Artists & Illustrators September 2023

Create

Where to see incredible art for free

Courtroom

Drawing the world’s most notorious trials

TO BE WON!

£10,000 PRIZES WORTH OVER WITH THE BRITISH ART PRIZE IN PARTNERSHIP WITH

How to paint lively, colourful portraits

Art courses for all!

Whatever your style, subject or ability

Regulars

SKETCHBOOK Quick tips, ideas, and inspiration. Plus, this month’s exhibitions

PRIZE DRAW Win £1,000 of your favourite art supplies

WE PRESENT… British Art Club member Lea Laboy

HOW I MAKE IT WORK With American artist Erin Hanson

YOU TELL US Write in and win a £50 Atlantis art voucher

PICTURE THIS This month, with oil artist Alex Kelly

Inspiration

IN THE STUDIO Awardwinning artist Tania Rivilis on capturing a person’s true essence

HOW I PAINT Multimedia artist Rosie Emerson shares her love of celebrating the female form

THE BRITISH ART PRIZE Our annual competition is back!

THE BIG INTERVIEW With the amazing courtroom drawing artist Priscilla Coleman

OUTDOOR ART Where to see some of the UK’s most fascinating art for a fraction of the price

ART COURSES For all!

THE BRITISH ART CLUB Join now to share, showcase and sell your art commission free

Techniques

MASTERCLASS Andrew Talbot shows you how he creates his beautiful work using his own manucatured Malhl stick

STEP - BY - STEP With portrait/ gurative artist Florence Lee

TECHNIQUE Oil painter Zahrah Azhar creates a beautiful still life using Pakistani mangoes

HOW - TO Sarah Jane Moon paints one of her idols: the human rights campaigner Peter Tatchell

DEMONSTRATION South of France-based artist Terence Clark paints a lively bunch of roses

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Welcome to

British Art

Doesn’t every artist…

…strive to achieve the kind of painting that calls for your attention from across the room and delights the eye up close? In this issue, we show you how to achieve simple and e cient strategies for achieving that kind of powerful composition, whatever your subject, medium or style.

Get inspiration from, not one, but two portrait artists, Sarah Jane Moon and Florence Lee, who show you how they create their distinct – and very di erent – portraiture styles that will surely have the crowds mesmerised. Or do you fancy having a go at still life?

Zahrah Azhar shows you how she painted Pakistani honey mangoes, whilst Andrew Talbot demonstrates how he uses his self-invented, lightweight Mahl stick to paint some beautiful peonies.

We also scored an exclusive interview with one of – if not the – best courtroom artists in the world. Priscilla Coleman has drawn everyone from Sir Paul McCartney to Amy Winehouse and, more recently, Prince Harry. Her lightning speed sketches are fantastic whilst her stories of days spent in court are simply fascinating.

Catch up on page 32.

But if you want to excel in your art journey, there’s no better way to start than entering The British Art Prize. Open to everyone – whether you’re an amateur, emerging or a professional artist – all styles, media and techniques are considered. The competition o ers an unprecedented level of national exposure over ve major magazine brands and is the chance for, you, artists to sell your artwork to a combined audience of almost one million art lovers and collectors. There is also a whopping prize fund worth more than £10,000, which includes cash prizes, art vouchers and the chance to be included in an exhibition at the esteemed gallery@oxo early next year. Don’t delay, enter today! (See more on page 28).

For now: load your palette with ample paint, grab some fat brushes and make some marks. We can’t wait to see your creations.

EDITORIAL

Editor

Niki Browes

Art Editor

Stuart Selner

Assistant Editor

Ramsha Vistro

Contributors

Martha Alexander, Terence Clarke, Florence Lee, Sarah Jane Moon, Andrew Talbot, Zahrah Azhar info@artistsandillustrators.co.uk

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SARAH JANE MOON

Sarah Jane’s love of colour is apparent in her large scale, energetic portraits. They often represent people she admires who are making change across various industries. As a queer artist, she brings a unique approach to portraiture in a bold style.

Sarah Jane paints in London, Sussex and New Zealand.

ANDREW TALBOT

Andrew ’s artistic inspiration derives from a range of subjects , including his characterful home interiors, breath - taking flowersand the finest of wines.  Don’t miss his 9th solo exhibition at Beckstones

Art Gallery in October 2024.

TANIA RIVILIS

Tania began painting at the age of 27. Since 2019, she has been a permanent exhibitor at Arcadia Contemporary and Bonnard Galerie. In 2022, Tania received the prestigious William Lock Prize at the Royal Portrait Society. This year, she had her rst show at  Christie’s, London.

FLO LEE

Currently working from her studio at home in Bristol, Flo would primarily class herself as a portrait artist. She has a deep fascination with people and the stories they hold, and aims to convey this through expressive and often colourful mark-making in mixed media.

Niki Browes Editor

Sketchbook

EDITED BY RAMSHA VISTRO

Things we love...

If you think you know the work of Sir Alfred Munnings (1878-1959), think again. A new exhibition in the freshly redecorated home of Munnings affords a chance to enjoy the remarkable handling of colour and light. This display of specially selected works spans the celebrated artist’s career, from early childhood through to the last few years of his life.

On until 22 October 2023 at Castle House, Dedham CO7 6AZ. munningsmuseum.org.uk

A Study of one of Selfridge's Young Ladies, 1953

BOOK OF THE MONTH

DRAWINGS

Harry Holland

Widely regarded as one of Britain’s nest gurative artists, Harry Holland: Drawings is a unique volume collecting examples of artist Harry Holland’s works throughout his career – from early drawings to anatomical studies, still lifes, self-portraits, studies and sketchbook pages – many of which are in print for the rst time. The book also includes an introductory essay detailing his ideas on the theory, practice and uses of drawings today.  Gra eg Limited, £40.00, 23 September 2023

THE DIARY

Open calls, prizes and artist opportunities

Don’t miss...

Contemporary landscape artist Lucy

Kent is excited to be exhibiting her latest body of work, Plains to Coast at Patrick Mavros this September, sponsored by The Luxury Safari Co. This is her rst oeuvre inspired by the African landscape, which displays her signature style with a Kenyan twist whilst raising money for two Kenya charities: Lion Guardians and Diani Children’s Village. Lucy works primarily en plein air, creating bold and energetic landscapes. Earlier this year, she travelled to Kenya with The Luxury Safari Co. and explored the Chyulu Hills, Lake Naivasha and Diani Beach. The country’s vast expanses of land and sky, never-ending acacia trees, white sand beaches and bright blue sea provided her with endless inspiration and served as the perfect subjects for her dynamic brushstrokes, allowing her to convey the sense of energy that de nes her work. From 20 to 23 September 2023, 104-106 Fulham Road, London, SW3 6HS. patrickmavros.com

Join us online!

Are you enjoying the inspiring content in this magazine? If so, nd lots more on the fabulous Artists & Illustrators website. One of the biggest and best digital resources for artists of all abilities, the refreshing new redesign makes our How To guides, competitions and interviews even more insightful to read. artistsandillustrators.co.uk

21 AUGUST International open competition, Wales Contemporary wants artwork in any medium apart from photography, digital prints or lm. It's £15 to enter. new.artopps.co.uk

25 AUGUST

MUŻA invites artists and curators worldwide to submit immersive experiences for the Malta Biennale 2024. Grants of up to €13,000 available. Free to enter. maltabiennale.art

31 AUGUST

The Women United Art Prize, which celebrates female artists, is open to all women-identifying artists worldwide.

It's €8 per entry. womenunitedart movement.com

3 SEPTEMBER

The Robert Walters Group, with Saatchi Gallery, seek artists representative of contemporary Britain. Prize fund totals £17,000 and it’s free to enter. robertwaltersgroup.com

TWILIGHT WALKERS, DIANI BEACH, OIL ON PANEL, 30X40CM. COURTESY OF THE ARTIST

Be inspired...

This year sees the Big Friendly Summer at the Roald Dahl Museum in Great Missenden. The museum is celebrating everyone’s favourite jumbly giant this summer. Enjoy storytelling from The BFG every day, pick up a trail sheet to explore the galleries to build your own giant or head to the craft room to make your own BFG-inspired crafts. Go behind the scenes for a tour of the Archive and then either pick up a BFG train map or join a guided walk of the village with a BFG expert where you’ll get the chance to listen to extracts of the book in the places that inspired it. On until 3 September 2023. Roal Dahl Museum, Great Missenden HP16 0AL. roalddahl.com/museum

CREATE…

beautiful botanical artworks, engage with the natural world around you and take pleasure in the changing seasons with A Year of Watercolour: A Seasonal Guide to Botanical Watercolour.

Award-winning artist, tutor and bestselling author Harriet de Winton takes you through more than 30 step-by-step botanical paintings that span the seasons. Learn to paint cherry blossoms and lambs in the spring, honeybees and wild owers for summer, oak leaves and harvest mice in autumn, and pine trees and snowdrops in winter. Plus, enjoy charming bonus features like a recipe for wild garlic pesto in springtime, or guidance on how to paint a festive wreath with berries and foliage.

Ilex Press, 31 August 2023

SAVED FOR THE NATION

Allegorical Painting of Two Ladies – an English School work dating to around 1650 – was at risk of permanently leaving the UK after being sold at auction in 2021. But now – with generous support from the National Heritage Memorial Fund (NHMF) and V&A Purchase Grants – it will go on display at Compton Verney for the public to enjoy. This almost unique painting shows two women, one Black and one white, side by side, presented as companions and equals. The portrayal of a Black female sitter is highly unusual in this period, inviting important debate about race and gender.

Following its sale at auction in 2021, the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) agreed the work should remain in the nation because of its “outstanding signi cance” to the study of race and gender in 17th century Britain. Two Ladies will now undergo conservation before being unveiled in a display at Compton Verney in 2024. comptonverney.org.uk

BRITISH ART FAIR

The 32nd edition of the British Art Fair takes place this autumn, presenting its annual showcase of the very best Modern British and Contemporary British Art, elegantly installed throughout the museum-like interiors of Saatchi Gallery, London.

Since 1988 the British Art Fair has been the agship fair for Modern British Art, representing celebrated artists. It took a new direction last year under the new ownership of Ramsay Fairs. This year, the fair welcomes 70 dealers to its network of established galleries, who deliver an exceptional selection of Modern and Contemporary British Art. britishartfair.co.uk

Exhibitions

THE BEST ART SHOWS TO VISIT FROM AUGUST ONWARDS

GWEN JOHN: ART AND LIFE IN LONDON AND PARIS

21 October 2023 to 14 April 2024

The Holburne Museum, Bath, is presenting a major exhibition, Gwen John: Art and Life in London and Paris in partnership with Pallant House Gallery, the first retrospective of the artist Gwen John (1876–1939) in 20 years.

While the critically acclaimed show at Pallant House chronologically traces Gwen John’s 40-year career, placing her art in relation to the two cities where she chose to live and

work, the Holburne show will also focus on the intense intimacy of the artist’s late work.

As well as many of Gwen John’s major paintings, the exhibition in Bath will introduce a significant number of her small works on paper, mostly from private collections and rarely seen in public. These tiny works demonstrate the artist’s fascination with the intimate minutiae of everyday life as well as with the mechanics of painting. Holburne Museum, Great Pulteney St, Bathwick, Bath BA2 4DB. holburne.org

WAVE: CURRENTS IN JAPANESE GRAPHIC ARTS

Until 22 October 2023

Discover the vibrancy and variety of Japanese graphic arts at WAVE: Currents in Japanese Graphic Arts. Curated by artists Hiro Sugiyama and Takahashi Kintarō, the exhibition presents the work of 60 of Japan’s most significant graphic artists today, introducing many of them to the UK for the first time. WAVE offers UK audiences a rare opportunity to fully experience the diversity of expression within Japanese graphic arts. Japan House Gallery, 101-111 Kensington High Street, London, W8 5SA. japanhouselondon.uk

THREE GENERATIONS OF THE HILTON FAMILY

26 September to 5 October 2023

An exhibition of work across three generations of painters in the Hilton family has works spanning from Roger Hilton’s gouaches of the 70s, his son Bo Hilton’s abstract oil paintings and his grandson Jack Hilton’s explorations of history in figuration.

2 Blenheim Crescent, Notting Hill, London, W11 1NN. jackhilton.co.uk

TURNER AND BONINGTON: WATERCOLOURS FROM THE WALLACE COLLECTION

20 September 2023

to 21 April 2024

The Wallace Collection invites visitors to embark on a journey –from the rugged Yorkshire Dales to the grandeur of Venice. This odyssey is undertaken through a one-room exhibition of watercolour landscapes by J.M.W. Turner (1775-1851) and Richard Parkes Bonington (1802-1828), the first time the works have been on display for 17 years. The show brings together 10 works by the two artists: with four views of Yorkshire by Turner and five scenes of Normandy and Venice by Bonington.

The Wallace Collection, Hertford House, Manchester Square, London W1U 3BN. wallacecollection.org

ASHMOLEAN NOW

Until 14 January 2024

The Ashmolean Museum’s renowned historical collections are the inspiration for two contemporary artists. The two simultaneous exhibitions feature paintings by critically acclaimed British artists Flora Yukhnovich and Daniel Crews-Chubb. The shows open the Ashmolean’s new exhibition series Ashmolean NOW, in which UK-based contemporary artists are invited to create new work inspired by the Ashmolean’s collections. Yukhnovich has created a powerful series of dramatic paintings featuring intense tones.

Crews-Chubb’s abstracted works are created through a laborious process of addition and revision. The result is energetic, textured paintings with a 3D quality. Despite stylistic differences, the work of both artists links inspirations from art history with a contemporary painterly language. Gallery 8, Ashmolean Museum, Beaumont St, Oxford OX1 2PH. ashmolean.org

THE CROW FLIES

6 to 10 September 2023

A series of new large-scale paintings co-created by Stanley Donwood and Thom Yorke will be presented by TIN MAN ART in a two-part exhibition at Cromwell Place, the first of which is from 6 to 10 September, with a follow-up at the end of the year (from 6 to 10 December). The Crow Flies marks an important moment in the duo’s 30-year association, with a series of artworks that were made by both artists literally side-byside, painting at the same time. Tin Man Art Gallery, 4 Cromwell Place, London SW7 2JE. tinmanart.com

WIN!

£1,000 worth of art materials

Enter this month’s prize draw and stock up on your favourite art tools, courtesy of GAMBLIN

THE PRIZE

Eight winners, chosen at random, will each receive a Gamblin bundle worth £135, including:

Six Studio Knives large and small. The Ladd, The Hoyt, The Taylor, The Robert, The Division Place and The Raymond. Two Ground and Gesso Blades

HOW TO ENTER

Enter by noon on 25 September 2023, either at artistsandillustrators.co.uk/ competitions or by filling in the form below and returning it to:

Gamblin Prize Draw, Artists & Illustrators, Chelsea Magazine Company Ltd, Jubilee House, 2 Jubilee Place, London SW3 3TQ

TERMS & CONDITIONS

The prize is non-transferable. No cash alternatives are available. For full terms and conditions, visit chelseamagazines.com/terms

This month, we have partnered with Gamblin to give eight lucky Artists & Illustrators readers the chance to win a prize package worth £135 each.

Gamblin believes every artist should have the best tools to work with, ones that are sustainably designed to inspire and support a lifetime of painting, such as their Studio Painting Knives. These are carefully crafted and made specifically for oil, acrylic and gouache artists. They feature a non-reflective, single-piece carbon steel blade, so there are no more broken blades or coatings to worry about. The ergonomically shaped FSC Certified wood handles are painted with a bright colour to make them stand out in your studio.

We’re sure you already know how timeconsuming it can be to apply a thin, even coat of gesso or oil ground when priming your canvases and panels. Single-use paint rollers are highly wasteful and cleaning brushes afterwards can also be a bother.

You can get a flawless, even application from edge to edge with the Gamblin Ground and Gesso Blade in a quarter of the time, with less mess and with no waste. The fact that it is the first and only artist’s tool constructed entirely of recyclable materials is the best part. Use your Ground and Gesso Blade repeatedly by wiping it down after each usage. For more information, visit gamblincolors.com

GAMBLIN ART MATERIALS DRAW

Name:

Address:

Postcode:

Email:

Telephone:

The closing date for entries is noon on 25 September 2023.

from our trusted partner Tripsmiths Exclusive

Discover Vermeer and the Dutch Masters

Departs October 8, 2023

There are only around 35 known paintings credited to Dutch artist Johannes Vermeer, yet his works are among the most recognisable in the world. On this exclusive tour of the Netherlands, you will see Girl with a Pearl Earring, View of Delft and other Vermeer paintings, as well as great works by Rembrandt.

In The Hague, The Telegraph art critic Andrew Graham-Dixon will join you for a private out-of-hours viewing at the Mauritshuis. He will also share his vast knowledge of the Dutch Golden Age in a private talk. In Amsterdam, you will enjoy a full-day city tour and a visit the Rijksmuseum, where the Dutch Masters take centre stage.

What’s included

Exclusive events with Andrew Graham-Dixon

Return Eurostar travel

Five nights’ accommodation at the Hampshire Delft Centre Hotel, Delft Visit to the Rijksmuseum and the Rembrandt House Museum

Coach transfers

Tour manager throughout

About the expert

Andrew Graham-Dixon is one of Britain’s leading cultural commentators. He has presented numerous programmes and is the author of several books.

A ms terdam

We present...

LEA LABOY

An artist who hopes to create her own oil paints with age-old recipes

Lea Laboy has always wanted to be a painter. Art has accompanied her ever since she can remember, thanks to her father who collected paintings. “Our family home resembled a prosperous art gallery in which academic landscape paintings dominated.”

Although she has been fond of paintings by various artists, “true love revealed when I saw William Turner’s paintings. I remember that moment very well when I saw his paintings for the first time. Turner’s work, for me, was so stunning – even breathtaking – with extremely beautiful colours and delightful movement of light, captivating beauty, for which I could not find words.”

Lea tends not to paint the same subjects. “My professor always told me, ask yourself: why are you doing this? And if you don’t find the answer, stop and change direction.” This is the motto she paints by and the reason she doesn’t recreate photographs from “glossy magazines.”

She also doesn’t follow any trends when it comes to art, which is what she believes sets her apart from other artists.

“It doesn’t lead to the development of artistic thought nor technique. All my paintings are based on the study of colour, light, composition and the relationships between them.”

She works as an artist with an emphasis on painting rather than earning. After graduating, she managed to collaborate with several galleries leading to various sales. “Individual clients also began to appear, for example, I had the pleasure of working for the resident consul and painting for the Head of the Holy See in the Vatican. I have also expanded my activities to include a scientific didactic publication and last year, I issued my first postage stamp and created the Ex Libris.”

Lea prefers to work in oil as it allows her to achieve ‘painting assumptions’ and she always chooses oil paints that “have preserved historical recipes, contain a high percentage of pigmentation and are lightfast. I also conduct research for creating my own oil paints using old recipes. I hope someday I can create my own paints.”

Her surroundings and environment do not influence her work and Lea always has specific goals in mind. Her paintings are primarily influenced by the quality of knowledge she can acquire and the ability to use it. “My primary task is to focus on work, which means that I need to be ready at the easel every day at six in the morning and still try to overcome my limitations to keep going even if – at the end of the day – it turns out that my efforts were not satisfactory and I have to start all over again.”

britishartclub.co.uk/profile/lea-laboy ▫

Persia, 2022, oil on cardboard, 60x80cm

Still life in red, 2023, oil on cardboard, 58x82cm

Moroccan Sardines, 2022, oil on cardboard, 70x80cm

Stradivarius, 2022, oil on cardboard, 84x100cm

Tania Rivilis

This artist paints vibrant portraits from her two studios in Germany and Portugal, hoping to capture the aura and true essence of a human soul, finds Ramsha Vistro

I’ve changed my name so often, 2022, oil on pressed wood panel, 60x60cm

I came here with no expectations, only to profess, 2021, oil on panel, 50x70cm

When you lay your eyes upon Tania

Ravilis’ art, you are met with an amalgamation of vivid colours, merged through expressive strokes, creating intense portraits. The human soul is what she aims to capture, with its enigmatic – yet often predictable – nature, presenting a compelling canvas to encapsulate the aura of her sitters; an intangible embodiment of their existence.

In the beginning, these brush strokes were shy, guided by the sense of countless books by several Old Masters and their recreated works. But with each passing year, Tania’s movements became more assertive, with her palette embracing bolder colours. “I now take in the sheer joy of covering wooden panels and canvases with broad brush strokes, painting shadows with Deep U ltramarine or vivid Mars Orange. The journey has been magical.

“I tend to paint paired or group portraits and even when dealing with solitary gures, I emphasise the existence of a silent speaker beyond the canvas. My portraits invariably allude to ‘the other,’ as I rmly believe that a subject’s coherent image can only materialise through another’s gaze. Without this prism of perception, a portrait risks becoming an empty vessel, a mere assembly of external features. My goal is to transcend the super cial, to create art that doesn’t merely replicate a person’s physical appearance but mirrors their essence, their spirit. After all, true artistry lies not just in what the eyes see, but in what the soul feels.”

Tania has previously drawn inspiration from Lucian Freud, Maria Fortuny, Helene Schjer eck and Sam Szafran. “Frantisek Kupka’s The Yellow Scale (ca. 1907) holds a special place in my heart, as do the portraits by Carlos Federico Sáez. A pivotal moment in my artistic journey was coming across a photoshoot in the September 1985 issue of Architectural Digest, featuring Rudolf Nureyev in his Paris apartments. Those images signi cantly in uenced my artistic trajectory.”

Yet, she strives to contemporise these inspirations, infusing the palette with a sense of modern aesthetic: “a shimmering yet elusive lter of modernity,” as she calls it, aiming to re ect our era’s unique visual language while delving into the timeless depths of human emotion.

Tania’s family was never really into art. The creative world’s allure dawned upon her at 17, with a sudden, insatiable desire to absorb beauty and art. She would spend entire days wandering through museums – often clueless about what was before her – but utterly enchanted; engrossed in intricate details. “I’ve always had this gut feeling, this itch, that I had ▸

TOP The Shifting Sands, oil on canvas, 32x32cm ABOVE Aylesbury Boy, 2023, oil on OSB, 20x20cm

something to express, something to say to the world. But I guess I wasn’t quite sure how to channel it. I was in my late 20s when I found my calling. I still chuckle at the memory of those early days, just me and my canvas, venturing into the unknown, discovering a language I didn’t know I could speak.”

Tania’s artistic journey began aged 27 when she moved to Germany to learn the language It was a turning point in her life, one that provided her with the time and space to discover the untapped depths of her creativity. “During this transformative period, I met my now husband, who nudged me towards painting. He gifted me my rst set of brushes and oil paints, and his unwavering support bolstered my con dence as I dipped my toes into this new world.

“I would moonlight as an artist, working on my pieces after-hours while holding down a day job. I began to discover and hone my unique visual language; a refreshing means to express myself. I often ask myself why it took me so long to start painting and I can’t help but wonder how di erent things might be if I’d picked up a brush at, say, 10.”

As her work began to get noticed by the likes of New York’s Arcadia Contemporary, Tania knew she was on the right path “This was a moment of reckoning that signalled the need for a signi cant leap: transitioning from a casual hobbyist to a professional artist. Since 2021, I have been living my dream, dedicating all my time to my art. It has been a rewarding journey, turning my life into a personal paradise. Who knew an artist’s studio could be a utopia?” she laughs.

“I’m fortunate enough to have two distinct creative spaces – in two di erent countries –with their own unique atmospheres. Each studio re ects a di erent facet of my life and work. The variation in environments and settings does wonders for my creativity and I cherish the uniqueness each space o ers.”

Tania’s cosy studio in Aachen, Germany is part of her home, exuding an inviting, old-world charm, lled with vintage furniture, old frames and countless paintings embellishing the walls. She often has a record spinning in the background – from her rather extensive vinyl collection ranging from classical music to David Bowie – adding to the eclectic ambience. A roof window o ers a view of the surrounding forest and beautiful sunsets that colour the horizon, and – as golden hour hits – her studio is basked in a warm-hued light. “My day here is primarily a day immersed in art, music and co ee.”

In contrast, her studio in Setúbal, Portugal is much more spacious, with high ceilings, giving her the room to work on larger canvases that she xes directly onto her walls. This studio has ‘secret’ access to the roof where Tania takes in the fresh air or indulges in a book. Her mornings here start with a cup of Portuguese ‘Cafe Pingado’ from a nearby cafe, before returning to her studio, turning on some music and preparing her paints to work throughout the day, breaking only for lunch or a game of tennis. Some days, Tania will begin her days with some sur ng, brimming with energy in the afternoon which she putsto good use by heading to her studio. “I always make a point to clean my brushes before leaving and wrap them in paper so that they greet me looking brand new, the following morning.”

Through her art, Tania hopes to capture moments of people realising that they are truly alive, engaged and present. “I want to remind people to occasionally come to a standstill and experience the present moment.

“My use of vibrant colour combinations and unconventional surfaces is what makes my work unique. Colourassists me in portraying the many facets and relationships that characterise my subjects and their connections in the ever-evolving world. It is through colour that I create a rippling e ect: a condensed and deepened volume of the environment in which the characters reside.”

Tania often works on plain plywood – a material with no inherent artistic expectations – which allows her to juxtapose intricately detailed backgrounds with the semitransparent quality of human skin, revealing inner vulnerabilities and individuality.

“For me, the material is a tool of symbolic expression and a method of metaphorising the visual. The poetic, aesthetic and characteristic details of an individual’s countenance might be meticulously composed, but their true self is determined by their moral compass, experiences and life journey. I believe this perspective is what distinguishes my work.”

taniarivilis.com ▫

It has been a rewarding journey, turning my life into a personal paradise

In the primal sympathy, 2021, oil on pressed wood panel, 80x60cm

Kyoto Twilight, 2023, oil on canvas, 150x150cm

Covered Desires, 2023, oil on canvas, 50x70cm

HOW I MAKE IT WORK

Erin Hanson

This US artist traded her plans of becoming a NASA scientist for open impressionist painting

Becoming a full-time artist was a gradual process for me. I didn’t ‘quit my day job’ until I was already booking museum shows and had sold hundreds of pieces.

I probably could have transitioned sooner, but I spent four years taking the proceeds from my art sales and putting it back into my art business; buying supplies, a good travel van, a great show set-up, etc. The day finally came when it didn’t make sense to continue working my ‘job’ job, and my husband helped encourage me to take the leap, pointing out that every day I wasn’t painting, I was actually losing money.

I start my day by waking up at 6:30 am snuggling with my little girl. After she heads off to school, I make my way to the gallery, driving 20 minutes through the winding country roads of Oregon wine country. I work on administrative tasks in the morning and paint in the afternoons until dinner time.

I do commissions from time to time but most of my income comes from selling oil paintings of whatever I choose to paint. I also make about a third of my income selling canvas prints and 3D Textured Replicas – a technique I developed to make the most realistic art reproductions on the market today.

I began taking art classes aged eight and continued studying art through high school, getting a scholarship to Otis College of Design and working in a mural studio for a few years as a teenager. When I went to college, however, I got my degree in Bioengineering at UC Berkley with the intent of becoming a NASA scientist or similar. But art was my true love, and I returned to painting soon after.

My style is ‘open impressionism;’ a contemporary style of impressionism with a dash of expressionism and a plein air feel. I adopt the vibrant colours of nature, accentuating the jewel tones and prismatic qualities of contrasting light. I capture those transient moments of startling light and colour to share my love of nature. erinhanson.com ▫

ERIN’S TIPS FOR BECOMING A FULL -TIME ARTIST

1

Complete one painting a week

Finishing paintings in volume is how you create a unique and recognisable style, improve your art skills quickly and have enough artwork on hand to sell and make a living as an artist.

2

Do lots of outdoor art festivals

Art festivals are inexpensive to participate in and you can practice selling, marketing and describing your art.  Represent yourself

3

Keep in touch with everyone who buys artwork from you regularly with new paintings, stories about your inspirations and behind-the-scenes tidbits. Someone who buys a print today as an impulse buy can become a mega-fan later, a future originals collector and a big source of word of mouth.

Waves of Sunflowers, oil on canvas, 61x91cm

Pelican Sky, oil on canvas, 96x122cm

Viridian Filigree, oil on canvas, 102x76cm

ArtLondon’sAcademy Certificate in Portraiture

Are you an amateur artist who wants to get better at portraiture? This part-time course could be just the ticket

This certificate provides a unique introduction to the exacting discipline of portraiture. Here you’ll begin to learn the skills of portrait painting in small classes taught by practising artists, many of them eminent in their field.

The programme is part-time and would suit beginners or people relatively new to the study of portraiture. It offers you the opportunity to take a range of classes exploring some of the key components of this specialist genre, whilst being guided in tutorials with the Certificate in Portraiture Programme Leader, Edward Sutcliffe, as your work progresses.

The Certificate is a flexible programme, typically involving two full days a week, completing six modules over the course of a year, although it can also be completed by taking one full day a week over two years. The programme is designed to fit around students’ busy lives and can be paused as often as necessary. There is no time limit to completing the certificate.

LEARN TECHNICAL SKILLS

Made up of six modules called Elective Skills Workshop Courses, which are the common components to all the academic programmes at the Academy, so you will be working alongside a diverse group of students.

The Certificate in Portraiture combines a range of portrait and figure painting classes, including figure painting, portrait painting, self-portrait, portrait drawing and anatomy. You’ll learn about tone and colour, mixing flesh tones, lighting the model, composition and much more. Classes include the study of

a range of different techniques, including different approaches to paint application, colour mixing, using egg tempera and working in oil or acrylic.

TUTORIALS AND ASSESSMENT

In addition to your skills classes, you’ll meet one-to-one with the Certificate in Portraiture Programme Leader Edward Sutcliffe, once a term. In these tutorials, you’ll review your progress and discuss ways to improve your work and develop your technique and skills further.

Edward’s work has been shown in London, Dubai and Seoul, and has been included in the BP Portrait Award Exhibition at the National Portrait Gallery multiple times.

The certificate course is not formally

assessed, nor is it necessary to complete work outside of the taught sessions. Upon completion of the certificate programme, you’ll be given the opportunity to show a selection of your work in the Academy’s Summer show.

APPLY NOW

Apply now to start in September. We welcome applications from all candidates. Visit artacademy.ac.uk/certificate-inportraiture to find out more. ▫

Ruth Swain, Snoggin’

Sarah Elton, Dining Room c. 1970 (detail from)

Philippa Redding, Andy West, Author

Caroline Wong, Little Boy’s Suit

Rosie Emerson

A multidisciplinary printmaker, working almost exclusively on representing the female form, ROSIE EMERSON ’s work is unapologetically feminine. She tells Niki Browes about how her life has been absorbed by art from the start

As exquisitely demonstrated in the Tate Modern’s current exhibition  Capturing the Moment (on until 28 January 2024 and as featured in the Summer issue of Artists & Illustrators) worldrenowned artists including Andy Warhol, David Hockney and Jackson Pollock have, for years, been blurring the lines between painting and photography.

London-based visual artist Rosie Emerson takes a similar approach. She works with photography, which is then edited and, upon completion, she decides what size and shape the canvas will be. Working with three different print mediums – currently screen-print, cyanotype and photopolymer etchings – each

one requires a different approach and, along with photography, includes print and painting.   Rosie’s grandmother was an artist who trained at the Slade School of Art, pre and post second world war. Rosie says knowing her grandmother was a successful painter – and from watching her work, stage exhibitions and seeing how her art developed throughout her life – made it feel to Rosie that art as a profession was a real thing you could do, and had a huge impact.

work, stage exhibitions and seeing how her art profession

Her father is also a cabinet maker and “a magpie,” and Rosie sees herself in him through her practice. Her sister is an artist, too, whilst mum was a Spanish teacher who also writes poetry. Art and creativity – it’s a family affair. rosieemerson.co.uk ▸

Elekra, hand-painted Cyanotype with 22 carat gold leaf on paper

I grew up in Dorset in a house that backed onto a eld.

This was my playground, where I would play make-believe and lose myself in storytelling; all essential components of my childhood. I feel fortunate that, through my art, these are all things I still get to indulge in.

My father had his workshop in the garden. I would love nding the secret drawers in expensive roll-top desks he was restoring whilst admiring the beautiful mother of pearl and brass inlays he would repair. Creativity was always encouraged at home and I was constantly drawing and making scrapbooks. I loved tidying my mum’s sewing box and would play with her box of buttons. I soon began collecting things. Today, for instance, I have an extensive collection of sugar lumps!

I’m dyslexic which made reading and writing a challenge, but I think of it now as my superpower.

I’m a visual thinker; it’s my rst language. I was at my happiest in the art room at school and went on to do an Art Foundation course at Bournemouth Arts Institute. At the time, Wolfgang Tillmans had just won the Turner prize so there was a lot of focus on photography – and I soon fell in love with the magic of the darkroom.

Thankfully, I am now a professional artist.

But for the rst 15 years or so, to supplement my income, I made sure I worked in a lot of fancy art galleries and auction houses around London, which were my favourite places to visit. The Wallace Collection, the John Soames Museum, the Royal Academy, the National Gallery and Christies were regulars where I would serve canapes and drinks. I always joked I was in all the right places – but in the wrong job! Still, it meant I got to see a lot of art for free, and it was ad hoc, meaning when I wasn’t working, I could focus on my practice. Then I had my rst big break in my twenties when I got a commission to create 15 works of art for a cruise ship.

I have been fortunate to have had rather a lot of work featured in a number of press articles.

For instance, a Sunday Times Style supplement collaboration led to a sell-out edition of a Brigitte Bardot print I made fairly early on in my career. I also worked with the jewellery designer Annoushka Ducus and had an exhibition in her agship store on Sloane Square which led to some lovely features in Town and Country, Vogue, Tatler and AnOther Magazine. It featured the models Amber Le Bon, Daisy Lowe and singer Eliza Doolittle

Mare Tranquilitatis, hand-painted photopolymer etching with 22 carat gold leaf

and was one of the glitziest projects I’ve ever worked on.

My work can be very varied.

Last year, I worked on several hotel commissions, including two bespoke pieces for the newly refurbished Vesper Bar at The Dorchester along with a piece for The Waldorf Astoria in New York. I also work with galleries that take me to art fairs, such as The London Original Print Fair whilst I also sell to people directly. During the pandemic, I did a lot of portrait commissions and I really enjoyed being part of lives in such a personal way, making work which will be hopefully passed through the generations. Now I’m working on a new body of work for my solo show next year in Bristol with the Smithson Gallery.

I began working with the female gure,

collaging from fashion magazines, creating these elongated gures, as my rst ever review said that my gures ‘etiolated’ as if they had subsumed the pedestals they were placed upon. ” They are a social comment and an exploration into creating works with both an element of the known and unknown which has been a thread throughout my work. It is de nitely more of an idea I am portraying rather than a portrait. It’s a subject I feel both most and least quali ed to portray. Mostly because I am a woman with strong feminist beliefs and least because there is a responsibility in portraying women. It’s a dance working with beauty in art, as this is also the land of advertising and Instagram. I like exploring the surface level, both physically and metaphorically. I’m interested in the sheen, the façade, the presentation, the performance; the stu of dreams and fantasy. My work is unapologetically beautiful and feminine.

I have a studio at home within our Victorian terrace. What would normally be the master bedroom at the front is now a multifunctional space where I do my photoshoots – the lights come out and the backdrops go up – whilst I also do

My work is unapologetically beautiful and feminine

my hand painting there. I have a lightbox on the wall so I can clearly see where the hand painting needs to go. I also make my little theatre sets here so they line the walls on shelves. There are lots of dried flowers in vases, shelves full of brass furniture handles, cotton reels, baubles, bottle tops, beads and buttons, pots full of powders and pigments, folders full of image cuttings, and I have a big plan chest on wheels where I store my prints. A magpie like my dad, see?

I’d never got on with any social media platforms until I tried Instagram. It being mostly visual suits me best and it was a great support during the pandemic with The Artist Support Pledge. I left London eight years ago and became a mother, both of which were potentially isolating, but Instagram has enabled me to stay connected with other artists and reach new audiences. I now reveal far more now about my process than I used to. I think before I was worried it took away some of the magic, knowing how something was made, but I find people are fascinated to see the process. Because my artworks are a mixture of digital and analogue, it helps people see what they are looking at and all the craft that has gone into it.

Silhouettes are my biggest influence.

Like many artists and photographers, I have been drawn to silhouettes, from early paper cuts and cameos to Man Ray, Film Noir and fashion photographers including Richard Avedon, Irving Penn and Erwin Blumenfeld. I am not sure what sparked this love. It could have been Japanese prints, in their use of negative space, areas of fine detail and their sharp graphic feel. They maintain a balance of both strong and bold and fine with decorative qualities.

I’d be wary of telling anyone else to jump into becoming a professional; there are no sure footings in the art world, and it can feel like an intimidating and elitist place.  Just try to be you, meaning as authentic as possible. I’d say keep going and gradually make your side hustle your main hustle; there’s nothing wrong with working to supplement your income alongside your practice. I know plenty of successful artists who do other work alongside their paintings; it can offer you creative liberation in many ways as you’re not always worrying about making money through your art. Still, don’t wait for things to happen – because they won’t. Organise things yourself; remember the world doesn’t owe you a job. But if you can carve your dream job out for yourself – which you can – then go for it. ▫

Brigitte Bardot, charcoal powder and black glitter screen print on paper

Leap, hand-painted Cyanotype with 22 carat gold leaf on paper

Enigma , hand-painted charcoal and bronze powder screen print on paper

ARTBrıtısh Prıze

The 2023

IN PARTNERSHIP WITH

SUPPORTED BY

Artists & Illustrators is thrilled to be back with The British Art Prize 2023 and we’re super excited to have Adobe as this year’s partner. Enter today and you could win some fantastic prizes, have your artwork displayed at a prestigious London gallery and also have your art featured in this magazine

We’re excited to host the annual British Art Prize once again this year, sponsored by digital giant Adobe. A signi cant national art competition, The British Art Prize will provide winning artists of all levels with a broad platform for achieving bene cial exposure and recognition for their artwork.

CHLOE COX

ABIGAIL WADDELL

ANN JAMES MASSEY

Open to everyone, whether you’re a novice, an up-and-coming artist, or a seasoned painter, all genres, media and methods will be taken into consideration.

The British Art Prize provides artists with the possibility to sell their creations to a combined audience of around one million art enthusiasts and collectors, as well as a first-of-its-kind amount of national exposure across four major magazine brands. Additionally, there is an enormous prize fund including cash awards, art gift cards and the opportunity to be featured in an exhibition at the esteemed gallery@oxo in early 2024. A spectacular, private opening evening ceremony with artists, collectors and other VIP visitors will be held for the shortlisted artists. Each and every entry will also come with a plus-one admission to the exclusive event.

Prizes

This year, all 50 shortlisted artists of The British Art Prize will each receive at least one award. The prize fund totals over £10,000, including cash prizes from Adobe, plus valuable coverage in Artists & Illustrators, and inclusion in a popular central London exhibition at gallery@oxo

FIRST PRIZE

The overall winner of T he British Art Prize will receive a £2,500 cash prize courtesy of Adobe, a £500 Royal Talens gift voucher, a six-page feature in a future issue of Artists & Illustrators and the winning painting will be shown at the esteemed gallery@oxo in early 2024. adobe.com, royaltalens.com

SECOND PRIZE

A £1,000 cash prize from Adobe and a £500 Derwent gift voucher to polish your skills. Inclusion in the Artists & Illustrators British Art Prize winners’ special issue, where a branded 10-page editorial will include images of all the shortlists and winners. The winning painting will be shown at the esteemed gallery@oxo in early 2024 derwentart.com

THIRD PRIZE

A £500 Pegasus Art Supplies gift voucher and inclusion in The British Art Prize winners’ special issue where a branded 10-page editorial will include images of all the shortlist and winners. The winning painting will be shown at the esteemed gallery@oxo in early 2024 pegususart.co.uk

THE

PEOPLE’S CHOICE AWARD

A £1,000 Atlantis Art Materials voucher and a feature in the March 2024 issue of Artists & Illustrators. The winning painting will be shown at the esteemed gallery@oxo in early 2024

Atlantis will also be providing a £50 art materials voucher for each of the 50 shortlisted artists. atlantisart.co.uk

How to enter

Entering The British Art Prize couldn’t be easier. Visit artistsandillustrators.co.uk/ britishartprize and simply fill out the online form. Attach digital photographs of your artwork when requested and click the submit button to complete your entry. The entry fee for the first artwork is £17 and £14 for any additional artwork.

Selection process

Submissions close at 5 pm on 28 September 2023. Judging will close on 24 November 2023. Our panel of judges will select a shortlist of 50 artworks, including the three top prize winners.

The British Art Prize 2023 shortlist and winners will be announced online and in the February 2024 issue of Artists & Illustrators, which goes on sale on 22 December 2023. If you’ve entered, visit artistsandillustrators.co.uk after that date to see if your work has been shortlisted. Readers will also be able to vote for their favourite shortlisted artwork at artistsandillustrators.co.uk/britishartprize The People’s Choice Award will be decided by a public vote and announced in the March 2024 issue of Artists & Illustrators and on our website on 19 January 2024.

Enter for free

The British Art Club members can enter The British Art Prize 2023 free of charge. The British Art Club is an exciting online community that allows you to share, showcase and sell your artwork for as little as £2.49 per month. As well as free entry into The British Art Prize, other membership benefits include:

• Sell your artwork commission free to an active audience of more than 100,000 monthly visitors

• Access exclusive competitions, opportunities and offers

• Appear in Artists & Illustrators, social media, newsletters and more!

Sign up to The British Art Club at britishartclub.co.uk

MEDIA PARTNERS

GARY BLYTHE CHRISTINE PORTER LOFARO

AMELIA WEBSTER

The British Art Prize’s fabulous new sponsor!

We are proud to announce that the new, main sponsor of our annual art competition are digital giants, ADOBE

Since its foundation in 1982, Adobe’s mission has been to change the world through digital experiences. The enterprise has managed multiple transformations to become one of the world’s leading digital businesses – in all art and creative matters. They are taking lessons learned from transformations in technology over the years and are now making them available to their customers through Experience Cloud.

And now, for the drum roll: Fire y is the new family of creative generative AI models coming to Adobe products, focusing initially on image and text e ect generation. Experiment, imagine and create an in nite range of images with Fire y, generative AI-powered content creation from Adobe. Fire y gives all creators superpowers to work at the speed of their imaginations. With Fire y, everyone who creates content –regardless of their experience or skill – will be able to use their own words to generate content the way they dream it up, from images, audio, vectors, videos and 3D to creative ingredients like brushes, colour gradients and video transformations, with greater speed and ease than ever before. With Fire y, producing limitless variations

of content and making changes, again and again will be quick and simple.

Listen: we know you like to put brush, pencil, pen or ink to paper, but why not see what you can do digitally? Fire y lets you experiment, imagine and create an in nite range of images via generative AI-powered content creation from Adobe.

“Fire y is the natural extension of the technology Adobe has produced over the past 40 years, driven by the belief that people should be empowered to bring their ideas into the world precisely as they imagine them,” says Adobe’s spokesperson.

The interface of Adobe Fire y is made to impress. With Fire y, Adobe has managed to rise above the discussion about unethical

arti cial intelligence use, its answer to the growing wave of AI art generators. The company reassures users that the tool is respectful of creators’ rights, as its technology is trained using openly-licensed content, public-domain images, and royaltyfree Adobe Stock resources – what a result. As such, all art generated on Fire y is deemed commercially safe.

This open approach has been a welcome change for all users of this type of technology. Not only is it super user-friendly, but it also has several creative parameters which are very easy to play with. All you need now is to sit down and engage with your keyboard.

All set? Go!

Priscilla

It is beyond a reasonable doubt that the brilliant courtroom drawer, PRISCILLA

COLEMAN has one of the most fascinating jobs in the land. Niki Browes talks to her – and is riveted

TOP Barry George ABOVE Roman Polanski

Prince Harry

LEFT Major Charles Ingram RIGHT Michael Barrymore FAR RIGHT

Catherine Zeta Jones (in the dock) and Michael Douglas

From Houston, Texas, Priscilla Coleman’s mother was an artist and fashion illustrator who also dabbled in portraits and landscapes using oils, watercolours, pen, and ink – and dutifully kept her daughter topped up with art supplies. At art college – which was always going to be obligatory – Priscilla studied F ine A rt and Graphic D esign but was unsure of the future of her career.

Whilst still at college, a tutor put her forward for a big court case as she was quick and good at getting the likenesses of people; these sketches are often sold to television stations, newswire services, newspapers, or the subjects of a sketch. Soon, the Houston television channel KTRK started commissioning her more regularly as her speed and talent for portraiture meant she had no problems hitting deadlines. Then, she met an Englishman from being set up by a friend. A fter he admitted to being homesick, they moved to the UK and wed in 1987. But the transformation from US courts to UK ones was not a straight-forward process; in the US, you are allowed to draw the attendees as the court unfolds; in the UK, courtroom artists are not permitted to sketch proceedings while in court and must create sketches from memory or notes after leaving the courtroom. A steep learning curve followed but it was worth it; today she’s one of the best and has sketched everyone from infamous murderers, political scoundrels, warring WAGs and, most recently, royalty. All rise! Hear her on her fascinating courtroom creative journey.

Courtroom drawing is almost like working in an emergency room.

You just know you’ve got to get it done and there’s no time to waste. When you’re hearing all these weird things, it’s like, ‘I can’t believe I’m listening to this stuff. Some of the explanations!’ Then, you read the newspaper and you think, ‘my God.’ You’re working just like the reporters, the judge and the lawyers and you just click in and do what you have to do. And you don’t think about all the crazy things you’re listening to.

I’ve always used a toned paper called Grey Television or Toned Grey.  It was from when television cameras were taking a picture of your work and they couldn’t handle the sheer white light. The advantage of using toned paper means you can use white as a highlighter. In the States, I mainly worked with oil pastels but, in this country, I couldn’t find the same materials. I started using wax sticks, but they were really hard in structure and then Prismacolor pencils. Caran d’Ache are also great. I can peel off the whole of the crayon and with a swish and a swoosh, get a whole wide range of colour. They don’t have any chalkiness to them and that’s a fantastic thing because, if you’re working on different sites and running in and out of buildings, you need materials that are pretty tough.

When we moved here, I was the one that had to do the big adjustment; my husband, David, was a banker.

I talked to the networks here and said, look, I used to do courtroom drawing in the US. Do you have any need for it here? I was told it’s ▸

Johnny Depp

Rebekah Vardy, Coleen Rooney, Wayne Rooney

Amy Winehouse

very rare in the UK because it’s illegal; you can’t draw in the actual courts. So, that was an immediate, huge difference straight away. But the guys from KTRK made a tape for me showing off my graphics and court sketches and switched it over to VHS, so at least I had something I could show off. And I thought, where are these courts then? And I walked and walked and found the Royal Courts of Justice, and then I ended up outside the Old Bailey. It happened to be midday and there were two reporters outside doing pieces together. One was an ITN reporter. He had a friendly face and I thought I could ask him something after he finished his piece on camera. I said, ‘ This is a weird question, but do you ever use court sketches in this country?’ I told him what I did. I said, ‘I’m from the States, but my English husband wanted to come home and this is what I used to do when I lived there. Do you ever need people like me?’ He said, “We might. Let me talk to my news director and we’ll get back to you.” I showed him my tape and he gave me his number and that’s what happened.

I was doing the Jeffrey Archer court case when he was charged with perjury and perverting the course of justice.

Someone up in the public gallery in the Royal Court of Justice saw that I was directly below them. I was doing tiny, tiny little drawings of people’s faces on my notepad. And the Court Usher came round and called me out of court. She said, “This is contempt of court! Do you realise what you’re doing? I could get you a big fine for this.” I wanted to melt into the ground. Oh my God, I had to really apologise. In the end, she was nice enough to let me re-enter the courtroom. I didn’t even think I couldn’t do a little drawing in my reporter’s notebook. I found out the rules the hard way.

In court, I write down descriptions of people’s faces, which can make it very vivid.

So, I’ll write ‘potato face’ [laughs] or ‘head like a doorknob kind of shape,’ all kind of weird things that a kid would maybe think if they were trying to memorise something visually. These days, people’s faces just click into your brain and you don’t forget. When outside, some of the drawings can take as little as five minutes, although that kind of speed is rare, but I do think it’s beautiful when you can see the pace of a sketch and the energy.

Even though people being tried are in custody, it can still be very, very intimidating.

At Croydon Magistrate Court, the guy who called Eric Cantona terrible names which ended with Cantona kung-fu kicking him at a match, was in the dock. They told him he could never go to a football match again. His jaw was working, he was getting mad and, the next thing, he’s jumped over the dock and grabbed the prosecutor, who was on the verge of retiring, around the neck. That was back in the days before they didn’t have secure courtroom docks. Needless to say, I was shaking doing his drawing.

Rebekah Vardy being pummelled in the witness box was difficult to watch.  Wayne Rooney wasn’t in there long; he didn’t look very interested. The knucklecracking, the yawning. He was constantly looking up at the time, thinking, ‘ When are we going to get out of here? ’ The Royal Courts of Justice has a really large ladies’ room and I did the courtroom drawings from that trial on the floor in the loo. You find any place you can and do them all from memory. It’s a very different

experience from my days back in Houston when I was drawing in court because they would give me a front-row seat. But the drawback is it’s like having a camera pointed at you, and the people you were drawing would become a little uptight and nervous. That’s probably why they don’t allow sketching in court in the UK; it’s too distracting. In this country, I want to look practically invisible.

I did the Prince Harry case recently.  He was worn out, tired and pissed off; he’s disgusted with the media. As I was walking out of court to do his drawing, I saw him get his mobile out. You can have your phone on silent in court, but I just thought, put that phone away. I think it’s distressing him because he’s looking at too much of what people are saying about him; it’s taken over his life.

A lot of the sketches are sold to family members.

Amy Winehouse is the number one request. Her mother bought one. Still, my husband wants me to give it all up. For instance, holidays are rarely convenient. We’ll be having a nice breakfast in a beautiful hotel, and there will be a call: “Saddam Hussein has just been found in his cave. Could you come back and recreate the scenes?” It’s fascinating stuff but, there’s no doubt about it: I have a very weird job.

priscilla-coleman.co.uk ▫

It’s illegal to draw in the court in the UK; I have to go outside and do it from memory

Heather Mills, Sir PaulMcCartney and lawyer, Fiona Shackleton

Masterpieces in theairopen

As we’re all looking for ways to cut back on our spending, it’s a welcome relief to know that not all great art is hidden behind hefty ticket prices. Here’s where to find some of the best inexpensive or – even better – free outdoor art in the UK.

By Martha Alexander ▸

Barbara Hepworth Gardens, St. Ives

The UK is home to some of the world’s most exciting artworks and while many are housed in galleries and private collections, plenty live year-round in the great outdoors. You don’t need to be a meteorologist to know that the UK is a place of unpredictable weather in all seasons, but summer really is the best time to enjoy outside art. From vestiges in artist’s gardens to collections stately parkland or towering public pieces, we round up some of the best art to see ‘in the wild.’

Barbara Hepworth Museum Cornwall

She might be Yorkshire born and bred, but the formidable Hepworth’s heart belonged in Cornwall, where she lived from 1939 until her death in 1975. Home was Trewyn Studio where she also worked – and is now known as the Barbara Hepworth Museum, part of Tate St Ives.

Hepworth described Trewyn as “a sort of magic” on account of its sense of space and the fact that it had a nothing short of magical garden for her to work in, too.

Today that garden’s appeal is still very much in evidence. It is a verdant, dreamy space, with a tropical inspired garden with many of the sculptures placed exactly as Hepworth had planned. From £7, tate.org.uk

Verity North Devon

Standing at over 20ft tall, Verity, the pregnant women holding a sword aloft on Ilfracombe Pier is nothing if not dramatic. The sculpture, by Damien Hirst, is on long-term loan to North Devon Council and can be seen all-year-round.

Verity, which shows on one side the interior of the foetus, is a controversial figure: some say it’s an ‘eyesore’ while others praise her for being an optimistic symbol of regeneration.

It’s divisive, but isn’t all great art?

Free to visit

Thirsk Hall Sculpture Garden North Yorkshire

Run by husband and wife duo Willoughby Gerrish and Daisy Bell, who between them have a wealth of experience in the art world, the gardens at Thirsk Hall offer visitors an exciting array of works by the likes of Jeff Lowe and Emily Young nestled across 20 acres of both formal garden and parkland. You can bring a picnic and make a day of it, or even stay overnight thanks to a rather magical glamping site in this is a gorgeous pocket of joy and creativity.

Venice Stack 2, Sean Scully, Houghton Hall

Barbara Hepworth gardens, St. Ives

Verity, North Devon

Still Dancer, Emily You, Thirsk Hall Sculpture Garden

Angel of the North Tyne and Wear

The angel – 208 tonnes and 75 metres tall – is the largest sculpture of an angel in the world and seen by some 33 million people every year. Aside from its imposing stature, the angel is notable for its rusty colour and vast wingspan. It is made from steel and the figure is modelled on Gormley’s own body.

The artist was not initially keen on the commission stating that he did “not make motorway art” – referring to the motorists who pass the angel on the A1. Even he could not have foreseen how it would become one of the most iconic pieces of public art in the world. Free to visit ▸

Houghton Hall Norfolk

The grounds of this jaw-dropping Palladian beauty hold a simply fabulous collection of contemporary sculpture: the contrast between the house’s classical proportions and features with the modernity of the artwork is surely a huge part of the appeal.

Works by artists such as Turner Prize winner Dame Rachel Whiteread and James Turrell are in the permanent collection, however, the big draw this summer is Smaller Than The Sky. The major showcase by Sean Scully whose sculptures include steel monuments and stacks of natural stone.

“When you put sculptures outside, you are aware that the sky is illuminating them and conditioning how they look,” says Scully. “Whatever you put out there is always humbled by the bigness of the sky.”

Tickets to Smaller Than The Sky from £20, houghtonhall.com

Antony Gormley’s iconic Angel of the North – or just ‘the angel’ to locals in Gateshead – sits on the site of a former colliery and overlooks the Tyne and Wear Lowlands.

Gunton Arms Norfolk

Pub lunch or art exhibition? Why not do both at The Gunton Arms, a traditional pub with bedroom and possibly one of the chicest places to visit in Norfolk. Set in the middle of dramatic deer parkland, this is a place to eat, drink, be merry and see some world-class sculpture with influential art dealer Ivor Braka at the creative helm.

Inside you’ll find works by the likes of Tracey Emin, Damien Hirst, Lucian Freud, Glenn Brown, Beatriz Milhazes, Albert Oehlen, Glenn Ligon, Paula Rego, Frank Auerbach and many others. Outside, there are pieces by Anthony Caro and Mona Hatoum to name just a couple but a standout has to be Sol Le Witt’s Ziggurat – a five-metretall, four-sided pyramid comprised of pale concrete blocks which lends a surreal edge to the surroundings, especially when deer amble past.

Free for pub patrons, theguntonarms.co.uk

The Kelpies Falkirk

At the heart of Helix Park with its abundant woodland and green space are The Kelpies by Andy Scott – two enormous horse heads rendered from plates of structured steel which at 100 ft. tall are the largest equine sculptures in the world.

The Kelpies are modelled on two Clydesdale horses, Duke and Baron, and are a symbol of strength and industry – integral to Scotland and a significant part of the country’s heritage. While the sculptures overlook the Forth and Clyde Canal, ‘Kelpie’ is a Scottish word for a mythical creature who lives in lochs.

The Kelpies are free to visit all year round; in the summer the park is open until 10pm. Tours are possible and allow people to go inside the structures and explore what is widely considered a real feat of engineering. Free to visit, thehelix.co.uk

Yorkshire Sculpture Park South Yorkshire

Set over 500 acres of rolling hills in God’s own country, the Yorkshire Sculpture Park serves as a sort of treasure hunt for art lovers who embrace hearty strolls (of course there is thoughtful provision for disabled visitors). From Damien Hirst’s skinless unicorn to Anthony Caro’s Promenade or Vanessa da Silva’s surreal, colourful Muamba Grove #3 and #4 there is something thought provoking at every turn.

But the main pull at the moment is surely US-based artist Daniel Arsham’s works from his Relics in the Landscape collection, which are currently dotted throughout the 18th-century formal gardens. Made from green patinated bronze but with deliberate patches of decay and erosion, these works – some classical replicas and some pop culture icons – Arsham essentially comments on the passing of time in a truly unique and beautiful way.

Standard entry from £9, ysp.org.uk

Bronze Eroded Astronaut, Daniel Arsham

Sculptures by Stephen Cox

Jupiter Artland Edinburgh

The meadows and woodlands of Jupiter Artland are home to some 30 permanent sculptures – many of which are site-speci c – by some of the biggest names in contemporary art including the likes of Anish Kapoor and Emily Young.

It was founded 14 years ago by collectors Robert and Nicky Wilson whose love of art and belief in its power has heavily in uenced how the space is perceived by everyone who comes here: it is something to be shared and enjoyed, not merely revered. It’s wonderfully surreal: the artworks working in tandem with the beauty of the Scottish landscape, rather than competing with it.

Adult tickets £11, jupiterartland.org

Henry Moore Studios and Gardens Hertfordshire

Hoglands, the former home of Henry Moore continues to be home to many of his works which are scattered across 70 acres of gorgeous lawns, orchards and elds. Happily, visitors are welcome there during the summer months, not only to admire his works but also to get a clear sense of how Moore worked – which was outdoors as much as possible. There are of course indoor spaces such as the Maquette Studio which was full of small versions of his sculptures and his ‘library of natural forms’ making it a true cabinet of curiosities. £16.50 for adults, henry-moore.org ▫

Landscape with Gun, Cornelia Parker, Jupiter Artland

Art courses for all!

Art Academy London

This is an innovative, Southwark-based art school and charity, that believes in the value of art education and that everyone should have access to high-quality art education. They offer a range of courses to suit all levels of skill and commitment and undertake charitable outreach work in schools and residential care homes.

Art Academy are proud to have students of all ages within their community and on their degree and pre-degree programmes; from those of typical undergraduate age to septuagenarians and everyone in between who wants to develop their artistic practice in a friendly, inclusive and supportive environment. Applicants to their degree and pre-degree programmes - which offer the highest tutor contact hours of any comparable UK higher education programmes - do not need previous art qualifications plus they offer part-time options to suit those who need to balance work, life commitments and study.

Their short courses cater for all who want to explore their creativity and develop or hone skills, with an extensive range of adult classes to suit different schedules, from taster days and beginner courses through to advanced, master-class level, taught in small groups.

During the holiday periods, they also run Young Artists short courses which offer tuition in fine art, animation, manga and comic book illustration for 12 to 17-year-olds who want to explore their creativity in classes tutored by practising artists.

With their new fabulous building next to the Tate Modern opening in 2024, they will soon be able to offer even more to students of all ages.

artacademy.ac.uk

Tutor James Bland NEAC teaching a class

Drawing class at Art Academy London

Whether a beginner, hobbyist or fully-fledged professional, you never stop learning to create – and art courses are a great way to continue your artistic journey and meet likeminded people. Here are our favourites

Sarah Elton, Bedroom, oil on canvas, 120 x140 cm

Chikaora Obiora, Nnem O, collage, acrylic and oil, 183x107cm

Raw Umber Studios

Raw Umber Studios runs a range of courses for artists of all abilities and ages. They’ve found that the most important thing you can bring to a class is the willingness to listen and learn. With the right attitude and practice, your skills will improve in leaps and bounds.

Raw Umber find that what students learn depends on where they are in their artistic journey. Two artists on the same course might learn very different things, for instance. For this reason, they keep their classes small (a maximum of 12 people) so the tutors can tailor their teaching so it matches each student’s specific needs.

If you’re just starting out, you might learn how to improve dexterity, gain familiarity with materials and mediums, or learn basic structural knowledge about the human body.

If you have a high-level of technical skill, you might learn about composition, advanced colour theory, or how to make your paintings or drawings really pop.

Generally, still life courses are a great choice if you’re relatively inexperienced, are lacking confidence in your abilities, or if you want to work on one specific aspect of your drawing or painting since they eliminate the complexity of dealing with a live model.

They also run regular helpful, online sessions if you’re not yet ready for an in-person course. They will set you up for the future of learning live.

rawumberstudios.com ▸

Tom Van de Wouwer and his painting, The Portrait in Coloured Light

Luca Indraccolo teaching Portrait Painting

James Robinson, Connie, charcoal and chalk, 60cmx50cm

James Robinson, Emily, oil, 60cmx50cm

Linda Green, Mike, oil, 40cmx30cm

Heatherleys

Founded in 1845, Heatherleys is one of the oldest independent art schools in Britain. Among the few art colleges that focus purely on sculpture, portraiture, printmaking and figurative painting, their beautiful purposebuilt building boasts spacious, well-lit studios, a 3D workshop and a seminar room, creating a modern and welcoming environment for learning and events.

They offer both vocational and part-time courses, in person and online, whilst their day and evening classes are open to beginners as well as those with some experience and include life drawing, portrait painting, oil painting, watercolour, ceramics, figurative sculpture and printmaking.

Open Studio is based on the traditional French Atelier system giving artists open access to a studio in which they are able to work from a model with the assistance of a tutor.

The Diploma in Portraiture is a structured programme written within a framework of observational painting and drawing using the human model. The Diploma and Post Diploma in Figurative Sculpture has a strong figurative focus and is based on foundation study of the human form.

The Post Diploma in Figurative Painting is a one-year course offering a period of transition between graduate studies and starting out on your own as an independent artist.

Continuing Studies/Portfolio Preparation is comprised of a selection of part-time classes in painting, drawing, printmaking and sculpture, Continuing Studies offers a flexible pattern of study suitable both for students preparing for further education and for those returning to specialist study. heatherleys.org

London Art College

London Art College has a long history of helping artists develop their skills. They have a wide range of distance learning art courses with flexible start dates ranging from pet portraits and botanical painting to watercolours and oils. One of their recent students says, “I have had an excellent time on the course. My tutor and the admin team have been really helpful and kind. I feel that I have improved my skills and the critique has been very beneficial. It has been a really valuable experience overall.” londonartcollege.co.uk

City Lit

Whether you’re an experienced artist or just starting out, City Lit offer a wide range of painting and drawing courses. Based in Covent Garden, City Lit is the UK’s largest provider of adult learning within the school of visual arts. They offer a wide range of painting and drawing courses and specialist workshops for all abilities, from complete beginners to advanced practitioners. All their courses include access to specialist spaces and equipment and all materials required to undertake the course are provided within the course fee.

LIFE DRAWING AND PORTRAITURE

Their extensive range of Life Drawing and Portraiture courses show you how to see and interpret the structure and

proportions of the human form through observation of the unclothed live model.

PAINTING TECHNIQUES AND PROCESSES

Taught by professional artists who bring their wealth of experience and specialist knowledge to enrich the student experience and to put the subject into a historical and contemporary context.

WATERCOLOUR PAINTING

Experience the versatile, radiant qualities of working with watercolours and why it is such an absorbing art form. Beginners will be introduced to the basics of brush and wash techniques, alongside colour mixing through hands-on tutor demonstrations, with plenty of advice on materials along the way. citylit.ac.uk ▫

Rachel Shelley

Trang Nguyen

Thanh, watercolou r

Colour reinvented

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techniques such as blending, layering and hatching. The Inktense pencils will also stay in place on fabrics when hand washed in cool water (below 30 degrees) with no harsh detergents.

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HELEN CARTER

Scan to discover Derwent Inktense pencils in action

Three is the numbermagic

ANDREW TALBOT is an award-winning oil artist who started making his own Mahl sticks after those he had been using became too heavy for everyday use. Here’s how he creates his art using his clever invention

ANDY'S MATERIALS

Paint

A mix of Winsor & Newton artists oil, Michael Harding oil and Old Holland oil

Brushes

10mm, 12mm, 15mm flat nylon brushes and 1,2 and 3 round nylon brushes

Support

6mm board with x 6 layers of gesso ground, sanded smooth between each layer.

Bob Ross odourless thinner

Ihave had the privilege of being able to paint full-time all my working life, which will soon be 30 years. Being able to paint in a realistic manner has always given me a thrill and excitement in the studio each day, and it still excites me as objects and people come alive on the canvas with just simple paint and a few brush strokes.  I have always painted in oil and had a Mahl stick clasped in my left hand to steady it. It’s as an essential tool for me as the palette or any brush. Unfortunately, however, in 2015, I developed tendonitis from holding a heavy aluminium Mahl stick for up to eight hours a day. So, I set out to redesign this essential tool and now my wife and I manufacture a carbon fibre Mahl one, which is much lighter. Our sticks weigh in at just 100g, which is three times lighter than an aluminium or homemade wooden one. They are all precision made and gift wrapped in our studio in Lancashire. Here, I’m going to demonstrate how I use our super light Mahl stick on one of my own paintings of these three beautiful peonies. andrewtalobt.co.uk ▸

PICK YOUR IMAGE

These peonies came from my favourite local flower shop and, once set up next to the easel, I took some pictures as they bloomed. I then cut and primed my board with five coats of gesso. Here, I am drawing the basic outline of the stems and petals. I am not worried about the details at this time as they will be redrawn on top later. It’s the basic shapes all relating to each other in scale, which is crucial.

THE FIRST LAYER OF PAINT IS GOING

2

PICK UP YOUR MAHL STICK

1 3 4 MASTERCLASS

I now need the first layer of the background putting in to keep my tones correct. I have three colours of background mixed from dark to light and I’m blending subtly. As I work through the background, I’m using the Mahl stick to keep my hand steady, plus it also stops my hand from smudging the wet oil paint.

PRESERVE THE LIGHT

The first layer of paint on the peony’s are now going in. I’m purposely keeping my tone 10-20% lighter than the finished painting as I want to preserve that luminosity. I treat oil like watercolour in the sense that once the bright white of the board is lost it is very difficult to fully get it back. The Mahl stick here is keeping my hand above the wet pink paint but it is also creating a great angle for the brush to make contact with the board.

PROGRESSION

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Now, I am applying the second layer of paint to the background. The head of the Mahl stick is resting to the right of the artwork and my left hand is anchoring the other side of the Mahl to the easel. This keeps me a super solid position to accurately paint the background. ▸

BLEND

The second and third layer of paint are now being applied to the flowers and leaves. I’m working in thin, semitransparent layers to still allow the luminosity of that first layer to glow through. Its only now I’ve traded in my flat brushes for a finer round brush. The blends are now getting solid and accurate and I’m beginning to add delicate definition to the petals and edges.

TIME FOR THE FINER TOUCHES

The background has now dried for a few days and I can begin adding the final details including the shadow and highlights of the drips and veins on the foliage. Again, the Mahl stick is keeping my hand steady and the brush at the perfect angle

DON’T SMUDGE!

The final layer of the background is being applied here. It should now be looking smooth and solid. It’s also important that I don’t smudge the paint, as it will show. So, the Mahl stick is again crucial. Because of its light weight I am not conscious that I’m holding the stick. It just becomes an extension of my hand and arm.

APPLY THE VARNISH

The final painting now needs to dry thoroughly before five thin layers of protective satin UV varnish are applied. Then it’s off to the framers and ready for my next solo exhibition.

Andy’s carbon fibre Mahl sticks are available in three sizes and can be bought from Amazon. Search for ‘carbon Mahl stick’ and choose your size. They start at just £19.50 for a one piece including free next day delivery. ▫

ENJOY THIS FEATURE?

For more masterclasses go to artistsandillustrators.co.uk

focus All in the

Bristol-based figurative/portrait

LEE

Sometimes a blank surface can be somewhat intimidating when we embark on a new piece, and a way around this sense of unease is to change that space before you even start. I almost exclusively paint on colourful backgrounds, whether that be a flat colour or a more abstract formation. I usually exclude any further narrative from the background, allowing the focus to be purely on the figure or portrait.

Within my work, I like to express a fascination with people, mark-making and the ability our minds have to read information that isn’t fully complete. Another reason that I find this method fun and liberating is because you aren’t meant to ‘finish’ it or disguise your early drawing lines. Along with the initial hesitation brought about by the blank surface, at the other end of the journey we have the decision of when to stop, to make sure we don’t overwork a piece. The end point with this process occurs before the finish line, the key being leaving areas to the viewers imagination.

For this piece I have chosen to incorporate a lot of the background colours into the portrait so it is a relatively quick way of painting as you are just pulling forward a few areas to focus and develop.

florenceleeandco.com ▶

FLORENCE'S MATERIALS

Paper

Paper (any, ideally thin and light in colour)

Frisk unbleached, clear primed linen on board Mediums

Winsor & Newton and Sennelier acrylic paint, Winsor & Newton Willow charcoal (for using on the back of the paper to transfer the drawing), Biro/Pen (for transferring the drawing), Pencil Support

Ruler (if you use the grid method for drawing), Scissors (to cut out the drawing), Grid app (if working from a device and using the grid method), Palette

Storage/ resealable pot for mixed paint, Water Derwent compressed charcoal pencils for drawing on board, Hairspray or fixative, Liquitex clear gesso or medium, Range of angled brushes (no particular brand)

painter FLORENCE

shows you how she captured this image in mixed media

DRAWING

BACKGROUND COLOUR MIXING

1

When working in this way, I think it is extremely useful to draw your selected portrait onto paper first of all. I have used the grid method here, as it makes sure that the dimensions of the space that the portrait fills are exactly as I want. The drawing does not need to be too detailed but enough to provide an initial structure. The paper you work on should be thin and your drawing material ideally pencil.

2 3

Mix the background colours in resealable pots. It is pretty essential to have excess of what you need, because we are looking to keep these colours in their original state. I’ve used acrylic paints, although you can have areas of transparency, ideally the colour will be opaque. When referring to the photo I have worked from, I have selected the colours based on the warmth and light in the skin tones, and also the values. If your image has a lot of darker areas then you can mix darker values to use.

PAINTING THE BACKGROUND

First, I paint the majority of the surface (unbleached clear primed linen), with the green paint. The pink and yellow/orange colours represent areas of the portrait where the skin glows and also areas of the headscarf the person is wearing. It doesn’t matter at this stage if the placement of the colours does not quite work with the portrait as it can be adjusted or softened later. I try to use brushstrokes that evoke the emotion of the pose.

TRANSFER THE DRAWING

To get a better idea of the scale of the portrait, I cut out the drawing. I cover the back of the drawing with charcoal. Once the paint has dried, I lay the paper over the area that I wish to transfer the drawing onto. This is a good opportunity to play around with composition and you may go and adjust some of the background before transferring the drawing. With the charcoal side touching the painted surface, draw with a biro over your original drawing lines to transfer the original image.

4 5

REFINING LINES AND SEALING THE CHARCOAL

Using a compressed charcoal pencil, I refine the marks and add any additional detail. I temporarily seal the charcoal with a fixative (I use good old hairspray) and then apply a later of transparent gesso or clear acrylic medium. You will need to be quick and delicate when applying the gesso as the fixative in my case is water based, and the gesso will smudge the charcoal if you work it too much, although softening some lines is nice to do. ▶

MAPPING OUT SHADOWS AND FOCUS AREAS.

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I use a watery mix of Ultramarine Blue and Raw Umber to map out the shadowed areas and refine some of the details. Using an angled brush and a mix of soft and sharp lines and marks. It is not a full underpainting in any way, this will help guide you on the next step as to the areas you want to develop.

ADD DETAILS AND ENHANCE THE AREAS YOU WANT TO EMPHASISE

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I use quite a minimal colour palette, I use Raw Umber, Titanium White, Naphthol Red Light, Lemon Yellow and Ultramarine Blue. However, I also add to my palette the colours I have used for the background. Add detail using small committed brushstrokes to the areas you want to enhance, and use the background colours as a part of your mixing to create cohesion – you are not looking to colour match skin tones but rather create values that work.

ZOOM OUT AND INTEGRATE DETAILED AREAS WITH THE LESS DETAILED

Having focused on the details and not the bigger plains of the face, at this stage I take a step back from the painting looking at the whole composition. I check to see if there is balance or meaningful imbalance within the painting. I soften edges of the detailed areas with a wash or subtle marks to make sure it’s cohesive and works with the initial bold abstract brush strokes.

STEP-BY-STEP

BRING IT TO LIFE WITH HIGHLIGHTS

Sadly, one of the downfalls of acrylic paints is they often darken as they dry, so you sometimes need to go for it with the highlights. Using Titanium White and some of the background colours to tone it down a little, I add the brightest highlights to details of the features and – also in this case – the fabric on the headscarf. Occasionally, it’s necessary to go back over once they have dried to brighten further.

EVALUTION, BALANCE AND SOFTENING

At this stage, I soften some of the initial charcoal drawing lines with paint where they were too distracting. I re-evaluated the background marks using the original mixed paint colours, making the neck area softer, as some marks halted the flow of the painting. I also altered some of the pink that fell outside of the face. This is the final stage of tweaks that you need to be careful not to over refine. ▫

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For more step-by-steps go to artistsandillustrators.co.uk

Mango season

ZAHRAH’S MATERIALS

Paint

Michael Harding:

Cobalt Turquoise Deep, Quinacridone Rose, Ultramarine Blue, Phthalo Blue Lake, Cadmium

Lemon Yellow, Cadmium Yellow Deep, Cadmium Red

Gamblin:Naples Yellow, Titanium White, Daler Rowney:Burnt Umber

Brushes

2 F lat bristle brushes: sizes 2 and 6

2 Nylon brushes: one lbert size 4, one round size 2

Support

Paint Thinner: Gamsol, 16x12” stretched and primed cotton canvas

Every summer, we wait for that rst golden-hued glimpse of mangoes. No summer is complete without this delicious fruit, and it has now become somewhat of a tradition in every Pakistani household to sit around the table with your family to devour a few after every meal. I love using fruits for still life paintings and what better fruits to use than those in season? I always try and include other objects around the main subject. Flowers are a great way to add colour and they can be arranged quite easily to help lead the eye around the focal point. For this still life, I’ll be using Sindhri Honey Mangoes. They have a rather unique shape and vibrant colour. I wanted to emanate a summer mood with this painting so kept it bright, colourful and fresh. My aim was also to create contrasts with colour and texture. I usually prefer working quickly and loosely but tend to adapt my techniques based on what I want the nal result to show. So, sometimes I’ll focus on realism and minimise the appearance of brushstrokes while at other times, I’ll incorporate a more textured feel. Blending these two techniques is a great way to create visual interest.

Instagram: @zahrahsartstudio ▸

1PREPARING THE STILL LIFE

I set up the mangoes, some dainty purple owers – to complement the yellow – and a cane basket I had been wanting to use for a while. I sketched out a few small thumbnail drawings beforehand to gure out the composition.The set-up was done under direct sunlight and I took multiple photographs with slight variations in each photo. This gave me the exibility to change certain aspects of the composition if needed later on.

Oil artist ZAHRAH AZHAR loves exploring the relationship between light and form. Here, she shows you how to create a still life of Pakistani honey mangoes

TONING THE CANVAS

2 3

Having a ground colour other than white helps establish a mid-tone to better gauge values. For this painting, I decided to use a warm gold so the colour can peak through and shift in the light. Most of the time, I’ll do an acrylic wash in a comple mentary colour to the main subject to help it pop. You can choose a purple or blue acrylic wash here if you prefer.

DRAW OUT THE COMPOSITION

Since the main subject is mangoes and the background is already a warm yellow-gold colour, I decided to use Phthaloe Blue Lake mixed with a bit of Titanium White for the drawing, so the outlines can show through the edges of the mangoes as I paint them. I tend to eyeball proportions and sizes, so sometimes end up having to make slight changes to fix placements. ▸

BLOCK IN THE SHADOW SHAPES

I continued using Phthaloe Blue Lake, this time with a bit of Burnt Umber thinned out with Gamsol, to block in the shadow shapes. This is a good time to review your composition and make changes to it if needed. Once I felt everything was working well enough, I used Burnt Umber to create the mango stalks first, so I can have a clearer idea of each mango’s placement in the basket.

START WITH THE MANGOES

I always begin with the focal point of my artwork and work outwards, figuring out the rest as I go. I used thick, textured strokes using a bristle brush to paint the lighter areas of the mangoes. There is a mix of warm yellows (Cadmium Yellow Deep and Cadmium Lemon Yellow) and cooler green yellows (Lemon Yellow and Cobalt Turquoise Deep), both in the light and shadow areas. As you get nearer to the shadow areas, the colours will start getting deeper and will be very saturated right at the edge of the shadow shape. Don’t forget to paint the reflected light!

ROUGHLY PAINT IN THE REST OF THE MANGOES

Again, using a mix of green yellows and orange yellows, block in the light areas as well as dark areas of the mangoes. Add some saturated colours to the edge of the cast shadows. I’ve also added some mid-tones to the orange and blue areas at the bottom of the basket’s lid.

ADD SOME WARMTH

At this stage, I feel like the background is much too cool So, using Cobalt Turquoise Deep with a touch of Naples Yellow, I add quick sporadic strokes to the background with a large bristle brush, letting the previous background colour show through. I also use the same mixture to cool down the foreground, making the whole artwork feel a bit more cohesive. I then made the basket at the back slightly larger as I felt the shape wasn’t right.

USE QUICK INTUITIVE BRUSH STROKES

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Just like before, block in the darks of the basket lid. Then, add your mid-tones: I used a mix of Naples Yellow and a bit of Cobalt Turquoise Deep. Scoop up a darker mixture –Quinacridone Rose with Burnt Umber – and create curving lines to separate each strip. Don’t focus too much on capturing the details yet, just try to copy the shapes. Try not to overthink it and work quickly. We’ll be coming back to the flowers and label later.

FILL IN THE BACKGROUND AND FOREGROUND

I want to create depth by showing the basket and mangoes in the background as ‘out of focus’ and hazy. I don’t want the contrast of the shadow and light areas to be high either, to keep the attention on the focal point. Hence, I paint them in with the backdrop – using Ultramarine Blue with Titanium White – so I can blend the basket edges in with the background. I also quickly paint in the foreground and shadows, primarily using Naples Yellow with Quinacridone Rose and Cadmium Deep Yellow.

WORK ON THE FLOWERS

10 11

For the inner part of the flower, I used Quinacridone Rose and Burnt Umber. For the outer, furled petals, I used Quinacridone Rose, Ultramarine Blue and Titanium White. I added further strokes using a mix of Pthaloe Blue Lake and Titanium White. I then added a touch of Lemon Yellow to the mixture and used it to highlight the blues of the cane basket.

If you want to get your hands on some delicious mangoes, head over to svtfruits.co.uk

THE FINAL DETAILS

Here, I did my final touch-ups. I used Naples Yellow to add light to the basket lid and then, mixed Quinacridone Rose and Titanium White for the highlights to the rusty reds. I also added the details on the flowers and logo sticker. I defined the shadow and light areas a bit more on the mangoes in the back. And I was done. ▫

Painting a legend

Expressive portrait painting with Heatherley School of Fine Art tutor

SARAH JANE MOON

Peter Tatchell is someone I have long admired for his commitment and dedication to the environment, human rights and particularly LGBTQI+ equality. Over decades, he has campaigned across a range of issues including hate crime, apartheid, nuclear weapons, environmental degradation and the death penalty. I am continually inspired by his focus and selflessness.

Having recently painted a full-length portrait of Peter, I wanted to take the opportunity to make a painting in which I focused exclusively on the head. The full-length portrait has a very warm background to offset the blue and green of Peter’s outfit and in this smaller painting, I wanted to bring greens into the background in an expressive way to allow me to find and focus on warmth through the head.

I have tried to convey Peter’s engaging and open manner and suggest something of his work through the energetic and vibrant marks in the background and by including a hint of his rainbow tie sarahjanemoon.com ▶

SARAH JANE’S MATERIALS

Oil paint

Titanium White, Lemon Yellow, Cadmium Yellow, Yellow Ochre, Cadmium Red, Alizarin Crimson, Cerulean Blue, Ultramarine, Burnt Umber

Brushes

Round hog (of various sizes) and synthetic craft brushes for detail

Support

Kremer Shellsol T solvent Linen canvas, 60x60cm

DRAWING IN

I usually start a painting by thinking through the composition using oil thinned with solvent. In this instance, I am using Ultramarine and a stiff, pointy hog brush. My main focus is to establish the relationship between the subject and canvas edge and to pay attention to the relationship between features.

NOTES ON COLOUR

Once the drawing is roughly in place, I begin to make notes on colour. I use slightly larger brushes and mix colours from the primaries before adding solvent to thin the oil. This is an experimental phase of the underpainting and I am still attempting to discover the idea of the painting in terms of colour and composition. As these early layers are mostly solvent, they dry very quickly and the painting can be changed easily if necessary.

FINDING STRUCTURE

1 2 4

Finding a way to break up the space behind the head begins to lend structure to the composition and all areas become more solid as the canvas is covered. Building tone through the head serves to help structure the drawing in a three-dimensional way. The oil at this stage is still relatively thin, but as the painting progresses, I keep the fat over lean rule in mind.

CONTRAST AND COMPLIMENTARY COLOUR

The underpainting progresses as I lay in certain colours that I am sure of. Darker tones are introduced directly behind the head to provide useful contrast and I begin to think more about the relationship between the red and yellow found in the head and the blue of the shirt. At this stage, the background is still very much in flux.

ABSTRACTING SPACE

Now that I have a sense of which colours I will use through the head and shirt, I begin to paint with heavier oil in the background. I am a little unsure of the yellow, however, the dark purple serves a useful function. Areas that do not work are easily scraped away and reworked if need be. I try to allow all aspects of the painting to change as it builds, to keep the painting process dynamic.

FINDING THE FEATURES

Next, I begin to focus on the features, paying particular attention to drawing. I try to deal with large general shapes alternating between laying down colour broadly and reverting to a pointy brush to work in a linear way. The more specific synthetic brushes are useful , and I often employ a 5/0. Colour through the head becomes more deliberate and I work on tone, detail and gesture in the shirt. ▸

7

PLAYFUL MARK - MAKING

Using heavier brush strokes, I continually push the darker mid-tones to find form. Paying close attention to the direction of my marks, I try to be creative and playful in the application of oil to canvas. It is helpful to really think about the range and variety of colours within the head and not be afraid to push this in an interesting or unconventional direction.

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BRIDGING AND RESOLVING

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I add detail in certain areas and try to find structure through the hair. Tonal transitions that might appear too harsh are bridged and I apply clean colour with bold strokes in the lighter areas. I am painting wet into wet with very thick oil and so there is a tendency for the paint to shift. To avoid this, I mix each colour separately and reserve different brushes for different colours.

BRINGING IT TOGETHER

Finally, I aim to resolve any problematic areas and think about the painting as a whole. I allow myself to work with colour in a less naturalistic way, at times working without a reference so I can make decisions based on what the painting itself needs. This is a difficult stage in a portrait as it’s easy to get caught up in detail and overwork areas. Sticking to large brushes and direct colour helps avoid this. ▫

ENJOY THIS FEATURE?

For more how-tos go to artistsandillustrators.co.uk

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New Practical Art Books this Autumn

itSaywith roses

See how TERENCE CLARKE painted these abstract still life roses in acrylic

Aflower still life is a classic challenge for any painter. Many great modern artists had recourse to this subject and produced some truly amazing work. It’s surprising that a great painting can be wrought from such banal subject matter. We know that flowers are conventionally beautiful but how do you make them interesting and engaging beyond that?

If I think of Bonnard, Suzanne Valadon, Cezanne or Matisse, I think it’s the way they create an essentially abstract painting that uses the flower subject matter as a starting point or a touchstone. Because there is no narrative content to a picture of flowers the artist can use paint to explore them as a purely visual vehicle for expression. That’s exactly what I have tried to do here. Organic forms lend a freedom to the drawing and structure but offer exciting compositions. I like to use acrylic paint with this kind of picture as it is a quick drying medium that allows

you to relax into a very free approach. Any mistakes or adjustments can be easily dealt with. This kind of painting is essentially abstract, so the colour, brushwork and design in the picture is part of the subject matter. How it’s made is what the painting is about as much as the beauty of the flowers. The results can be expressive or poetic but should reflect the sensation of looking and the enjoyment of the sheer visual excitement of any floral arrangement.

It’s also a chance to paint in a technically varied way. This picture is both representational and abstract. It’s a tonal painting but it’s also about complimentary colour. They’re a mixture of carefully observed sections like the vase and also looser, more expressionist qualities like the shadows and leaves. This technical complexity in such a small picture, lifts it beyond being just a vase of flowers into an exciting visual response.

Instagram: @terence_clarke_

paintings ▸

TERENCE’S MATERIALS

Paints

Golden Open acrylic paint: Prussian Blue

Ultramarine

Quinacridone Magenta

Bismuth Vandate Yellow

Hansa Yellow Light

Yellow Ochre

Pthalo Green

Vermillion Red

Titanium White

NB: Golden Open paints have a slower drying time than normal acrylics which makes them more

adjustable.hey also have some unusual yellow pigments which are interesting to use.

Brushes

Rosemary Ivory filbert brushes 2, 4, 6

Support

Stretched and primed canvas 40x40cm

DON’T DILLY DALLY

I put a thin wash over the whole canvas to give me a soft mid tone to work from. Using an inky mix of Prussian Blue acrylic, I drew loosely from the very informal arrangement of roses. I worked quickly trying to keep the paint free and relaxed to give the flowers a soft delicate feel. As the pink flowers were the main subject it was good to get that pink colour established early.

KEEP YOU WORK FREE

Using a mixture of Quinacridone Magenta and Ultramarine, I pushed the purple colours, even feeding purple tones into the shadows. It’s important, too, that the brushwork remains free and fresh, almost nudging the painting along. Notice how the original drawing is being collapsed slightly as the colour emerges into the shapes. The introduction of some pale yellows moves the colour scheme on a bit more. The yellows and the purples are strong complimentaries.

EXAGGERATE THE COLOUR

Feeding purples and blues into the shadows creates the feeling of intense light. These details showing the intermingling of colour and shape are part of what the painting is actually about. The abstract qualities, the poetic interchange of brushstroke colour and mark are the traceries of the artists thought and experience in front of the subject. Part of enjoying a painting is seeing how the artist made the picture.

1 2 5

DON’T BE AFRAID TO SWITCH IT UP

6

DON’T WORRY ABOUT COLOUR TOO MUCH

As part of the abstract play of the picture I put some bright red into the foreground just to experiment. However, I liked the greys entering the background and they seemed to harmonise with the pinks and blues really well. These red tones had come whilst I was painting the foreground apple.Sometimes it’s worth just trying a little experiment in a painting just to see if it works.

STAY INFORMAL

Here, you can see I am modulating the colour. This is vital when working for this kind of effect. You can see that the rose petals move from red, orange to pink and purple and even a touch of yellow is placed into the tones to add to the complimentary energy of the colour. The shape of pure Quinacridone above the pinks really intensifies them, as do the sudden flashes of green in the leaves. Keeping the brushwork informal and relaxed helps create dynamic colour.

7

As the painting progresses, it’s important to toughen up the drawing. I always redraw halfway through a painting. It allows you to bring fresh structure to the composition. There is always a tendency as you paint to work up the lighter tones more. It’s very important to push the darks back into the tonal structure as you go along. I’m using a small Ivory filbert brush here to darken and draw around the glass vase which will have a lot of contrast in the final

3 4 8

APPLY NEW STRUCTURE

RELAX

I am well on with the picture at this stage. You can see how important the background tones are to the picture. The pale yellows punctuate the shadows behind the vase and blend nicely into the greys in the foreground. I am beginning to work on the warmth of the pear and the apple. It’s important that I paint them in the same relaxed style as the rest of the picture. The red in the apple will make a big contribution to the colour s of the composition. ▸

BE CONFIDENT

As the picture reaches its conclusion it’s time to adjust the highlights. Traditionally this comes at the end period of the painting. Here, I am applying a thick block of creamy white to the highlight on the vase.This is the highest point of the tonal range of the painting and so it needs to be confidently applied. Notice that the highlight sits between an arrangement of softer mid tones of pinky purple, thus giving the subtle effect of the shine on the glass and integrating the intense high tone with the surrounding tones.

ASSES THE FINAL COMPOSITION

At the very last stage, I changed the area of red on the apple, simplify the colour giving it more of a yellow cast. Very often the final stage of a painting in a frame as this helps you assess the final composition. It was nice how the grey frame consolidated some of the greys in the painting but worked well with the pinks and purples. It also emphasised the very abstract qualities of the piece. I felt the composition was firm but relaxed and was a good interplay of linear elements and softer free brushwork giving the painting technical variety. ▫ ENJOY

For more demonstrations go to artistsandillustrators.co.uk

Welcome to

British A rt THE

CLUB

FORMERLY KNOWN AS PORTFOLIO

Bid farewell to Portfolio – and a big hello to The British Art Club!

You asked – we listened and delivered! We are delighted to announce that Portfolio has been upgraded to The British Art Club on a brand-new, brilliant platform and now working better than ever. Your Portfolio membership will continue as before, including the artworks currently listed on your profile. Don’t worry: you won’t need to pay a penny more than you currently do. Simply log in to your Portfolio account and you will be prompted to reset your password the first time you sign in. Then, all that’s left for you to do is enjoy everything the new club has to offer!

Once logged in, your improved profile will appear and you can share, showcase and sell your artwork commission free. Make your artwork easier for buyers to find by tagging it in the relevant categories – plus, don’t forget to fill in details about the size, medium and price of each artwork. You can also connect with fellow artists, explore a range of artistic inspiration, enter our latest art challenges and keep uploading your work for a chance to feature in Artists & Illustrators (a selection of past featured artists are on the left).

The team has been working hard to bring you this improved platform for you and fellow artists to enjoy. If you have any feedback, please get in touch with us at:  hello@britishartclub.co.uk.

We can’t wait to see what you’ve been creating!

Marti Hall, As in a Dream

Mark McCallum , An Meallan Highlands of Scotland

Anthony Cowland, Dragon ies at Scotney Castle

Sue Gardner, Taynuilt

You tell us

MESSAGE OF THE MONTH Kay Ashton

Artists and Illustrators has been a constant throughout my creative journey – from day one when it came recommended – and the magazine continues to inspire, nearly 15 years later.

The articles and features are incredibly varied, and even though I mostly paint in oils, there is always something new to learn. I find other artists’ processes (regardless of medium) fascinating; there is always a new tip or technique to acquire, and I enjoy reading about their own creative journeys. If they are on social media, I will continue to follow their journey.

I have always enjoyed the theoretical side of art and there is plenty of that from colour theory to what brushes to use. Each issue is always informative and entertaining. One never stops learning and Artists & Illustrators is an integral part of that journey for me. kayashtonfineart.com

Rob Hoult

Rosa Maria

At the start of lockdown, I found myself with no community and restricted opportunities to venture out for inspiration. Artists and Illustrators magazine took on these roles for me; building my network, motivating, stimulating and encouraging me to explore more. The guidance of expert technical advice is always most welcome and any confidence booster is a gain!   Connection is a big thing for me. My artwork features fantasy portraits that are heavily influenced by mental health issues and the anxieties and pressures of life today, but they also provide a lightness and offer hope and potential for a brighter future. I maintain that art heals. I look forward to sitting in my studio with a cuppa and Artists & Illustrators magazine, a beneficial ritual!

Instagram: rosamariaartist

I decided to try my hand at art during lockdown with no previous experience to my name. When lockdown was lifted and life drifted back to normality I discovered your superb magazine in my local newsagent. It instantly ticked all the boxes I required to start my art journey. The features are second to none and I religiously read each issue from cover to cover. I particularly enjoy the How-To and Masterclass sections which have helped my progression and certainly improved my confidence. I’ve been lucky that I have always been surrounded by beautiful scenery and residing on the edge of the Peak District I am provided with plenty of content to work with.

Instagram: AnAccidentalArtisan

Share your stories and get a daily dose of Artists & Illustrators tips, advice and inspiration by following us on our social media channels...

@AandImagazine /ArtistsAndIllustrators

@AandImagazine

@AandImagazine

New bursary launched to support students applying for the BA (Hons) Contemporary Portraiture programme, the only degree in portrait painting in Europe.

out more and apply www.artacademy.ac.uk

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Picture this

This piece exemplifies qualities that continue to interest me as a painter, which involves exploring the perceptual tension between representation and abstraction. I find great satisfaction in its abstract visual elements, particularly the edges, brushwork and texture. Despite these abstract qualities, the artwork successfully communicates a convincing sense of light and form.

My aim was to take ordinary, everyday objects and transform them into visually captivating representations that elevate them to a more sublime and mysterious level. Through my paintings, I strive to transcend the mere depiction of the subject matter and aim to create an experience that goes beyond the ordinary and taps into the divine. This entails finding the extraordinary within what is commonly

overlooked or dismissed as mundane.

I appreciate the overall composition, where light interacts and bounces between different elements. Specifically, the highly chromatic orange hue transitioning onto the red onions catches my attention. I also find delight in the interplay of light and shadow values throughout the composition, forming a captivating pattern.

I seek to evoke a sense of joyful fascination in my viewers, akin to the feeling of lightness and significance one might experience when seemingly unremarkable moments unfold. It is about finding beauty and meaning in the simplicity of everyday existence, even when there appears to be little happening on the surface.

alexkellyart.co.uk ▫

In every issue, we ask an artist to tell us about a piece of work that is important to them. This month, we speak to alla prima oil artist ALEX KELLY

Quark, strangeness and charm, oil on panel, 25x30cm

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The NEOCOLOR® II water-soluble wax pastels will accompany you on all your arts and crafts journeys, thanks to a unique formula that is rich in pigments both for wet and dry applications. Discover the smoothness and vibrancy of the 84 shades and enjoy countless drawings on different materials, including paper, cardboard, wood and terracotta. Made in Geneva, they are available in assortments of 10, 15, 30, 40, 84 and are also sold individually.

The NEOCOLOR® II water-soluble wax pastels will accompany you on all your arts and crafts journeys, thanks to a unique formula that is rich in pigments both for wet and dry applications. Discover the smoothness and vibrancy of the 84 shades and enjoy countless drawings on different materials, including paper, cardboard, wood and terracotta. Made in Geneva, they are available in assortments of 10, 15, 30, 40, 84 and are also sold individually.

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