w h shad es a ndl h el PiS suggest t ~ e cvllndrical shape of the trunk.

Next 1110 hi h:, Geoff revea Is,great techni, II es f'O If 'wrki n,gfro m ph omgra phs hac k in you Ii' stu diD. '

Artists & Illustrators



watcraoiour pail1tinq S;e.s.siOJ1.s Sia...,'Dudley presents

fH the second

part of our


Iivc-part series aboutqettiHg
'he' act of' s'~mlpiy colouring ln shapes


the lMostfrofAll your o'f usark. Wlakil1/3 possibtimcs
for a P P Iyi ng 0 r mlan ~'IPUIIaJt'~g th e pal nt, n o ne im porta nt po int to cnnsl d er ls how )lOU might use e,ach ne'w rna rlk rn ,8 pa~' tin g., What n m i,g:ht lt re p rese nt? H ow' rn '~ghtItt be rea d ln the context of the IPS lntl ~g? 0' n ce' you have' fou nd a ran ge of marks that cou lid represent Ieaves, for exa m p lie" you w~'IIIn 0 Ionge r fi n d yo t] rsellf wand ertng h ow you COinpaint a Ieaf but w~'11 instead be asking whleh mark is ,8] p P ro P rlate, jl ust as 'V!l~en we- rea d ,f;} navel we- don ~t focus on eac h word!, you r vi a'we r wi IIIsee these m a rks ,as ,8 who h~~,~ e fJ1joy~ ~ g th e' pa inttn ~'.s I lve IY' ,andl tnteresn ng 'qua Ii1lti es, WWW'"I1TIGortose,"ulk

w« learn

to write, we begln by

Iearn lng to she pe tette rs, 'We t hen

washes ,d oesn't ,allow '0 ppo rtunlty for the
medium its,elrf to be tu Illy esplolted ,.Controlled washes ,8] re ,eg,sentlal but watercoto ur '~sa n axelting med lum, ~wt1lich,w~th a Iitt lie
experlmentatlon, can be, mad e to work 'fur you. IB~l eve lop in g th e pa lnte rly eq ulvalent d

J oi n th ese

togsth er to to rm wo rds,

then 'words torm sen tences, sente nces form pa ragra ph s a tJ1 di pa ragre P bs form sto rtes, AHa,t all, we, wo ulldIn't dire-a m of expect~'~,g someone learnlng a new language to start by wr~ting,01 novel I: 'Yet 'W hen 'we 911F'elea rning to pa int 'we want

to sta rt by pa intln g a ph:tu re, B,eg~'n ners a Fe
etten lnspired by the, subject matter, wlhh~h
they often jd raw u p:r. 0 n to wate reo 11(1 ur piaper,

(J,fr those 'letter shapes', you 'w'lll find an en orm ous a Illpi a bet of exc lti ng ma rks th at h you ca n use to create you Ir own voca b u la ry,. Bellow ~ have- iiven 801me s uggesuons of

w',ays you might make certal n marks, These
aIre on I"1' a sta lr1lti ng po int, Be inventlve ,8 fJ1d resou rc etu II d on ~t afra id to gi ve a nyth i ng be

a no s at about stud iously 'coil 0 u rlng '~n tin e r.
s h a pes w~'thwash e's~U ns u rp ri si nglly~, dlsa pop o intme nt ofte n fo III ws, o

a go, ln adeltlon to brushes,


other tools

· '••.


Palll,ette knlves aren't j ust tor ,oUs and a nd p ri nti n g wa,~tin e' ed ge 0 r fl at su rfa cs of the kn lfe,
acryllcs, Try scraping watercolour



D'~ a cockta iI stlc k 'jI1rtO' al P reasonably tlh~'clkpaint mix and ro II aleross th e page, Su,gge'sted uses: fe,nee posts,

ip and roli g



• •

.· ,

•, .

., ~

.' .'
j, iI!'


US€'S,~bri'cks~ flower

silver b;'rch'€ trunks~, masonry

• • ..


/l1!B'f,a,Is, st,ems mas'fs of b,oats'

· ,'· .. , ,· . ·


Dralw' lnto wet pa int wlth

g rrusruns
iii -heiii

., .,


PII ce mask ~ tal pe ale ross you r a ng paintlng to def ne a straight edge, Two or more edges can be,

• .' • •


• •

bUlrn·lsh~ng tool 01r ,any other obj e ct with a firm sin a rp ti p,


Anywhere you

.' ., .'

want' a fi'n,e "j'ne in a darke,r'to',ne; e".,g~ window fram'es wire fe,nti,ng' j,n a tandsc'ap,e,

.. ,· .

overlap ped,


• '•. •


Sugg ested uses:: horizon .line8~ the edge at the rdeture

.' .'
.. .. .. • ..

., ·

App11Y,8spllodie ,O'f a Qu~tet~'~c~pa~'~t [m~'x!, wrinklle up !the, CII'~~g fillml ,and ptr~SS into the Ipa ~'nt ou can mix Y d ~f'fe'relilt c.o,1au rs, befa re a po ply'i ~ g 11th ' e (::1~'n fi I 1m"or' I ~''f'ttlh e' eo ge 81~ 0 drop g IPS i nt into the cre',aS'9S. W,atcih it Iru~ a Iong t~e foil d.s,.

C ingflm



.. g.' ..

.. .' • ..

.' •

Dr-op ,g:r.ains. ()f salt O~ to selm ~'-d Ipa inttta In d Ieave to. d Iry ry thOFOU,~:hlly" Try ~s~'ngdif'fe'rent si ze' gra ins. Ttll is 'works best on m ~dto dialrk. ton e,s-., _,
Suggested uses; texture in

• .,

· ••



.' ~ .'


• .. ..

Suggested,~ rocks~ clrJth,ing~
fo,Uage~ ,lliUs/des

rocks~ fa b,ric,S1 walls~,frO's t

.' '"

fists & 11lu 8'Crators

watercolour essentials


'· . ''•.. •

,,.. ·
• •


'· .
,· .

Injec -ing
Fill 81 pllastic syring,a 'wiilth paint,
alm at the paper and sqIUl'~rt~ dd~st-' ~d!!ibst-"p"!!ic>f- : ..., Su' . titi!~. ::..!~. US·"O'~'.'U ":' gl... W ptfn.,

· , · ,


· · ,.

, , •





'yl. .;J'1!


1i"11; Uf

· · · '" '. · ·
'•. '•. ,· . '••.

, •

Ro II 61 IPOP' bottle to p ilthro Ul.21h pa int, th en r'oII it acros s you r psg,e,. Sl.I,ggested uses, textu,re o',n brIck worn~,,c'uff' ,of a j'u mp er








· •
• • • • • •





, •


,· .

· · • •. ,· · ·
'•. '· . • '•. • '· .
~ ,.

• •

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• • .' • • • , , , ,

• • •

Kn ife sera ._ng j
Use GI pa Iette k n'~re sc ra pe into to wet paint, You can move, pe lnt wlth 'lin the wet a rea 0 r dra g it .0 u t ac ross the page,

• • •


K~tclhen ro IIIis, an exce III nt too I e fo r 'pa inti ng,' ctou ds, W'hy not ge flit liy' press it into da m p piaint to take advantage of its pattern? Try folding it firr.silt too.

caking Up

· · • • · · · · • ,
• • •

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. ",

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, , •, ., , •
, • • , , • , "

Suggested uses: fabric textU'r,e~
net' cu,rfa ins, fi:s\hIng


'•. '.

.. ·

Suggie st,ed ,'s: rocks, tree trunks,


loot brush spa tterlng
IUsing a tooth bru s h {th e' ch ea per th e bette rt), d~' t he brlst lies ~'nto P your paint. Holding the head towa rds th e palper, brl stll es race d ow n 'P ru n you r 'fliing,er fro rn fro nt




~ ,.



· · · •


• • • -e

D [p the

till LI·.. -'nn.lng
!!I •

• , • , •
" ,.

, , , •

.' ·

• • , , • •

to back to prod uce


de Ilcate

end of a pe n II~dI r 0 ne of 'o


'•. • '.

, ,


'. '· . ''•.. '•.

those plastic tube's t ~at are used to protect bru sb brlstl es into yo Ul r pal nt and t] se it to p rlnit irregu cl nell 8,. e Sugg1est,ed decorative p,a'tterns suggesting flow'ers

• , ,

spiray of pal~' Alte-r the ,8 ngl as nt, tor d '~fre: me rks, rent ,S'u:ggested uses: po~,',enr flower c,entres~ tlru/3<,g'rave,'1 t'e,xtured .shadows

in a ,gard'en Ian Qsca',pe,

• , ,

,•· .

· , · , , · · • ,
, ., "

'· .

P'r-e.Ss. leaves of' 91 sma II fe-rn or othe'r' plant into 8 puddle, of' 'fa~'lrlly th ~'clkIPslnt, p l.a,c:e -0 ~ :yoUI r pa per a In d ru n you r f nge r ca refu Ily over tin e hac k of th e leaf to p ri nt,
u d de,_,..!I!-Il,66.'-

, •

''.. • '•.
'" ,i


• ,•. '" •


,,.. ·

• • '•.

Gut or tesllr' masklng t,al)9 to shape, accordl ng (.0 yo Ur su bject matte [ Place th is on you r wo rk to p rotect .an area whue you pal'~nt around rt, Suggest1ed,s: distan't' sails on a yc.N:~'h'f! wl,tldo,w.s'~ n'orilo,ns


• • , •

• , , , •


'Ci"' II ~e~~ ~a,_~''Ilj,a,~ e'
~I_l~ _ J ~~. ~


· •


· , · ,

, , ,. , • , • ,

fabric p.att,erns" "er.n tiptS m'sl('e great fir trees

'•. '. '•.

• • ,

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.· .


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• •

UShl,g: a plece of' st~ff paper o r ca rd I' ,CLJ t to- th e' all~)I prop,r~'alte, I,~ gtlh for yo u r n S~ bject~ dip, '~npa~nt,andllpr~nt. ry' T using, diff:erent thfl,ckne:ss,e:s, of pal~)EH'm For 81 d ~'ff'et'enteff'l9ct drag, ttM9 Ipap'er ,a'cross yot] r 'work., Slugg;estled use's: ,mas'ts'; gras'S'les ,re,eds~,t,flee branches, strip,es


, ,

Wax resis

· ·. ,
, ,

• • • •


, •

Us ~ a ca ndle or al wax crave n , nil, d rSlw the, Iines you want ,and pa l'~ t. free Ily eve r tlh em ~Ca utl'on here! onc'e applied the, 'wax cann ot be re rnoved., 8,0 be ,calrefUI to pi,Bce it in th e ri,ghit pi ace,. ,Sugge,sted us,ss: SIl'(llrlde ,o'n water,;, bark on t'lees

Jl\.Ttl sts & IUustrat(rrs



"!i. ,~


Letter of the month
RIE:: EhlCk te Basiics, Issue 304, After reading the article about returning '[0 art after a long lay oft I had to 'write as ] have done just that. I am 36 ~ye:f].rs old and, after 17 ye,anrs' have returned to pa innng. The Iast rime I pa tnted regularl y was when I was at school. After] 'finished 'my A=level:5.~ went travelling and spent time 'working abroad li met my I first husband and had a baby at 21 but after h:8!vinga.child 1 found 'R didn't really have the time to paint. l worked intermittently as a Turkish translator, "later meeting my second husband and having two children together, A few years later we gained custody of hils eIdest two boys fronD. his previous marriage, tooLiKe has belen very difficult and stressful over the last few years} contendtng wtth six. boys of various ages. We also '~OSl m.y step dad to cancer and l have been. diagnosed, with arthritis so I have. had! '[0 look at new ways of earning a lrvmg, One day, l ju st decided to see if I could sHU paint and I couldl .A Iter 17" awa y from art ~I had fina Uy been given a lifeline. I sta r ted pa inring aga in around six months ago and my favourite medium is oils, I am now' so passionate about pai nting t ha t I f2d] to u ndersta nd how] cou id 'have gone so long wit hout it. As "lit is the s urn mer holida ys; 1 have all the child ren ~Jhome btu. 'R am getting up ea rly every morning to be. able '[0 work. on my pamnngs before "they get up" T also joined an art group on a Thursday evening and ]t is great to talk to other people 'with :8!. joint mte rest I love yOUI' ma .. ne and it's really intere sting to. read gElzi about other artists and see how artistic styles vary so.mach. I ]J[()1lKl feel like ] am establishing my OWriL style: bold and realistic. I. am JUSt so ha ppy that I am able ·t.o paint .again and so pa ssionate about it ,. E,mm,CilHlo,rsfle d, 'vial ,emalll
j ]

Every month,

t ~e' wrtter of' ttl e winni ng letter
'wi I~rece lve al £50 gift voucher
from ou It" floa rtner

Grrear1ltArtr 'who
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ED'IIlOR'[A L~ OOIMIPE'I'ION5 .& LETTERS, Artrs:ts & mustf.,afors The Chelse'i;I, Mlag.a.Eiflie Cnmpanl;' ltdl. StU lte 1'9!, 15 Lots Road p ILo n don SW1G 0 QJ tnYI a~ ~l'lIfQ@ rtiis,ttS81ild~IIustrators .eo.u k I: a WWW.{! ..UtI-; Edlito r' Ste.\IIe Pi n Art Edii't~~' Ch IfUle Collyer Pealtl!ltre,s W'rit,e,'r Martha AleXEI nder
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CMijver M orl ey~~ o~'ti~ ADV'ERlIS I NGI ;& PR,OD UC1lIO N ArU5.~ &: mU$ trafOrg the Chel'sealMla~l~f1le CO!'!'!~~lny ltd. 26~'30 Olld Church street, lo,n don S.W3 581' lfe i sphone: (020) 134'9 3150 f~.;(; (02'O} 1349 3160


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insp ~ by our P,aintin ~ ~. ." red b .• . . 1.~&,i9j vl'oa d sn ec' ~a .~ i we asked "lin . --:. _ .... ':' rc-' ~ ,~': ~ ~.astm'rJ1n til , ... (] Dwers of ou r Fa ceboo k oa " . ,", r. , ,exot,c ~oc'~H'""ns,~,~Ieya'tle m - t _ . P ge WhlC'h H ..,,· h' . t.I~uu .' . and wh ..... - ",' .... ns - ,efijoyed paio'[in,g .y. Here '5 a se'!lectlon of to··.., h -,'. . . . -,.._,... . e ue,st co m.ments .


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R'E: IMy'S·tudiio" lssue ,304,

Than ks to the My St llldto ar ncle in. Arrtsts IUus:trat"or·s:.~ Ihave discovered the fan taS1L tc _. _Tngs , Akib p~nnti .. 0 f'. L~· shi1111~'..KI s. Vv [lla!" l"d now .II. llas. ll". .


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to see in the mag ]S an article ou his painting methods, Keep up the good work' j rn m WSltS'CH1, via. ema ~I i a 1111 ,glad 'you lik,led Hashim's art, Jim, W,e hav,e a liready sta rted p lan nii ng a se ri es of a rtle Ie s w·~th h~lm,so keep an eY'eout for ·al fort~collIfling, issue"

M;a.n~,g~ llillre:~tor Pa u~ IiJQbsOI'il mI~: De:p,uty M ilIli1<lJgiilog [Joir,ectQ r Steve Ros~ Com mere iial 1l>llrecibof Vicki Gav i Fli Pub Ili~h ing [HIr'ecOO ~ Sa r"ill h ,Arth Ulr Pub Ilish,e.r W~II liJe:1m@l'lI~ ~~$o,ciate Pu ~,I:i ·iiI r F!'&I neeses le SSOJ1l$ ~e Pubi ish ing Ass ist~ud. uUa M olDo nBlld J


W111lH llttlA N KS; TnO ZeJM~ A Ilkelyat, .81~ iii [Judlo€y. Ter ri Eaton,
AI un t\l'.i\:IJ~S, P;et Ha r'v,ey, ChriiSti ne Hopki n s, Geo·ff Kerser. De ~id IP,eskett, IM~~~ Piiil(! er, .Ilmdy S milt,h., J esslea Tooze, Ma Fe Turn er ~ n,d Jen ny Whlite


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Mlclha el Ji;I,mes :S nil iJ~.h.~hoto: And y .s nYIlth

R'E: ILJfe·D raw·in." Iissue ,304,

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RaooE Ha,highi says he~s [lnever found pain ling dlif11cult'~,. :f].n his Vi,J0 r" lfk.e the one If shordisled for 'the BP Portrait .Aw·ard 2.011,. I am nor surprised - it does nO[.look ]ike a real pa.inting to. me]. the ne are no vis.ible bru sh mar ks and itt ·~ook.s [ '~ilkea ph.o'[ogra ph_ jus I used 'toO .spend hOll 1"'S every year going roUl nd. the- BJ'i ,ex.hibiltion., [t used to cont8!.iln. 'wonderful
painting-s~ 'whit h were b oth highly skilUed .and .expressive; now it iSifull of vas'~;blown=up i:Enag~5~copied from slides taken by th.e "arUst»,. Jane K·ellly" Londonr

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the b<Mno3J 'fidlG":5 ot ad\'ll:rillisGI"'.:i.Ft~r:; s!:1.r:-'IJ1.lj il'1i3"te- ttltEt't stBtei'll)eNtg, JIl1.' eo!i<IIotrlbli.J~:6I~ i'lat l:il~ay.a aloe Ii'!f:;+~r~~ Ii~ Qf the ~~tMi*r'~ Qf ~di'l~!It".~ I', ~~j1Iii'tim'i • UI( Traille: IJOMAG, 'iFa1.'iE,tD.ol; f:!oad. iHe.:s!i If).rCt)'~(jl1r guara,rI/tCll:
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To celebrate the Campaign for Drawing's IBiig Draw event in October w'e"'ve got a,'fantastic: prize ,on offer this month courtesy of D,erWElnt and Heatherley's
'. ne' IIuc ~y rea d er selected in 0 ur prize d raw wi II w~' ,8 b UIm pe r grft th alilt n . w~' be perfect fo r honl n~ yo UI r ,s,k'i III,s,~ t~ for t ~e B~'gIDraiw! III n me
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DOWN 1 ~·oli1anjlolswonk is n'lool@ll~d on a cea I dig {2"S) :2' Fa m iIy of lou is XIV pailInters ,ClJllmQst sibriike , Ir,€!tiri rilg ('6,) ~, }\CftOfS illl the mould of ,ClJnists?'(4) ,4 T~rgm: I~mset lis to come IU p wiith a I

,10 He iJlllllLIs,trat,ea hat one ea n ,get w surresl lst .. (8) from ~,~Jtlle p~rk:!:(5,5) .5 """stroJk,~ finiiisih (4) to ,11 Relllil graptnilctIJllf'youtl ined his Ilabours (S} ;6 The k'BY ito d~sign ls frts beilllg a twodlmenslonel 'thliin.g(,5') .13 It':s ,al't/h r~'r~balc!k seel F'!Ig.a Wrenc1h 8: {'Io, Iiloo:k~ 'That's the na U ghty 60s, ~ painter ~InIErngland ,~8) ,arvafiit~g,arde ~Irti$t (4,3} .15 Soon idenltif~e.s, a rriyst,ery ~ rti st (4} ,17 Arrt calli be greelll ~.bright gJe,en ~(5') 12 Alrtisfs :]'2"7'Its. fiillla Ily olllerrki II:!:(5) " . _ _ .p. 1JI ,.Iw .....'Y c ,· nl~" 'i?'!.i'll!"'_ f *h""J;.e _ Ie' He <!I;iril"",C·...II p _ u. '!.,I Y. .e~.,..-·"I'lil !.I. . ,18 Plrilmalri Iy, the beert of' re~~iist wirtlh A rthu r's ff,arttne (10.,) F••• Jack [KirlJ~ls19 work (4) ,19 A MOiiJ'em(N'!t's work ijf! ,eil mO~!.I!~e(3:iI3) 16 ,"",no, IPoi F'l1~,iii! f'atthelr mal~i!"!lg Americ.aii! 19, perFntllpS ,(3~"':4,') :20 Supp~~e{rs.of .a rt ~an~IJPl'ilenlalia to 17 Gi,allillery~ at(1'na I ilill s,tryl!e (6\) ,alOArtiillb leeder (8) :21,Bruleg;ed captured this time durriililg,a dri nk 28 A tormented, III nconve ntlona I ga 1llle",y (4,6} ,at S;Urrimer's elnd (6) 22 }\Ir'ffi aecernpan i ment in ~:dueatlon and 26 Li rnenok man he paiilnt,ed iiln Iindii~ ,(4) fashli,oill (5} 27 Crompaii!Y's, reverse I aft,er ~ r1tfll!11 Gr~ek~~, work i n the past (7) 24 Cormde lI1fiI,aw'~lialstored in BII~tchley (4) s 28···. J;,;! J;.e, , , ,Y, , 'i?1U ,""Iii'! i~t"'J!:;, i ...;t,o· ,;:"<!j;,;:;"I',9:rtn • ('!"""m'lm~ln.e: rr~<!I;1 9. .;;!,!" J;.eV'9"'''''''" , 25 Ufiira:velmiina: th e., s- withl~n~k. ey to ,5 to 'thee -.kev .'" -dIet .,' _ ,..." '!b, Old Mas1t~r(4,.)1 stuff (5")


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fhe tln'est 8rt ,m'aterJ,aIs' iGriffi n MI illl~ ILondOlrli Road 'f. lh ru PIP, stro ud Gillos G'L5 2AZ. 'T"ie.!I! 10-1 4' 5- 3' 8' seseo I~ '-' 1 "' :::·;~gjU
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PE'GASUI ART ,~,s'up,p,"ers ,of

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Term I: 1,0'Tuesday evening classes frorr 2,7~09,.11 Term II: io Thursday evermgdassesfrorn 29.09~u Tutors: And" Pa'nkb'lu!B't: [Ic Tom Daivies
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BOlok SIOO'nlas o'ur A'ult,umni DraWing Terms commence on 27th SepteMber 2011
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tocenon: Su~:nnyand light spadous studlo ,at ,M,allr;a As,su!m:pta. Centre, Kensington Square W8 SHIN" ! Vis~t -_--,~~ uhelondo nschoolotpai nti for further details
'To 81dlvertise
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Late Sept -

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~,Painting with Acrylic
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Wimbledon Art Studios
11.831' ww'w;'wim bled ana rtstudi os k Dyrnamlic artist cornm un ity with 0:20



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To advertise lin the Artists & ~ ustrato rs 1:li
Classffled D~ rect Dry ple-ase ca~l:'0,2'0' 7'3·4'9,3·,16.3·

stud los available from £40 per wk,

Tel: 020 7833 3938


with good natural light


-iona Scott


lin our series focusing ion self-portraits, Yorkshire .... born Fiona discusses bllank canvases rabbit fanclers and her famous sister
Thts ,sel,r""pOf"llrai,t is ho.w I. see myself~ :DOW t&al I'Di m'""ddle a,gcd,. l'm wearing a leopard-skin print coat, which. was. always a favourite when Iwas younger. I tied :my hair
back, as l felt l shouldn't '11de b ehi nd TIl_ The i 'My husband ;slI,ggeslltedl 'rilkat I paillt a se'I'f...

p'Olrl~l',ai.t" ify last self portrait was sold at an h RP exhibition and it's now in Australia! He has al ways regn::tt-ed that 'I sold 'itt as it depicted
me at a certain time lin my life that has passed.

was finished I wished I'd asked hrm for it but I W;8JS too shy. You can'tgo "back"

,Aflt,er gra dU3.lliing, 'Il Rtn:r,Di£ d, to, :mty native

co Ifee cup is there as I'm very rarely without

yorkshire. Iopened a studio in the market town of Helmsley, I had a huge response to my
work: and received rna ny commissions. It gave


My :611'slmemorjes

of ,~UL'lIt.were

,3 t

:in.fa b'lt,

sc':hoo,m~ ,aged art competition


I won fi YS[ prize in an

me the confidence in London.




one- woman show

and received a. me dal and
a certi ficate from Gu ide Dugs £0'1' the B lin d I've sn U oi:J' t he 0"0'[ ~ ~
= ~~. " ~ ,. , ,~ -~

My' p,roud[es;lf, ;CO:fmTh),i;ss,i.on to 'p,aiat :my W3:S
nei,gJthonr, Je£&ey T.aymOI',., He was a typical
Yorkshire man; a keen rabbit fancier, Hat cap an' all. l portrayed. him holding one 0 f his champion rabbits. He was so proud. 11 was my fi rst painting, to be selected 'for the "BP' Port rait Award" [was over the moon and jeffrey was shot to stardom hanging in the N ational Portrait Gallery with h.1,5 IT! bbns,

med al but not the

pic'[ 1Ure.
'My dad was a

very ta:le'D',t,ed

.d' 'a:Ulghts,m,an, and ~ahibet maker, FIe
could '[urn his hand '[0 anything, creative. If!EUn.By were an j ourna Us [S" my sister

Mv' mum and h er J Ul ~
J1tM,,~ ,II ~,~
,t!l ~'I!l'

It .iSll't, n,ec-£s,sary '[toha'v'e a, strollg emottonal eo j-'Dectio.n Wi'lch a su,bjiecrt';hut j,t 'helps~, When you are close. to [he sitter there is no need to try to analyse their personality, as you, know straight f~,vlay how you wish to portraythem,
The :las"t,work, of art ,that :I'eally :1O,oved me wa's a 'p,aiDting, :in'~hisyear~sB'P Portrail!.

Selma is a, TV pres enter and


other t we sisters are very artistic: nne is a texrile artist and, the other a t al en ted musician. Somehow

AW3,rd, exhilditioD,~ It was a 'painting of a little ,girl) just waking. The pa inting reminded 'me, .oft' 'my child ren ,_ '[he softness and ,gentle:n,ess .Qf a little child brought :8J. '[ear [a. my eye"
,Aside frem art, 'my gn;:a'les:t tail£b',t is jiuGglin,g~ Ihave to juggle my painu rig with looking after four c hildren and being a farmer's wife, all to the b'est .of 'my abihty, 'Loolt;in,g,at

in '[his 'milx ~ Eb eca me:
a painter.

s,ltu,di,.t!;d under

A'~be"rt,o, Mo.rro,ceo

in, Dundee, He truly ins pired me wi th the

blank canvas is a tw,s. ys

use of colour, I-Ii s paintings 'were so vibrant.
The most fmportant lessoiu 1. ~ea.'rbl was
"t00SbIZ£- 'Ill.h- e nJ,"!, If!' , -~I

dalibt:li:ltg~Even :8JJter the initial drawing and

paint ing l often fee] unsure as to whether the painting will work and 11.ov;1' f111, going to achteve it. ]3U[ somehow it clicks, usually about th ree- quarters 0.£ the way through,

moment", He asked, me to sit for a portrait and, after the patnnng
,82 Artists

WhaJti's; 'my amhirfi'on l' To corn inue pa in ring interesting subjects and to receive recognition for nly wor k. before 'if's too Iatel www.lionaS,eDtt"net

& llustrators

Open College of the Arts
www.oca-Ui k.corn
0800, 731 2116

Learn from home In your own time Sta r when you wa nt Stu ent finance may be available

lay lit on thick. Spread it on thin
System. 3 Heavy Body+ System. ,3, Original ~ Two sources of creative: inspiration. Whether you. are painting, screen printing, or laying down texture, there is no better complementary acrylic range in the world,