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l OILS & PASTEL • How to paint rain & reflections • Paint a reclining nude step by step • Find subjects close to home


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Search Press Competition PaintersOnline, the online home of Leisure Painter and The Artist, has teamed up with Search Press to offer you the chance to win one of ten copies of From Sketch to Watercolour Painting by Wendy Jelbert. Wendy Jelbert begins her book by asking the question ‘why sketch?’ Her answer is that it is the best way to record inspirational scenes and to capture special moments. Through a series of step-by-step projects, Wendy demonstrates how to develop your sketching skills and to transform a sketch into a finished painting. Everything is covered from capturing detail, composition and texture to making the most of your sketchbooks. Many of Wendy’s finished paintings and the sketches that inspired them are included throughout the book.


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February 2017

ENTER NOW To win one of 10 copies of From Sketch to Watercolour Painting by Wendy Jelbert from Search Press please visit the home of and magazines, and click on the links to competitions. Closing date for entries is April 1, 2017. Winners will be selected at random from all online entries. Search Press is the leading art and craft publisher in the UK, specialising in fine art, textiles, general crafts and children’s crafts. For more information visit

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TA02p3_5Contents_TA04p3_4_Contents 14/12/2016 08:18 Page 5


incorporating ART & ARTISTS

First established 1931 ISSN 0004-3877 Vol 132 No. 2 ISSUE 1038

from the editor

Publishing Editor: Sally Bulgin PhD Hon VPRBSA Deputy Editor: Deborah Wanstall

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Advertising sales: Anna-Marie Brown 01778 392048 Advertisement copy: Sue Woodgates: 01778 392062 Online Editor: Dawn Farley Design: Brenda Hedley Subscriptions & Marketing Manager: Wendy Gregory Subscriptions: Liza Kitney and Nicci Salmon 01580 763673/01580 763315 Accounts: 01778 391000 Events Manager: Caroline Griffiths Subscription orders should be sent to: The Artist, Circulation Dept, Caxton House, 63/65 High Street, Tenterden, Kent TN30 6BD. Tel: 01580 763673 Rates are: UK – £39.99 (includes Northern Ireland); EC member countries – €67; USA – $80 (air freight); Canada – $92 (air freight). All other countries £50 (air freight). Payments by credit card are taken in sterling at £50. Foreign currency prices include bank charges. Periodicals postage paid at Rahway, NJ. US subscribers only: Send address corrections to The Artist, c/o Mercury Airfreight International Ltd, 365 Blair Road, Avenel, NJ 07001 News-trade distribution by: Warners Group Publications plc. Tel: 01778 391000 All material copyrighted; reproduction forbidden without permission. Publication of an article or inclusion of an advertisement does not necessarily imply that TAPC is in agreement with the views expressed, or represents endorsement of products, materials or techniques. TAPC does not accept responsibility for errors, omissions or images received in good faith.

artist is printed by Warners Midlands PLC, The Maltings, Manor Lane, Bourne, Lincolnshire PE10 9PH and published every four weeks by THE ARTISTS’ PUBLISHING COMPANY LTD artist Caxton House, 63/65 High Street, Tenterden, Kent TN30 6BD Telephone 01580 763673 Fax 01580 765411 Advertising 01778 392048


Email me at, or visit our website at

oday’s artists are spoilt for choice when it comes to selecting materials and techniques for making artwork, and indeed our aim in every issue is to cover as many different media and methods as possible, whilst acknowledging the overall interest in figurative subject matter amongst readers. In this issue alone our contributing artists demonstrate watercolour techniques for capturing light and shade (pages 14-17), the use of acrylics for bold landscapes (pages 18-20), oils for suggesting rain and reflections (pages 22-25), acrylics, pencil, graphite, liquid pencil, inks and oil pastels for dynamic still lifes (pages 26-28), whilst Paul Talbot Greaves urges artists to accept that the digital world is here to stay and to use the tools available to help create exciting images ‘without shame or ridicule’ (pages 29-31). And in the second of Charles Williams’ excellent series about different methodologies for starting new work (pages 36-39) he introduces us to Dan Coombs’ use of found images and his method of photocopying, manipulating and collaging these into designs for final paintings. This fascination in methodologies for making artwork prompted my recent visit - and recommendation - to view the Rauschenberg exhibition at Tate Modern (until April 2), where you can see this American artist’s lifetime experimentation with materials and new ways of making artwork. I didn’t expect to enjoy it as much as I did, for the variety of artwork and quite staggering array of approaches. In the first gallery alone he shows himself to be a photographer, painter, sculptor, action painter and I even really enjoyed his piece created by having a car driven across 20 sheets of paper to leave a black-painted imprint of one of the tyres. The long unravelling tyre mark makes a compelling object with a suggested urban narrative. I loved the two red paintings hanging opposite each other in the second room, in which he started incorporating newspaper and comic strips onto the canvas to suggest pre-existing colour schemes, his enjoyment of the role of accidents, and the humour. It’s fun to note the lists of unlikely materials used throughout his work. For example his Bed of 1955 comprises oil, graphite, toothpaste, fingernail polish, pillow, quilt and sheet on a wood support. Yet in spite of his pioneering use of humble, everyday materials and found images or objects, throughout his work I enjoyed his innate and sophisticated sense of design. Like the musical composers he enjoyed collaborating with throughout his career, he created equivalent visual orchestrations that are constantly impressive and enjoyable to view. The exhibition is organised in a chronological sequence of unfolding developments and endless experimentation, and shows how photography became an increasingly important tool in his practice. In the room containing his final works from 2002 to 2008, we see how much he anticipated the media driven culture of today whilst remaining committed to the act of looking and commenting on the world around him. Which brings us back to the general point that today’s artists should feel comfortable to use all the tools available as part of the creative process - if you need further inspiration, do visit this exhibition and see in one place the massive range of possibilities as the work on show is surprisingly accessible and engrossing.


Best wishes

Sally Bulgin Publishing Editor

Bryan Evans Dusk Falling on Platform 6 – Crewe Station, watercolour and gouache on Bockingford paper 140lb (300gsm), 19⫻223⁄4in (48⫻58cm). See pages 14 to 17

Let us know what you think at • • • •

artist February 2017


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18 29


FEATURES 14 Patterns in light


MASTERCLASS Bryan Evans award-winner in The Artist Open Competition 2016, demonstrates his watercolour techniques

18 Patterns and texture in the landscape IN CONVERSATION Caroline Saunders talks to Nick Andrew about how he expresses motion, vitality and atmosphere in his acrylic landscapes

66 Adebanji Alade’s motivational tips Start the job!

22 The beauty of rain and reflections Adebanji Alade reveals how he depicts realistic reflections in oils

26 Dramatic tension


Alison Rankin explains how she depicts texture and tension in her acrylic still-life paintings

29 Digital work for watercolour paintings Paul Talbot-Greaves advises on the best way to take photographs using your phone or tablet, and then edit them to use as painting reference

32 32 Naked advice Adele Wagstaff demonstrates a reclining nude in oils, with tips on foreshortening, composition and how to describe the form

36 Developing an idea Charles Williams considers more strategies for beginning a painting in the second of his six-part series

40 A developmental approach to painting Graham Oliver shares his approach to painting reflections in water using pastels

42 Papers on trial In his second article in this threepart series, Ian Sidaway subjects ten popular watercolour papers to an array of tests

46 Strong botanicals

22 4

artist February 2017


Kerry Day explains her reduction linocutting method to Cath Read as she demonstrates a bold ‘painterly’ linocut print

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u MASTERCLASS The Artist Award winner in the 2016 RWS Contemporary Watercolour competition Eleanor Langton explains her approach to still life and her watercolour methods

49 Close to home Be inspired by subject matter at home, says Gerald Green, who demonstrates an oil painting of his garden shed t IN CONVERSATION BP Portrait Award exhibitor Martin Brooks shares his combination of traditional and contemporary techniques for painting portraits

53 Lose your references Max Hale shows how to achieve stronger paintings by reducing your reliance on photographs and doing a little planning before you start

57 A–Z of colour O is for Opaque, says Julie Collins




Paint impressionistic snow scenes of your local allotment with Haidee Jo Summers


6 Your views 11 The Art World 56 Opportunities 59 Books 60 Exhibitions

l Advice from Frances Bell on how to achieve success when painting portraits to commission


l BBC judge Lachlan Goudie discusses his recent trip to Collioure and the advantages of using gouache for capturing scenes en plein air l Paint night time scenes step by step by following Jo Quigley’s demonstration in acrylics l Overcome common problems in your watercolour painting with advice from Judi Whitton

Ken Howard OBE, RA studied at Hornsey School of Art and the Royal College of Art. He is a member of the NEAC, ROI, RWS, RWA and RBA. He exhibits extensively and has won numerous awards.

Jason Bowyer NEAC, RP, PS studied at Camberwell School of Art and the Royal Academy Schools. He is the founder of the NEAC Drawing School and exhibits his work widely.

Bernard Dunstan RA studied at Byam Shaw School of Art and the Slade School. He taught at the Camberwell and Byam Shaw Schools of Art among others. He exhibits widely including in the annual exhibitions of the NEAC, of which he is a member, and RA.

David Curtis ROI, RSMA has won many awards for his en plein air and figurative paintings in both oils and watercolours. He has had several books published on his work as well as DVD films, and exhibits his work extensively.

l Robert Dutton shows how to use acrylic inks to create cleaner, more vibrant landscapes

PLUS l Julie Collins’ A to Z of watercolour continues: P is for palette l Be inspired to paint in the style of David Hockney with step-bystep guidance from Glyn Macey

And much more! Don’t miss out: our March issue is on sale from January 27 artist February 2017


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Email or write to The Editor, The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD

Letters, emails and comments

Outdoor versus indoor painting I write this offering as a balance to John Owen’s impassioned plea to herd the rest of us outside to paint en plain air (The Artist letters, January 2017 issue). John’s comment ‘How anyone can prefer this (indoor painting) to painting outdoors is beyond me’ can be responded to with words such as: warm, dry, comfortable, stable lighting, safe and free from unwanted critical advice from curious interrupting bystanders, etc. Some people, as I do, suffer from arthritic joints, and the thought of trying to hold a brush for any length of time outdoors in our climate doesn't bear thinking about. For those of you who enjoy outdoor painting, please continue to do so. But please do not disparage those of us who prefer to paint indoors. Michelangelo didn't make a bad attempt at the Sistine Chapel ceiling did he? That was done indoors and it still looked pretty good last time I saw it. Dennis Swainston

Copying isn’t creative

It’s about enjoyment

Whilst browsing on the internet recently I came across a post from someone asking for pictures to copy from. Why do I find this so alien? I know lots of people who use other people's photos and I can see a use for them – reference, especially when you cannot get out and about or find inspiration – but not copying. I use my own photographs for reference but would never even ‘copy’ these. I use pics for reference on occasion; I belong to the RSPB and have many of their wonderful magazines so if I need to know relevant detail I can usually find it. I also look up reference stuff online and will use it. But to want to pay for other people's photographs, then make a detailed copy, is something I cannot get my head around. Creating should be inside the artist’s own head: a thought, a spark, then a working out how to do it – observe, think about, work it out. I know I'm on a hobby horse but I don't understand!

I must agree with Alison Currin (The Artist letters, September 2016) that doing art is not always about making money and being famous. Making art is about just being yourself and most of all it’s about relaxing. I like nothing better than to go to my ‘art shed’ and spend a few hours painting. What I like most is starting a new painting – when I’m faced with a plain canvas, or sheet of hardboard, or even cardboard. Even my daughter, aged five, loves setting up her own easel with a new canvas, and painting alongside her daddy. It’s all about de-stressing, so come on, let’s all paint and enjoy the moment. Spencer Benfield-Griffiths, King’s Lynn

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Julie Collins

is for Floral


find that the best way to ‘see’ colour is to notice it in real life, and nature provides every possible example of colour and tone in plants and flowers. When I first began painting seriously in watercolour my favourite subject was flowers, for several reasons: I love flowers and gardens, I wanted to paint from life, flowers were the perfect, most easily

accessible subjects. During this time I learnt a huge amount about colour by working extremely hard and by beginning to notice the subtle differences of colour and tone in one petal, never mind a whole flower. This opened a great door for me, one where I really began to ‘see’ colour and then I set my mind to learning TA to mix what I could see.

Permanent rose

studied painting at the University of Reading and exhibits her work widely throughout the UK. She has exhibited with the Royal Institute of Painters in Water Colours, Royal West of England Academy, Royal Watercolour Society and the ING Discerning Eye, and she has received numerous awards for her work. Julie is author of several successful art books and teaches MA, BA and Foundation students painting and drawing, and is a short course tutor at West Dean College, Chichester and Art in Action, Oxford.




Winsor violet


permanent rose

Winsor lemon


Winsor lemon

Winsor violet French ultramarine blue

burnt sienna



permanent rose

a white ground If you find a bright white canvas intimidating and prefer to stain your support before painting, think again, says Barry Freeman, who says a white ground will imbue your oil, acrylic and pastel paintings with luminosity t is an accepted practice among artists that when painting in either oils or acrylics, the support should first be stained with a neutral tint that will allow applied colour to be either light or dark. What tint colour is used is personal and depends a lot on subject matter – in my last article ‘Winter’s landscapes’ (December 2015) I used either a sienna or umber because I wanted to paint snow or frost and the underlying warm tint helped when







shadow purple

Colours mixed for the two pansies


HAZEL SOAN What to leave out in watercolour


Two pansies I painted these pansies against a very pale background to complement them – a light yellowy pink made from Winsor lemon and permanent rose. Notice how pale this is and remember to test your background colour before committing it to paper to ensure you have the tone you want

9 770004 387155



Every conceivable colour can be found in flowers, which is why they make perfect subjects when you are learning about colour, says Julie Collins

overpainting in cool colours. Another way of working is to have the base colours as complementaries, ie, blue sky on orange, green foliage on shades of red, etc, and if allowed to show through in places this can give added depth.

Luminosity For quite a while I have been painting on a white surface and not only oils, but pastels as well, and will only ever stain

a support when painting certain winter landscapes. The Impressionists, PostImpressionists and Fauves painted on a pure white canvas and the reason behind it is summed up in one word – luminosity. Much in the same way that the white of the paper in watercolour helps to give washes a sparkle, the same rule will apply to oil painting. Using a white ground for oils makes the colours clear and crisp, with a brilliance and depth of colour that a tinted

This is the mix for the dark colour in the centres of the pansies. Notice how dark this is and, again, remember to test this colour to make sure you have a dark enough mix

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Open Art Competition 2017 in partnership with Patchings Art Centre


£600 Canson Awards

£500 Great Art Awards

Three prizes of £200 worth of paper

Two prizes of £250 worth of art materials Two prizes of brushes from Europe’s largest art materials’ supplier to the value of £150 each

Selected by guest judge Ken Howard OBE, RA for a work up to the value of £5,000

£500 Caran d’Ache/Jakar Awards

Two prizes of £250 worth of art materials

£1,700 Exhibition Awards    

£500 Clairefontaine Awards

Selected artists from the 2017 The Artist category will be awarded a mixed exhibition at Patchings Art Centre in 2018, worth £1,700

Two prizes of £250 worth of art products selected from the Clairefontaine Graphic & Fine Art range

£100 Highly Commended Award

£700 Daler-Rowney Awards

A subscription to The Artist worth £100

Five sets of materials to the total value of £700

£450 Batsford Awards

£900 Derwent Awards

Three prizes of Batsford art books to the value of £150 each

JuDGES Sally Bulgin, editor The Artist (All art materials prizes are quoted at the rrp)

£2,600 Award One prize of a showcase feature on a selected artist in Leisure Painter magazine

£300 Pro Arte Awards

£1,000 Royal Talens Awards Four prizes of £250 worth of art materials

£100 Highly Commended Award

Two prizes of £250 worth of Sennelier art materials

A subscription to Leisure Painter worth £100

£500 Sennelier Awards

£450 Patchings Award of a gift voucher worth £450 to be used at Patchings Art Centre, Notts

£600 Premium Art Brands Awards

£600 St Cuthberts Mill Awards Three prizes of £200 worth of watercolour paper

£400 Winston Oh Award

Three prizes of £300 worth of art materials

One prize of Daniel Smith watercolours worth £350 and one prize of Pan Pastels worth £250

A painting course up to £400 of your choice, sponsored by Winston Oh

David Curtis ROI, RSMA Guest Judge: Ken Howard OBE, RA

Ingrid Lyon, editor Leisure Painter John Sprakes ROI, RBA, MAFA

Liz Wood, artist and co-owner of Patchings Art Centre

How to enter & conditions The competition is open to artists worldwide. Only original work will be considered and paintings based on reference photographs must have been taken by the artist or used with the permission of the photographer. Photography, except where incorporated into collage, is not acceptable. 1 The entry fee of £16 covers up to

THREE entries of two-dimensional works in any media; only ONE work

per entrant will be accepted for exhibition in the Leisure Painter category. 2 No entry should be larger than 120x150cm WHEN FRAMED (canvases do not need to be framed). 3 ONLINE digital entries must be sent via our website at clicking through the links entitled TA&LP/Patchings 2017 Competition.

4 BY POST colour photos or prints (no

correct return postage) for the results and return of your entry. 6 Send your entry/ies with the nonrefundable entry fee of £16, payable 5 Each entry must be clearly marked to TAPC, to: TA&LP/ Patchings 2017 with your name and address and title Competition, 63/65 High Street, of the work and placed in an envelope Tenterden, Kent TN30 6BD, to arrive to which you must affix the entry by the closing date of March 31, 2017. coupon, right. Place into a larger envelope for posting, with a stamped 7 Entries will be judged after March 31, addressed envelope large enough to 2017 and selected works called for accommodate your entries (with the exhibition. These must be framed larger than A4) must be sent to the address on the entry coupon (right).

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OPEN ART COMPETITION 2017 ENTRy fORM fOR POSTAL ENTRIES (Online entries: please see point 3 in entry details, below left) DEADLINE: March 31, 2017 Please accept my work for consideration for the 2017 competition. I confirm that my entry is original. I have read and understand the rules and agree to allow The Artist and/or Leisure Painter to publish, republish and repurpose my work in print and digital formats including but not limited to magazines, promotion materials, websites, databases and as part of downloadable digital products. Affix to envelope holding entry/ies and send with stamped addressed envelope and payment of £16, (make cheques payable to TAPC), to TA&LP Patchings 2017, 63/65 High Street, Tenterden, Kent TN30 6BD by the closing date of March 31, 2017. Or, please charge my

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be accepted for loss or damage in (canvases excepted) ready for transit, incoming or outgoing, exhibition from July 13 to August 20, whilst on the competition premises 2017 at Patchings Art Centre. or during the exhibition. Originals 8 Successful entrants will be notified in selected andsubmitted for final late April about delivering their work exhibition must be fully insured between June 16 and July 2, 2017 to by the artist. Patchings Art Centre, Nottinghamshire. 10 Original works must be left with the 9 All care will be taken with organisers throughout the exhibition. entries but no responsibility can


Call for entries Open all Media exhibition 2017 Sponsored by Fresh: Art Fair at the RBSA Gallery Open to artists working in all media*. Deadline to enter Weds 1 February, by 4pm Delivery of digitally pre-selected work Sun 12 March, 10.30am-1pm Exhibition on show Thurs 16 March - Sat 8 April + Download the interactive application pack at or send us a SAE marked ‘Open all Media’. Royal Birmingham Society of Artists RBSA Gallery, 4 Brook Street, St Paul’s, Birmingham, B3 1SA T 0121 236 4353 W

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156th Open Exhibition Mall Galleries, London, SW1 4th - 9th July 2017

Digital Submissions 5th January - 23rd March 2017

£2000 SWA Special Fine Art Award



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February 2017

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compiled by Deborah Wanstall


David Hockney Model with Unfinished Self-Portrait, 1977, oil on canvas, 60⫻60in (152.5⫻152.5cm)

HOCKNEY RETROSPECTIVE Tate Britain is staging a major retrospective of the work of David Hockney as a celebration of his achievement in painting, drawing, print, photography and video. Arranged chronologically, it will trace Hockney’s career from his student days to the present and

incorporate painting, drawing, print, photography and video. David Hockney is at Tate Britain, Millbank, London SW1, from February 9 to May 29. Admission is £19.50, concessions £17.50. Telephone 020 7887 8888;


February 2017


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ART FROM REVOLUTIONARY RUSSIA The (Russian) October Revolution of 1917 initially allowed Russian art to thrive but by 1932 Stalin had begun his suppression of creative freedom and the avant-garde. The Royal Academy is covering this unique period in Russian art with an exhibition of over 200 works by avant-garde artists such as Chagall and Kandinsky alongside the Socialist Realism of Brodsky, Deineka and Mukhina, among others. Revolution: Russian Art 1917–1932 is at the Royal Academy of Art, Burlington House, Piccadilly, London W1J 0BD from February 11 to April 17. Admission is £18, concessions available. Telephone 020 7300 8027 to book, or go to t Marc Chagall Promenade, 1917–18, oil on canvas, 69⫻661⁄4in (175⫻168.5cm)

l Studio 7, a group of painters based

at the London Museum of Water and Steam at Kew Bridge, are to hold their inaugural exhibition at 54 The Gallery, Shepherd Market, London W1 from January 30 to February 4.

EDITOR’S GALLERY CHOICE This month’s editor’s choice from our website gallery is by Craig Lee, who comments:

‘This was painted onto a prepared, toned panel, alla prima, and using a limited palette of titanium white, cadmium yellow, permanent alizarin crimson, ultramarine blue and burnt umber. ‘I started with a very basic line drawing using an old brush and thinned burnt umber. Once happy with my composition I built up from dark to light, aiming to capture the beauty of my surroundings with as few spontaneous, loose strokes as possible. When painting landscapes I consider my tonal values most of all and don't worry too much about getting the exact colour in front of me, as I often like to create atmosphere by either warming or cooling them where needed.’ u

Craig Lee A Scene from Westmill, Hertfordshire, oil on panel, 10⫻12in (5.5⫻35.5cm). On show in our online gallery at

To upload images of your own work and receive valuable feedback, go to our website and click on the link to the gallery. This is a free service.


artist February


FebTAW 4 tidied_Layout 1 14/12/2016 15:27 Page 11

l Robert Dutton is to demonstrate a

seascape in mixed media for Guiseley Art Club on February 6 and nonmembers are welcome. Please arrive by 1.15 for a prompt start at 1.30pm. The event is as the Methodist Church Hall, Oxford Road, Guiseley, Leeds LS20 9EP. There is an admission charge of £5, which includes refreshments.

JOURNEYS INTO THE LIGHT Ken Howard’s 12th exhibition at Richard Green Gallery includes a selection of plein-air paintings and interiors. Made during recent travels around India, Crete, South Africa and America, as well as from his studios in Cornwall, London and Venice, each of these works is inspired by light. Ken Howard: A Painter’s Journey is at Richard Green Gallery, 147 New Bond Street, London W1S 2TS from January 18 to February 3. Telephone 020 7493 3939; u Ken Howard Cornish Bouquet, 2014, oil on canvas, 36⫻30in (91.5⫻76cm)

WORKS ON PAPER The Works on Paper Fair has a wide range of works on paper, including drawings, watercolours, original prints and posters. Additionally there’s a vibrant programme of daily talks which this year includes David Boyd Haycock on ‘The Birth of the Avant-Garde: British Art Goes Modern, 1908–1918’ and Andrew Graham Dixon on ‘Caravaggio’. The Works on Paper Fair is at the Royal Geographical Society, South Kensington, London SW7 from February 9 to 12. Tickets are £20, £10 for under-21s, free for under-14s. For full details and opening hours, see or telephone 01798 215007. u Rowland Hilder (1905–1993) Kentish Lane, watercolour, 191⁄4⫻281⁄4in (49⫻72cm), exhibited by Frances Iles


February 2017


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Patterns in light Bryan Evans, winner of the St Cuthberts Mill and Exhibition Awards in The Artist Open Competition 2016, demonstrates the watercolour techniques behind his atmospheric interpretations of Glasgow


've lived in Glasgow for almost 30 years and have always been fascinated by the tenement flat 'closes' of the city. I've painted numerous versions of them over the years. They all have a central stairway and large windows that allow light to flood in on Scotland's rare sunny days. My work is predominantly tonal, concerned with light and shade and the 'closes' allow me endless possibilities to examine variations in lighting, structure and tone while sticking to a similar basic theme. The close I'm painting for this article is in the fashionable Finnieston area of Glasgow's West-End. It's south facing,


artist February 2017

so in the afternoon light floods in to create fascinating shapes and patterns on the wall and stairs. The relatively cramped space meant I couldn't capture a satisfactory image with one photo so I took over a dozen photos from different angles, which I combined digitally in Photoshop in my studio. Before the wonders of digital technology I used glue and sticky tape to paste photos to a board. The idea here was to create a slightly vertiginous, forced perspective that appears basically normal but also a little uneasy in atmosphere. The windows, bannisters and stairs veer away from each other in slightly

unnatural ways, but hopefully not too artificial a manner.

How I work I tend to use watercolours in a fairly unconventional manner, usually starting with the dark tones and, as part of the process, often removing as much paint as I apply. When I do demonstrations of my technique I tell my students that I don't so much 'use' watercolour as 'abuse' it. I almost always use Bockingford watercolour paper. When I first began painting in watercolour I used this paper because it was, and still is, one of the best value watercolour papers

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t Dusk Falling on Platform 6 – Crewe Station, watercolour and gouache on Bockingford paper 140lb (300gsm), 19⫻223⁄4in (48⫻58cm). I wanted to catch the warm glow of the waiting room as night falls and felt that the reds of the rail staff coats echoed this well. I painted the beautiful Victorian buildings in various cool blues with some Payne’s grey to emphasise and contrast with the warm oranges and yellows emanating from the windows u St Enoch Square in the Rain, watercolour and gouache on Bockingford paper 140lb (300gsm), 271⁄2⫻193⁄4in (70⫻50cm). St Enoch is one of the main squares in Glasgow city centre. I wanted to paint the square from above (as seen from a modern shopping centre) to flatten the picture plane and accentuate the abstract nature of the pedestrians and their reflections. It's primarily a tonal piece allowing the blues of the people to contrast with the warm sepias and reds of the buildings

around. Over the years I've come to rely on the intrinsic qualities of Bockingford for my work. It comes in a standard weight of 140lb (300gsm) and has a very sturdy surface, suitable for the abuse I inflict on it and the way it's sized allows me to remove paint in a way that suits my technique. I used the blue tinted paper for In a Blue Close – Late Afternoon (pages 16-17), which suits the cool tonal range, and allowed me to add lighter highlights as the painting progressed, extending the tonal range of the image. Also, JMW Turner used tinted paper, so if it's good enough for the Great Turner…

Painting sequence I start the painting with a basic drawing, sometimes with watercolour pencil for the initial drawing. At this stage I don't need much detail, just an indication of the basic structure for blocking in at the next stage. Initially I usually use Winsor & Newton Cotman watercolour tubes, but as the painting progresses I transfer to artist-quality paint for its added vibrancy and intensity. When I'm satisfied with the basic accuracy of the drawing I begin to block in the shadow areas and darker tones. I use a neutral dark grey for this. I sometimes mix this shade using dark crimsons, blues and umbers but I also often use a Payne’s grey. A few years ago I discovered Winsor & Newton large pan watercolour paints, which I've started using more and more. The large surface area of these paints (about four times that of standard whole pans) is invaluable if using large brushes and broad washes.

They come in a fairly limited range of colours and are quite pricey, but for serious watercolour painters they’re worth it. My watercolour paintings usually start with broad, expressive washes. I work on the whole image at once, blocking in the basic tones. I aim for an overall balanced effect of composition and tone, often turning the painting upsidedown so as not to get too involved in detail at this stage. I use fairly intense, very wet washes, which I allow to dry naturally, often overnight. I rarely work wet-on-wet for very long. Because I rarely work on any piece for more than about 20 to 30 minutes at a time I always have a number of paintings on the go at once. As I write I've probably got about a dozen paintings in various stages of completion scattered around. As a painting progresses I add more layers, usually in similar dark tones,

gradually refining the image and pulling together the work as I go along in an attempt to clarify it.

Scrubbing I have a collection of old and battered stiff-bristled brushes for scrubbing off the watercolour, and also use toilet tissue. I find the surface of Bockingford paper very sympathetic to this technique. I also use this scrubbingaway of paint to achieve a softening effect in certain areas. I'm particularly fascinated by the way in which adding, and then scrubbing away, layer upon layer of dried washes seems to give the painting an element of narrative and history all of its own – stains and marks appear beneath subsequent layers in an intriguing way almost reminiscent of the stains on the walls of the actual Glasgow tenements. My preferred watercolour pencils are

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DEMONSTRATION In a Blue Close – Late Afternoon



After making the initial drawing with cyan watercolour and a rigger, I mixed the darkest grey tones to block in the stair shadows as well as the dark tone of the wall and then a lighter mid-grey to suggest some of the other shadow areas. When the first layers of paint were dry I blocked in a general mid grey-blue wash to set the general tone of the painting

Derwent. I use these as the painting nears completion to introduce subtle changes in tone and to harden some of the lines and edges. At the early stages of a painting I can achieve changes in tone purely with washes but as the work nears completion I find this too broad-brush and the Derwent pencils are more suited to slight variations and changes. The marks made by the pencils also have the benefit of being pretty much totally reversible and can be blended in or scrubbed off just like the paint pigment. The final marks of a painting are often the hardest ones to make, and usually made with a fine detail brush. One of the perennial questions for painters is when is a painting finished? Over the years I've arrived at a somewhat glib, but fundamentally true response to this – a painting is finished when it's not as good as it just was, and is unlikely to get any better. The problem is learning when to stop before the painting starts TA getting worse.


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I added more washes and layers, occasionally adding more precise, darker details to define certain areas – for example the bannister and the wooden astragals of the window. It's at this stage that I started to remove some of the paint – some 'cauliflowers' were appearing. Sometimes these effects don't bother me too much but in this instance it was a little extreme so I decided to remove it. I also scrubbed away paint from around the windows and the shadows on the floor. It suggests light flooding in around the windows and bannister



Warmer-toned washes added a sense of depth and form rather than any particular effect of realism or verisimilitude. I began too to add some local colour, such as the red of the bannister and intensified the blue of the wall, and started to introduce gouache and watercolour pencils. I used Winsor & Newton permanent white gouache to clarify the sunlight shining on the wall as well as the light streaming through the windows and onto the stairway and bannister. Derwent watercolour pencils were used to harden some of the lines and edges around the windows and bannisters u


In a Blue Close – Late Afternoon, watercolour, gouache and watercolour pencil on blue tinted Bockingford paper 140lb (300gsm), 131⁄2⫻83⁄4in (34⫻22cm). I picked out a few highlights on the window ledge and bannister with gouache and watercolour pencils. If I think a painting is finished I usually put it aside for a few days or even weeks before deciding whether I've truly exhausted its potential and it's finally completed

Bryan Evans gained a degree in fine art at Loughborough Art College and works as a painter and printmaker in Glasgow. He exhibits at the Fotheringham Gallery, Bridge of Allan, telephone 01786 832861, More of his work can be seen at and

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Patterns and texture in the landscape Caroline Saunders talks to colourist Nick Andrew about his use of bold, vigorous brushstrokes and vibrant colours to express atmosphere, motion, vitality and freshness in his acrylic landscapes


rawn to secret and secluded places, Nick Andrew finds the constantly changing life, light and weather captivating and exhilarating. From his studio close to the banks of the River Wylye in south Wiltshire, he explores the nearby water meadows, lakes, forest and especially the river, in all seasons and at all times of day. ‘My paintings are as much about the physicality of the paint and surface as they are about the subject. I love looking for textures and repeat patterns, which often become included and defined in the painting.’ By translating the subject into physical movements or gestures that leave their

evidence as marks and strokes of paint, Nick aims to portray an idea of the place rather than an accurate representation.

Preparation To familiarise himself with a location he takes a sketchbook, a black biro or Uniball pen, white correction fluid pen, Neocolor crayons and watercolours. ‘My favourite time of year is October to May, a time of transitions and visual drama. Early mornings or evenings, when the sun is low and the light has a golden tint with deepened contrasts, are most stimulating.’ In the studio Nick works from a scribbled design sketch

based on references taken from sketchbooks, photographs and previous paintings along with his own visual memories of the subject. ‘Working in this way allows me much more freedom in putting together an idea and capturing transitory effects.’ Nick enjoys the process of stretching his own canvases. He applies about three coats of acrylic primer, sanding in between coats. ‘This produces a smoother and, for me, a more exciting surface, where the fluid paint will flow, diffuse and flocculate.’ With the canvas flat on the studio floor Nick starts by wetting with a water spray and then floods fluid acrylic paint onto the surface using an old decorating brush. ‘I allow the colour to move and diffuse and dry before rewetting the surface and laying in further layers. The result is a surface of built-up stained colour. The canvas is then hung on the wall, where I can start to build it up with broad marks; I use movements from my shoulder and whole arm. An unpredictable and natural-looking broken mark is achieved using a partially worn, one to three inch decorator’s brush. ‘Sometimes I scratch a pattern, texture or shape into the wet

t Nettle Patch Shear Join, acrylic on canvas, 26⫻26in (66⫻66cm). ‘I love the way the movement and textures of the river are overlaid by the shapes of plant stems and foliage, creating an even more complex abstract pattern. This design was laid out on a wet canvas with thin red and yellow-browns. Broad strokes of heavier paint established the blocks of trees, riverbank and reflections. Leaf shapes in pale green and yellow tints were swiftly applied with a medium decorator's brush and fingers. I also scratched into the surface with the end of the brush. Finer watercolour brushes were used for the stem, reed and twig lines.’


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paint. At a later stage I build textures and make specific marks and lines with heavier, more opaque paint, using a range of bristle and watercolour brushes. I allow the brushmarks to follow the directions of movement in the painting.’ At the outset Nick is never really sure how a painting will evolve. ‘The process is largely intuitive and involves a large amount of standing back from the canvas – analysing, correcting, despairing and reworking! ‘For my smaller studies I make up marouflage boards: coating 8mm plywood or MDF with acrylic primer, then applying canvas so that it sticks to the primer, stretching it around and stapling at the back. I then prime over

the top. This gives a good firm surface for painting on, but also it can be drawn or scratched into. When I work on paper, it is usually on sheets of Khadi paper (Indian cotton rag) which I do not prime as I love the uncertainty of the surface.’

Interest and design Often Nick’s design pivots around a tiny moment of light and contrast which can only be recorded with a camera. The quality of the picture is not important as he does not work slavishly from photographs; they just act as a reminder of patterns, textures and colours. Sometimes he plays around with the image in Photoshop,


Clover, Buttercup and Horse Straw Burning, acrylic on canvas, 24⫻24in (61⫻61cm). ‘Sunlight filters through and illuminates the column of smoke, the diffusion of which gives a sense of the slightest summer breeze. A wet underpainting of pinks and yellow-orange was swiftly worked into with broad brushmarks of violet and violet-green mixes. This established the pattern of darks leading across this undulating meadow towards the dark tree masses. Brush flicks of pale green tints were used for the grasses and brush, stick or finger stabs of pure yellow and violet were used for the flowers. A light blue tint was lightly scumbled and rubbed with my fingertips.’

artist February 2017


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I N C O N V E R S AT I O N experimenting with colour and composition. The point of entry into the painting is often an element that caught Nick’s eye, possibly a transitory play of light on riverbank reeds, or a strong shadow on a woodland path. ‘I might accentuate the contrast at the point of entry to attract the eye but then also heighten colours and contrasts in other aspects around the painting to unsettle the eye and keep it moving. Square formats present an interesting abstract challenge. They have to work as a surface arrangement of shapes, marks and colour, which guide the eye around the space. I look for ways of creating receding planes and softening colours to imply depth.’ Nick also enjoys working on landscape – format pieces (often close to a double –square proportion). ‘The eye has a tendency to swing side to side in this format, so to interrupt this I use vertical marks, or exaggerate close and distant features. It is interesting how the image

compresses more acutely when it is viewed progressively from the side.’ As well as the overall impact of the piece, Nick likes to have enough interest for the viewer, so that there is always something new to discover.

Colour themes The exploration of colour is a main preoccupation. Every painting has a colour theme, so that he can play with the relationship between those colours. The pigments he uses are found from a range of primaries and secondaries (no tertiaries, earths or black). ‘I usually use warm colours – anything from cadmium yellow through to crimson in my underpainting and to block in the composition. This is especially valuable when the subject is fairly cool, involving predominantly blues and greens because an undercurrent of warmth filters through.’ As a painting begins to take off, he gravitates towards limited colour themes, based on the subject, time of

day and the mood he wants to convey. ‘I might work predominantly with a combination of violets and green yellow, which can be used next to each other to create contrast and attract the eye. I mix them in varying proportions and with white to create coloured neutrals and tints. Of course, I bring other colours in too, but always with hints of yellow or violet added.’ Nick uses Spectrum acrylics, which he says are the best colours he’s found. ‘They permit a range of working methods from fluid and wet-into-wet, through to moderate body.’ His colour palette consists of titanium white, alizarin crimson, cadmium red, cadmium yellow deep, Spectrum lemon yellow, Spectrum phthalo green, cerulean blue, ultramarine and Spectrum violet (dioxazine). Nick uses oils from time to time, sometimes on their own or laid over acrylics if he wants that particular brightness and inner luminescence that can only be TA achieved using oil paint.

Nick Andrew


August Thistle Bank, acrylic on canvas, 26⫻26in (66⫻66cm). ‘I wanted to describe the contrasts between the sharpness of thistle and leaf patterning and the textural softness of the seed heads. The design was worked out in a tonal sketch, then mapped out with broad washes of dilute red and orange acrylic mixes on a wet canvas. The painting was developed using large, worn decorator’s brushes. The red-violet and green colour scheme expresses the mood of late summer, with warmer colours worked into the background and foliage. The purple taken from thistles into the water and distant trees help to direct the viewer's eye around the image.’


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Since graduating in Fine Art at Gloucestershire College of Art Nick Andrew has exhibited widely, in galleries and at events throughout the UK, mainland Europe and the USA. He has paintings in a range of public and private collections including many hospitals, Scottish Equitable, Shell UK, Lloyd’s Bank, Weetabix, North Sea Ferries, Cable and Wireless, Hilton International, Texaco, Hampshire County Council, Houses of Parliament, Longleat Estate, Sainsbury’s and Prudential. Nick is the founder of, and a former co-ordinator, for the Wylye Valley Art Trail. For more information, see and https://

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TA02p22_25_Alade_Layout 1 13/12/2016 12:49 Page 22

The beauty of rain and reflections Adebanji Alade is fascinated by reflections. He reveals his methods for depicting realistic reflections in urban scenes in oils, along with his favourite recipes for mixing interesting greys


became really fascinated with reflections when I was painting a series of plein-air paintings in Bath. I was struggling to depict the effect of the reflections on the wet pavements and it was quite an ordeal. I was painting purely from observation and it wasn’t until I settled down to observe really keenly that I noticed the reflections were easier when simplified to shapes and then mastering the edges around the shapes. It just clicked! Every reflection has a beauty of its own – they should be treated purely as subject matter in still life, even though they are just illusions. Urban scenes can be complicated with buildings and objects like cars, poles, trees and figures but reflections help to unite and simplify the whole scene.

Recipes for grey On rainy days, greys are the most dominant colours and the ability to mix them correctly makes the other colours


artist February 2017

sing! I have some core recipes I adopt. They are based on mixing complementary colours in unequal portions. My favourites are viridian with alizarin crimson and cobalt blue with touches of cadmium red and yellow ochre – the cadmium red and yellow ochre making up the right kind of orange I need. Another great recipe is ultramarine and burnt sienna or transparent red oxide. All these are mixed with various amounts of white to produce interesting mixtures of greys. There’s something about mixing the greys a bit richer and more saturated than they are, to make the scene really come to life. The whole scene should have an overall greyish feel, but at least every colour should have a bit of neutralising in the larger components so that the more vivid colours can be used in the figures, cars or lights to attract attention and lead the viewer to the centre of interest in the painting. If I were to paint a red bus on a rainy day, I’d make


After the Rain, London Streets, oil on canvas, 24⫻30in (61⫻76cm)

sure that the road colour was mixed with a more greenish grey to complement the brightness of the red, and I’d make sure the components around it were also in that colour scheme too. It’s like a game; once you know the rules you can apply them at ease.

Painting reflections I have discovered that the most successful way to paint reflections is to paint the reflected surface – road or pavement – separately from everything else and treat them as separate subject matter (I look at them as portraits or a still life). Once I’m able to look at them in this way it makes me more careful about paying attention to shapes, colours and subtle shifts in tone and temperature. The most important elements are the edges. Most edges around shapes on

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PRACTICAL wet pavements and roads are soft, but look out for they suddenly have a hard edge. If this is managed and depicted well it creates a closer and accurate representation of the reflections. It’s also best to paint reflections alla prima when using oils, which is my usual medium for painting reflections. The effect of wet-on-wet creates an even more believable illusion of the reflections. Never underestimate the power of your drawing, either. Being able to get the reflections in the right size, proportions and angles is so important, especially when it comes to the reflections of poles, streetlights and other verticals in the scene. If you can treat them this way, by isolating them from the main objects in the scene and making them stand out on their own, only a few adjustments will be needed

to tie the whole scene together when you look at the painting at the end.

Bringing it all together Even though I work purely from observation and picture references, and I believe in depicting what I see to the best of my ability, there are still times when I follow the rule of my mentor Ken Howard, who said that ‘dark things appear lighter when reflected and light things appear darker.’ If I have done everything right and I notice this rule is broken or doesn’t really apply, I go over by making these adjustments. This helps to make the painting look believable. When next it is raining or when the rain is over, look carefully for these things and you’ll be surprised to see how true they are. When it comes to painting reflections I have studied

the works of Ken Howard, Peter Brown, Irene Marsh and Jeremy Mann. All have different approaches but it’s always great to see how they handle rainy days and reflections with skill and dexterity.

Details and finishing touches The details and finishing touches are by far the most important aspects of the painting but they should be handled with care. They are like the icing on the cake. Just little marks here and there – the lines of the pavement, the lights on the road and pavements and the minute features on figures and their reflections. There’s nothing worse than over-doing a particular passage until it’s painted out of life. So the main tip with details is, once you start fiddling without knowing where next to TA land the brush, it is time to STOP!

DEMONSTRATION Rain, Rain, Rain, London Streets u


Using a wash of orange, burnt sienna and white I created a warm gessoed ground on the linen canvas, after which I spent as much time as possible sketching with a ZIG 75 Dual brush pen and a black pencil. I was very rigorous with the drawing; nothing was taken for granted. It’s quite a large surface and if the drawing had gone wrong it would stick out like a sore thumb. The key at this stage is patience


This is where I show exactly what I was talking about when I said the reflections are treated as a separate entity. I had hardly painted anything else in the scene when I decided to take on the reflections, taking my time to get the right colours, shapes, tonal and temperature shifts and edges. Notice the soft edges between the colour shifts in the light pavement areas. The recipes for greys were used extensively here, mostly alizarin crimson and viridian green. I have also given the trees a good start, painting with very thick colour straight from the tubes, which is a great contrast to the fluid application of the smooth surface of the pavement

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I worked on everything in the distance and gradually whispered my way forward into the foreground. Things in the distance are kept a bit greyer. Look at the difference between the foliage of the trees in the foreground and those in the background


artist February 2017



Now came the first bit of fun with the figures. Nothing was taken for granted. Even though they look a bit detailed, they were painted in a loose, calculated manner, making sure that the effect of movement and subtlety still pervades. The spaces in between are also vital as they help in making correct connections

between what is in front and what is at the back. If you look closely you’ll see that I have painted the area around the figures before painting the figures. Some may see this as wrong, thinking the figures would look like cut outs but the key here is to paint them alla prima, to keep the paint fresh and fluid

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Adebanji Alade



My main focus here was the man with the umbrella in the middle; he is in the dead centre of the painting and I had to be careful that he looked just right because any errors would be too distracting. I also painted one of the umbrellas in the Union flag colours; this looked a bit odd when I stepped back and didn’t flow with the overall colour scheme, so I adjusted it at a later stage after listening to views from my studio mates



Rain, Rain, Rain, London Streets, oil on canvas, 30⫻48in (76⫻122cm). I completed the remaining figures and worked on connecting and bringing all the components together, mainly working on edges and fine-tuning details. Drawing skills are vital here, hence my advice to keep sketching as much as you can so you can have some fluidity in your brush applications and strokes

studied fine art in Nigeria and has a diploma in portraiture from Heatherley’s School of Fine Art, where he teaches in the Open Studio. He has exhibited widely and won many awards. Adebanji is a member of the Royal Institute of Oil Painters and a council member of the Chelsea Art Society; he tutors workshops and gives demonstrations for art societies and also offers private coaching. For more details see

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Dramatic tension Alison Rankin paints still lifes with ‘dynamic relationships’. She reveals how, by using textures, colour coordination and shapes, she transforms everyday objects into acrylic paintings with ‘balance, dignity and harmony’


am passionate about still-life painting and place a great emphasis on light, colour and composition. I love conveying the weight and texture of fruit and vegetables, creating a classic and sensuous still-life feel. Textures, shapes and colours are harmoniously combined to elevate the mere domestic to iconic status. My most recent work involves fewer objects, sometimes just single fruits, an egg, a piece of cutlery, string or suchlike. I aim to extend the genre by adding movement and dynamic relationships; to introduce dramatic tension into the tranquil world of still life. This is often done using balance, items falling (or are they rising?) items hanging, tied and just barely balancing,


artist February 2017

with collapse just a moment away. My starting point is often the colour of the main item. I always work directly from life and tend not to sketch out ideas; I fiddle with the set up until all the components are exactly and precisely placed. I often use Sellotape, pins and Blu Tak to secure my props for the duration of the work and then paint exactly what I see, although I’m not aiming for photorealism. I love the contemporary but traditional paintings of Henk Helmantel and Eric de Vree as well as the extraordinary draughtsmanship of Michael Angove.

Basic working method I work in acrylic paint, often combined with coloured pencils, graphite and


Falling Egg with Chinese Jar, acrylic on paper, 303⁄4⫻363⁄4in (78⫻93cm)

inks, building up to create a smooth but painterly result. I work on Fabriano 5 300gsm paper; I love the way it grabs the paint and that the paint dries immediately, so I can work really quickly. I work on wet paper, stretched and taped onto a piece of plywood. After I’ve finished the painting I varnish it with four or five coats of Polyvine Decorators Varnish, one part satin mixed with two parts matt. When dry I cut it off the board, work out the exact area, that of the finished piece, and tear the edges using a deckle-edged ruler. I then float mount the work using 5mm foamboard in a black box frame.

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PRACTICAL I have recently been using Tru-Vue non-reflective glass in my frames; although expensive, it stops a painting with a dark background turning into a mirror. This glass is practically invisible, which somehow makes the painting more precious looking. Alternatively I bond the paper with PVA glue onto a piece of 6mm MDF, then paint on that and varnish it with five or six coats of the same varnish. This gives an extremely robust and durable surface and can be framed without using glass.

Materials Acrylics are wonderfully versatile paints. If you can’t get on with them, my advice is always to buy the best quality

you can. I use Chroma Artist Colour*; they have fabulous density and depth of colour and are very natural looking. I couldn’t work without ivory black, Chroma white, unbleached titanium, parchment (incredibly useful), warm grey, sepia, raw umber or Payne’s grey. I also use Liquitex heavy body acrylics, their transparent colours make a really good bright glaze. I also use a lot of pencil, ordinary graphite as well as graphite sticks, rubbed on with stump sticks as well as Derivan liquid pencil in sepia, which is more like creamy paint than liquid, and Schmincke Aerocolor inks. I particularly love Prismacolor pencils, they are fantastic for small areas of intense colour as well as creating shadows and

texture. The French greys are perfect for shadows and the black for tiny points of darkness; the white and cream for gently suggesting a highlight or softening an edge. An ordinary B pencil for drawing cracks and crazing on old pottery is invaluable. I am always looking for a good opaque bright white – very difficult in acrylic. I have been known to use a little white oil colour or oil pastel for highlights. In fact, oil pastels are great for rubbing on lightly to add texture and highlights; as you paint over them they can act as a resist to the acrylic and create a very interesting texture. I have two Mastersons Sta-Wet palettes, one to lay out my colours, the

DEMONSTRATION Old Jar with Knife and Balancing Egg I wanted to portray something a little quirky and mysterious. Could the weight of the egg actually hold down the blade of the knife? Or was it about to be flipped up in the air by the arrangement collapsing?



As always, I began with a simple but accurate outline drawing in 2B pencil



When painting fruit I got into the habit of always doing them first before they wrinkled and went mouldy, so the main item is always done first to set the tone of the painting. Most of the detail is finished but I work up the lights and darks as I go along


STAGE THREE ABOVE AND RIGHT I always get the base colour and shading of an object right before I add the detail or pattern

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I blocked in the background roughly, after deciding where the horizon would be, then blended, stippled, rubbed and washed the horizon line until it was exactly right; not too perfectly ‘airbrushed’ looking but not too patchy or blobby either



Old Jar with Knife and Balancing Egg, acrylic on paper, 233⁄4⫻291⁄2in (60⫻75cm). Lastly the edges were neatened and either softened or sharpened, highlighted or shadowed

other to use as a mixing palette. These are invaluable as acrylic paint can stay useable for weeks. I intermittently spray the surface of both palettes with a fine water spray to keep them damp. My brushes are Pro Arte Prolene and Polar, mostly the flats, with the very fine rounds for detail. I use inexpensive brushes because I’m very hard on them – rubbing, scrubbing and stippling.

Texture and backgrounds I always have a piece of dampened kitchen roll in my hand to blot almost every paint mark as it goes on. I also use my finger to smudge and rub the paint. I work the paint in layers, thick and thin, dry and wet. I rub it out with kitchen roll, my finger, a putty rubber, a tiny piece of green kitchen scouring pad, and sometimes use fine sandpaper when it’s dry to smooth the surface again. Dry brushing is a very useful technique with acrylics; combined with thin washes it is a wonderful way to obtain texture. Heavy weight paper can take quite a lot of rubbing and scrubbing but you have to know when to stop, or a hole will appear. Equally you can keep layering up the paint but there will come a point when you just can’t make any more paint stick. I work from white up to dark and then back again, adjusting the tonal values as I go along. I do use black in small amounts, but usually soften it with a little sepia and warm grey, or I mix indigo, raw umber and dioxazine purple to make a fabulous rich ‘almost black’. I very rarely use straight primary colours. Sludgy ‘off’ colours seem to work for me. I often add a tiny dab of black or sepia to dull down a mixture. Dark backgrounds are a mix of sepia, warm


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grey and a small amount of black and raw umber. Backgrounds can be light, medium or dark but always have some mottling, shading and blurring to give depth and sometimes mystery, particularly the dark ones – this is done by very patient stippling and blending. Also very time consuming are the edges of the items,

this is done last, to ‘neaten up’. Getting the balance right for soft, hard, light, dark edges that don’t look like they have a line drawn around them or make the object look cut out, takes careful TA work, often with a tiny brush. * Chroma Artist Colour can be purchased online from

Alison Rankin has a BA hons in Graphic Design. She has worked in book and magazine publishing, as a photographic stylist for food photography, editorial and advertising and also produced paint effects for interiors, furniture and photographic sets. Alison has been painting still lifes professionally for 20 years and has exhibited widely, in the UK and internationally, including in the Royal Academy Summer Exhibition. Alison will be represented by Quantum Contemporary Art at London Art Fair, Business Design Centre, Islington, London, January 18 to 22, and the Affordable Art Fair London, Battersea Park, London, March 9 to 12.

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Digital work for watercolour paintings Paul Talbot-Greaves has some useful advice for taking digital photographs to use as reference material, as well as how to edit them to improve your composition and ultimately paint a better picture


t makes sense to take your own photographs. This avoids any copyright or moral issues of using someone else’s work. For me, though, it goes beyond this. One person’s vision is different to another’s, so working from a picture that was taken by somebody else is actually harder than working from your own image. Seeking compositions in the landscape is fun and you will build a stronger eye for design the more you do it. The best starting point for taking photographs with a painting in mind is to activate the grid on the viewing screen of your camera. The compositional grid divides the picture space into three equal sections each way and allows you to formulate your photographs towards better designs. Where two of the lines intersect is where you should ideally place your focus as that is where the eye will naturally rest. The grid also

helps with setting proportions, such as two thirds landscape and one third sky, whether in a portrait format or a landscape one. Many people nowadays use phones and tablets as their main source of photography, but if you don’t you should consider it, as we all seem to carry a phone, some of which have excellent quality cameras. On iPhones go to settings/photos and camera then scroll down to select the grid. On Samsung go to camera/settings and select the button to turn grid lines on. Most cameras have grid lines too but some don’t, so check your manual.

Taking the photo Most pocket cameras and mobile phones have automatic settings, with some having manual override. Unless you are technically minded and understand f-stops and shutter speeds (I don’t) you will be using the simple point and shoot method. This works fine for painting reference but unless you employ a little

trick, the camera will often set itself for a general exposure and this could drastically alter how your photograph looks. When taking a photograph with a pocket digital camera, try to focus on a balanced area of dark and light near to your focal point. This usually involves pressing the shutter button part way, which is often confirmed with an audible beep. Keep the button held part way, then move the camera back into position for your composition and press harder to take the shot. You should have a much better balance of values in your photograph. To see how your images really do alter you can try an experiment by following the same procedure but taking one shot focused on the lightest part of a scene and another focused on the darkest part. One will be very dark the other overexposed. With a bit of practice, you will become attuned to taking photos somewhere in-between these extremes. On some mobiles the process will be the same, but on others, especially

DEMONSTRATION Cold Morning, Crimsworth


I liked the compositional arrangement of this photograph but the light seemed rather flat and there wasn’t quite enough contrast, so I plugged in the drawing tablet and set to work making a few adjustments



I explored and deleted a few alternatives prior to this modification. I removed the figure and animals using the clone tool, adjusted the Landrover colour, added patches of snow and increased the contrast around the building. I was sufficiently happy with the look of this alteration to move onto the painting

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Cold Morning, Crimsworth Dean, watercolour, 15⫻22in (38⫻56cm). I used the modified photograph for reference, but still allowed a little freedom in the painting process. I painted the colours a little brighter using lots of burnt sienna, yellow ochre and alizarin crimson. The snow is white paper – an important use of the modified composition

iPhones and iPads, you simply touch the part of the screen where you wish to focus/set the exposure. If you hold up an iPad on a sunny day and touch the camera image on the screen in different places you will notice the exposure altering and your picture turning lighter and darker.

Editing images Sometimes it really helps to manipulate an image, whether adding or removing a feature or just increasing the colour, in preparation for painting. There are many photo-editing programmes and apps that allow you to do this. I don’t see much point spending hundreds of pounds on professional editing software; the essential editing tools are cropping, saturation, tone, contrast and cloning. All of these, except cloning, come as standard with Windows 10 and Windows 8 on a PC. I use Serif photo editor, which does exactly what I want it to do by way of quick, simple alterations, but at a reasonable cost. These alterations are perhaps a more modern take on the thumbnail sketch. If you need to see a level of reality, then altering a


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photograph is a creative and involved way of preparing for a painting.

Cropping The easiest alteration is cropping. If you take photos with paintings in mind you will ideally have a ready-made composition, but if you are working from a holiday snapshot for example, you might wish to reformat the content by cropping the image to help it conform better to the compositional grid. Cropping tools often include the compositional grid so that you can use the proportions as you chop up your original shot.

Saturation and brightness If you print photographs to work from, the colours often appear darker than they look on screen. To counter this, I often nudge up the saturation a little, thereby brightening the colours. This can also help to inspire a brighter painting. If your shadows are dark they will also look black when they are printed. After increasing the saturation, I generally lighten the entire photograph by increasing the brightness slightly. Working out to what level is more about trial and error but to achieve the greatest results, ensure you print at best quality and use a reputable brand of photo paper. The difference between this and copier paper can be astonishing.

Clone tool To make further adjustments to a photograph, the clone tool is invaluable. This is a method of copying part of your photograph into another area. If I want to get a sense of how a composition

might look with a particular feature moved or omitted from the original photo I will go straight to the clone tool. The size of the clone can be enlarged or reduced accordingly and a simple alteration can be made in a matter of a few minutes. The finish doesn’t have to be perfect, as it’s a quick way of determining whether an idea may work or not. In the process of painting, however, it can be really helpful to have the photograph modified to your design idea.

Making e-drawings and sketches Electronic painting and drawing programmes allow you to make thumbnail sketches with the added bonus of the undo button. I prefer to feel the glide of graphite across a piece of paper but I do possess an electronic drawing tablet and a painting programme, which I sometimes use for sketching out thumbnail ideas or for making up value studies. The pad is pressure sensitive, so as you press on with the stylus, the line becomes darker and heavier just like you would expect; it also works with my photoediting software, which is really useful. An iPad, with drawing software, provides a quick and convenient method of sketching, or trying out compositional ideas prior to painting. Whatever your opinion, the digital world is here and the tools are out there to make painting and creativity more accessible and more enjoyable. Use them without shame or ridicule as they can be invaluable for enhancing TA your work.

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DEMONSTRATION Cottages and Stream


u I liked this composition but the light was lacking and I wanted to draw better attention to the cottages


In my photo editing software, I painted in some stronger shadow patterns by selecting grey in the colour picker and setting it to around 70 per cent opacity. I then selected orange and, with a similar opacity, I painted the roof of the building. I also used a clone tool to extend the shrub over the wall on the left



Cottages and Stream, watercolour, 15⍝11in (38⍝28cm). Happy with the modified reference, I painted confidently knowing that my ideas for adjusting the scene would work

Your challenge To get the maximum benefit from this exercise, email for an electronic copy of the image (below). Using the standard photo editor on your PC, crop the scene into a portrait format with the yacht on the right third of the compositional grid. Increase the brightness and decrease the contrast, then increase the saturation so that you can see more of the boat. Create your painting from the modified image then take a good quality photograph and email your painting, and a copy of your altered electronic image to Dawn, together with a brief description of the process you used. Alternatively, you may wish to use the traditional method of modifying the printed image through the use of thumbnail sketches.

Each month all entries will be uploaded to PaintersOnline and I will select the work of one lucky artist for appraisal. Have fun, good luck and happy painting.

Moored up

Paul Talbot-Greaves has been painting for over 20 years and teaches watercolour and acrylic painting in his home county of west Yorkshire. He also runs workshops and demonstrates to art societies throughout the north. Paul can be contacted by email: information@ or through his website:

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Summer Nude, oil on canvas, 193⁄4⫻193⁄4in (50⫻50cm)

Naked advice Adele Wagstaff shares her tips on composition, foreshortening and describing the form as she demonstrates a reclining nude in oils


ach summer I take the opportunity to work on a sustained life painting, setting up an intensive pose with a model over a five-day period. Working on a painting over such a length of time allows for much greater continuity than the usual one- to fourhour session with a model. There’s


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more time for concentrated focus and analysis with reflection, revision and constant re-evaluation of the piece throughout the painting process. Working on any continuous pose is extremely demanding for any model, even for the most experienced. Carefully consider, and discuss with

your model, the type of pose you will be working from. Many of the sustained poses I have worked from over the years have tended to be either reclining or a fairly simple seated pose where the body is supported without any strong twists or pressure on a particular area.

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PRACTICAL My paintings of the reclining nude have tended to be of front or back views of the figure, with a longer composition. My original intention was to paint the pose from the back, but after walking around the figure, looking at all viewpoints, I was struck by the foreshortened viewpoint and how the light touched the figure. I decided then to stay with the foreshortened view, which sat beautifully within a square composition. I used a viewfinder to see how the figure looked within both a square and rectangle, and then noted where the centre of the composition was so that this point

could be positioned on the canvas. Notice that the linen remains its natural tone as it is prepared with glue size, rather than gesso. If you are working on a white surface don’t leave the white background to dominate as it can confuse your judgement of the tonal values of the other colours. Even if the area surrounding the figure appears light in colour/tone, paint it in for reference. Before applying any colour to the surface, I mix a range of colours on the palette with a palette knife. Mixing with a palette knife will enable you to mix a good quantity of colour while thoroughly mixing each colour. Adding small amounts of

thinner with the knife allows the paint to remain buttery rather than becoming over dilute, which is the danger when adding turps with a brush. As the painting develops you will be aware of how the oil paint responds and how other techniques in paint application may arise as you work. Paint won’t dry between sessions as it would from a weekly sitting, when you work on the same painting several days in a row. If the paint surface is too wet or sticky to place paint over the top you can carefully scrape back the area of paint, or blot the area with tissue to remove excess oil, so that paint can be applied over the underlying colour.



l Michael

Harding, Winsor & Newton, Blockx and Old Holland oil paints: warm white, cadmium lemon, raw sienna, cadmium red, alizarin crimson, viridian, cerulean blue, ultramarine and raw umber

l Brushes:

Nos. 2 and 4 riggers and a selection of rounds and filberts of a synthetic bristle, from Rosemary & Co and Winsor & Newton A wooden palette, palette knife


Turpentine and linseed oil

l The

linen was sourced in Belgium and stretched over a wooden stretcher, then prepared with two coats of size



With the underlying drawing complete, colour was patched in. The background is as important as the subject, so avoid working solely on the body and leaving the background until later. It is important to establish the relative tone of the area immediately surrounding the figure to be able to judge the tonal values of the skin



Warm and cool and light to dark colours were mixed using a palette knife. The first colour areas were patched in quite broadly over the surface. Large patches of colour were placed over an entire area, for example the lower leg or thigh, and mixed colour was then used to continue/develop any drawing

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The figure was sketched using a fine rigger brush with a dilute wash of raw umber; the position of the pelvis and upper leg being the first to be placed. The scale is continually checked through measuring. The length across the top of the thigh, on the vertical, was used as the scale throughout. Small marks around the area of the hip and buttock demonstrate how the scale of other parts of the figure is compared to this measurement. The diagonals and edges of the mattress were lightly sketched so that I could visualise how the composition sat within the frame


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This detail shows how smaller areas of colour describe the volume and form of the hip and thigh, torso and upper arm. Small round brushes were used to apply the paint at this stage; the brushmarks are evident over the form and change direction to describe the changing contours of the figure



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The position of the feet were finalised as patches of a bright, cool pink were added. The colour looks very saturated and cool when seen alongside the warmer hues of the thigh and calf. Colours from the drape were used to further establish the shape of the feet. Working further on the background I looked more closely at the warm and cool relationships of both the drape on which the figure was reclining and the area beyond. The warm grey of the linen was very close to some of the darker areas of the drape and in these places the tone of the linen was allowed to show though. Various lines and shapes were enhanced to describe the foreshortening of the mattress


This close-up shows how the drawing of the feet developed. Pale mauve was used to describe how the light touched the top surface of the feet. The pinks of the underneath parts of the feet were patched in with drawn lines of mixed colour; a little darker to delineate the position of the toes and outline of each foot




This detail shows how the toes were suggested by using small touches of colour but without outlining their shape. The right-hand side shows how the darker tones were built up along the front of the knee and shin, and that the colour of the background immediately next to this was deepened

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The forearms and hands were painted. I checked the position and scale of the raised hand as it is foreshortened. But it is also raised slightly by the cushion underneath, so it does appear larger than you would first expect. The hand over the knee was also drawn so that it echoes the shape underneath. A few lines were used to pick out the shapes and structures of the feet




The colours were building up over the surface of the hip and thigh. As it was added, each colour area became a little smaller, as colour and temperature transitions were observed more closely


I concentrated on the extended arm and hand. As the hand is one of the furthermost parts, it was important not to over accentuate it in any way. I looked at the curled fingers and at the overall shape they made. A light patch picked out the uppermost plane of the inside forearm and wrist. The only other information I felt was needed was a dark line to delineate the thumb and a fleck or two of light on her rings

Adele Wagstaff



trained at Newcastle University and the Slade School of Fine Art. She has taught in Belgium, Germany, Italy and throughout the UK including at West Dean College, Putney School of Art and Design, the Slade School of Fine Art and Royal Academy of Art. Adele has been shortlisted for the Jerwood Drawing Prize and the BP Portrait Award, and her work has been exhibited in the National Portrait Gallery, Discerning Eye, Royal West of England Academy and the Royal Society of Portrait Painters. Adele has published two books: Painting Still Life in Oils (2012), ISBN 9781847973139 and Painting the Nude In Oils (2015), ISBN 9781847979056, both published by The Crowood Press.

Summer Nude, oil on canvas, 193⁄4⫻193⁄4in (50⫻50cm)

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B E G I N N I N G S , M I D D L E S & E N D S : PA R T 2 O F 6

Developing an idea In the second article in his series, Charles Williams discusses more ways of starting a painting


y own inclination in painting is to charge in. My approach has been as much as possible not to plan before painting, but to treat each painting session as a discrete activity, and to paint what occurs to me as I go along. When I get into trouble, I re-think and carry on, responding to what I have already put on canvas or paper. This means that the thinking involved in painting is part of the process rather than something I think about separately.

Malleable There are parameters, of course. For instance, I use oil paint, because it allows me to change my mind, to rethink a painting in mid-flow, because of the time it takes to dry and because of its malleability, but I must admit that


an oil painting also looks better the more it is painted, scraped off, adjusted, fiddled with. The surface becomes more chewy and the decisions you make, which result in alteration and re-working, look more and more purposeful. Pentimenti, which is an Italian word derived from ‘repentance’ but means the evidence of paint underneath the final layer, can look very attractive. I also use watercolour, though, the epitome of ‘one-shot’ paint-technology, which is unforgiving in its insistence on freshness and light. Well, you can actually push watercolour around quite a lot, too, with a little thought. There is a lovely story of Turner being asked to draw a ship. Turner takes a sheet of paper and seems to be just sloshing paint and water on, roughly, until, all of a sudden, the little boy realises that the image of a ship is coalescing in the mess, and then there it is! In some ways, this is the

Making it up I also like to make things up, rather than go to the trouble of using extra technology to help me along. It may well be that my work would benefit from more thinking through and

A portrait study in watercolour

It is quite reasonable to start a watercolour painting by drawing first – you establish the tonal relationships with the pencil, and then add colour over the top. The two things to bear in mind are to use a pencil that is soft enough to make a mark without crumbling and so interfering with the paint when the time comes to add washes of colour, but not hard enough to leave grooves in the paper for the washes to collect in, and to add your colour carefully, paying attention to the tones that you have established


point of painting for me. I like the surprise, the way an image will appear, not just in my mind but sometimes it seems to appear on the canvas without my really willing it. There are things about this methodology that I am becoming dissatisfied with. For example, the range of images that I invent; the whole process is, to some extent, unconscious in that I just come up with ideas rather than plan them out first, but does that mean that the images are limited to what my unconscious can produce, or does what I think of as my unconscious just provide me with images that I am able to paint? Machinery, for example, is not common in my paintings. Perhaps I am just lazy.

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Or you can just go straight in… Another portrait study in watercolour

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Dan Coombs, study for Cricket, acrylic, oil and collage on canvas, 173⁄4⫻233⁄4in (45⫻60cm). Dan uses a collage of photocopied images that he has cut out, stuck on and then worked over to work out his composition. He then copies it, in oil on canvas. You can see one of his finished works on page 39 p

planning in the sense that the content might be more interesting. But to lots of people the real problem with this approach is that they lack the confidence to just charge in, unplanned. When I do a public demonstration of portrait drawing by starting off loosely, putting in tonal patches with my pencil, and then gradually tightening the drawing, I can hear the audience muttering uneasily as the first scribbles go down, and then, all of a sudden, the intakes of breath as the likeness emerges. I am performing a similar trick to Turner’s ship, except, obviously, in an extremely minor way. I am using the time I spend loosely shading in large areas of tone to get to know the image more, to assess the shape of the head, and to work out how the dark and light areas are distributed. The loose shading is there to have something to work with, or against, rather than just setting the image against a white sheet of paper. I look for large areas of dark and mid-tones until I can see where and how I can place the head and shoulders, eyes and ears.

Grids and other methods So it might look messy, but it is, in a way, planned. It also means that the process of the painting, and the process of developing the idea, are present in the same piece, and this is a problem for some people. The contemporary painter Dan Coombs (above and page 39) uses found images of figures and distorts them by manually intervening while photocopying them, and then takes the results and collages them, adding acrylic paint to the collages, cutting and pasting by hand, until he has an image he likes, and then he copies it, larger, in oil on canvas. The results may look bizarre, surreal even, but the process is essentially the same as what a Renaissance painter would use; drawings are manipulated into a design, and the design is used as a guide for the final painting. Dan pins the collage on the wall above the canvas and just copies from there, but a Renaissance painter would probably use the ‘gridding-up’ technique to get it absolutely right. To


Nathan, pencil, 19⫻153⁄4in (48⫻40cm). This study started out in the usual, scribbly fashion

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A portrait study that has been gridded up to transfer to a larger support. Note the careful under-drawing – no tones, just patches of dark and light outlined, like a painting-by-numbers kit. This is classic under-drawing, and is there to guide the placing of the paint. A good way to start


Tracing – it’s not cheating! John Sell Cotman (1782–1842) used tracing, for goodness sake!

do this, you take the image you are using, and draw a grid over it. The more squares you have the more accurate your copy, although it can be hard to keep track of the squares. To transfer the image to a painting you need a support exactly the same format as your original image. For example, if the image is 15⫻17cm, you will need to transfer it to a support that is 30⫻34cm, or 60⫻68cm. The new grid should be made of squares that are sized in proportion, so in this case if your squares are 1cm wide, the


Sketch for Buildings Over The Thames, pencil, 43⁄4⫻2in (12⫻5cm)


The larger support, gridded and ready for the image to be drawn on, carefully, square by square. Except you can see I went wrong, and had to recalculate the amount of squares. Also, there are so many squares! The trouble with these mechanical methods is that one’s impatience can override things – unless you are very methodical it will all end in tears…

new grid would be 2cm wide for the 30⫻34cm support, or 4cm wide for the 60⫻68cm support. You then copy each square, as faithfully as possible. You can use pencil, and then try to erase some of the grid, or you can just paint straight in, but the grid may well remain visible. Oil paint would probably obliterate it, but may not. Some artists make a feature of the grid – Walter Sickert did. You can avoid the grid problem by tracing. I think it’s ridiculous to worry about tracing being a cheat, particularly

if you are tracing your own drawings. The trouble with tracing is that it’s impossible to enlarge an image directly, but it does mean that you have an outline to guide your painting.

Digital beginnings There are also digital methods of starting a painting. An image manipulation programme would allow someone using Dan Coombs’ methodology to work out the image entirely on the computer first. In fact a friend of mine does exactly that; using a


Sketch two for Buildings Over The Thames, pencil, 43⁄4⫻2in (12⫻5cm)

u Buildings Over The Thames, watercolour on Two Rivers brown paper, 141⁄4⫻11in (36⫻28cm). I spent some time drawing the subject, before starting this painting, and then returned for another drawing session from the same spot at the same time of day


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p Dan Coombs Rushmore, oil on canvas, 291⁄2⫻391⁄2in (75⫻100cm). Compare this finished painting by Dan Coombs with his study (for a different painting) on page 37. By comparing the two you can see how his particular method of applying paint has evolved

combination of photographs, drawn imagery and images she has found on the internet, she takes the image to a very polished stage before printing it, quite carefully, using matt photographic paper for the most accurate results, and using the print as a model for her painting. You might take this further by using a small digital projector; by careful positioning and preparation you can project an image onto a larger canvas or paper, and then either draw around patches of dark and light with a pencil and make notes to paint later, or paint directly onto the projected image. That might be harder than it sounds and what you end up with may surprise you. You may have a lovely photograph, for example, and want to copy it as a painting, but you will need to prepare your paint very carefully beforehand to avoid getting your tones and colour very badly wrong, because the light is so strange – there is the light in the room, and the light of the projector. But the real difficulty in copying anything is that your knowledge of what

you are looking at and the actual visual phenomena before you are two separate things. Take a photograph of something in the landscape, and look at the photograph: how often the thing you were interested in turns out to be a tiny part of what you can see. Our eyes are programmed to look for specific things, not for ‘wide fields’, so we ‘see’ things we are interested in a different way to those we are not. That is why the gridding-up technique was invented, and why tracing makes a more faithful copy than simply doing it by eye, because they both jump over the problem of interpretation. Another good method of copying is to turn the image and the copy upside-down. To have an image on canvas or paper, ready to carry on painting, is a thrill. Its incompleteness, for me at any rate, presents an exciting challenge to my ability, and in many ways it doesn’t matter how it got there – it is there and it is your job to explore it further. That is what I shall look at in the next TA instalment, next month.

Charles Williams NEAC RWS Cert.RAS is a painter, writer and lecturer. He has exhibited in the UK, USA and Europe and is the author of Basic Drawing and Basic Watercolour, both published by Robert Hale. Currently engaged in a PhD on narrative and improvisation in painting, Charles continues to make and show paintings, sculpture and drawing.

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A developmental approach to pastel painting Graham Oliver shares his thoughts and methods for painting reflections in water using pastel


y interest in painting reflections in water began when I realised that the reflection does not need to be an exact copy. That discovery freed up the imagination. My method is to start with small examples that can be produced relatively quickly; when something is working I then move up to a larger size. Several smaller works can be produced simultaneously. Production-line painting might sound like a devaluation of the process but it has challenges that make it just as demanding as any other process. One question that became apparent was how high or low to draw the waterline. The ambiguity of the subject is increased with a very high line where there is little correspondence between reflection and subject. To bring the waterline down towards the centre or lower part of the picture tends to make it more conventional. In this case the shapes of the bushes and trees can be reflected accurately or made into more general forms of moving water. I would

always avoid a central horizontal because I feel this can make the world appear symmetrical and so lacking variation. I am always tempted to move away from the representational in order to engage the viewer in a dialogue and to give the work more resonance. These variables can be adjusted from painting to painting as my thinking and preferences develop. Why not remove the waterline completely so that everything is reflection and surface movement? Subjects like this can be found in many locations. The place is of less importance than waiting for bright conditions and concentrating on what is reflected.

Corrections Pastel painting is a continuous process of correction until the best solution is found. Layers are added to build up the surface or change the colour, and subtracted by brushing or washing off when it goes completely wrong.

Sometimes going back as far as possible to the original paper can be the best way forward. To achieve this level of versatility I work on Fisher 400 sandpaper, a highquality surface that accurately records every mark I make, even though there is a full covering of pastel already present. Sometimes I need a sharp edge to record a flash of light on the water or a foreground fence post. With the right amount of pressure and a deft movement, this can be achieved. The paper may be reused, such is the toughness of the surface.

Sequence For me a random process leads to unpredictability and potential failure, but the following stages enable the complexities to be tackled systematically. 1 Composition. Over the years my emphasis on a focal point has been reduced and where exactly to position each painting on the abstract/ representational axis is always a FAR LEFT Reflection 1, pastel, 13⫻11in (33⫻28cm). A high horizon combines with movement into the distance. The reflection colours were smudged together and then overlaid with horizontal marks merging into the distance LEFT Reflection 2, pastel, 13⫻11in (33⫻28cm). Painting reflections in this way has given me the opportunity to indulge my delight in combining a whole range of different works, some created by rubbing and blending, others etched directly on the paper. As a dry medium pastel is unrivalled in its spontaneity and versatility


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Reflection 3, pastel, 13⫻11in (33⫻28cm). The movement of water is largely from left to right. The passage towards the bottom shows the large variability visible in reflections. It can be difficult to decide exactly what is being seen – the river bed, something floating just under the surface, ripple movements caused by wind or reflections from the bank

challenge but I must first please myself before attempting to persuade anyone else. I may then draw an outline if the composition is complex but often go straight in, content to make corrections as necessary 2 Choose colour and tone. This will influence the mood of the painting and say something about time of day and season. I have chosen to introduce a minimum of recession to focus attention on the water and reflections. By selecting my palette before starting I can focus on the process and not overload my brain. 3 Underpainting. If the pastel is applied thinly I can get an overall perception of the painting before overcommitting myself. I also aim to use each colour in a variety of places to unify the work. The reflections need to be slightly greyer and softer edged than the objects so that they appear submerged. There will still be lots of untouched paper at this stage as the pastel is dragged over the tooth, revealing its texture 4 Rubbing. Pastel painters differ over the extent that they want to rub. I particularly enjoy contrasting the softness of rubbed-in areas with unrubbed texture where the tooth of

the paper determines the work. Sometimes a dabbing action is needed to take the edge of a line, sometimes a broad sweep with the side of the hand as one colour is dragged across another. Do remember that lots of pastel has to be on the paper before rubbing, particularly on sandpaper, to avoid a raw patch on the skin. 5 Orchestration. In the final stage I check that every part contributes. I try to have a frame or mount available and I can notice minor problems more easily when the painting is on a wall. Edges and lines can be examined for subtlety together with the intensity and direction of light and shadow. 6 Developments. One way to progress is to narrow my field of vision by focusing on a small part for the composition – I get a transformed, more abstract image. On the other hand, to widen my field of vision would take the focus away from pure reflections, but make the image more conventional. There will be variability but there will also be boundaries and the way forward is determined by a whole range of factors. For me the most stimulating part is the process and the moment of recognition when a further example is TA discovered.


Reflection 4, pastel, 21⫻18in (53.5⫻45.5cm). Here the reflections are more accurately and deliberately shown, introducing a sense of ambiguity. Does the world really look like this? Highlights around some edges further emphasise shape. This could suggest a way ahead for future work

Graham Oliver has run his Salisbury gallery, specialising in pastel painting, for 27 years. He tutors watercolour on cruise ships and pastel at Higham Hall, Cumbria, where his next course, Pastel Painting like the Masters, will be held from April 18 to 23.

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Papers on trial Ian Sidaway says the only way to find out whether a particular watercolour paper will suit you is to work on it. Here he tests ten sheets of watercolour paper to see how they react to various watercolour techniques


hen trying to evaluate whether a particular paper suits their style of working, many artists rely on the manufacturer’s description, but what suits one artist may not suit another. Whilst certain elements may remain constant, such as paper

brightness, sizing, wet strength and resistance to damage, other characteristics are more difficult to pin down and are determined by how the artist uses a particular paper and, to a certain extent the subject being painted. I chose 20 different papers to test (10

here and 10 more in next month’s issue); the choice in part was based on samples supplied by Ken Bromley Art Supplies and RK Burt & Company. The papers are all popular choices and are easily available. Each paper was tested to see how it responded to: hard and soft graphite pencil, erasing, the application of paint by dip pen, the ease of wash applications and the brilliance of those washes, how easily a dry wash can be removed by re-wetting and by scraping and the paper’s propensity for backruns and watermarks. The paper was also tested for the application and removal of masking fluid and masking tape. The following small landscapes should give you some idea about how the TA paint sits on each of the papers.

1: Bockingford 140lb (300gsm) Rough, 22⫻30in (56⫻76cm), £2.15 per


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sheet. This off-white, internally sized paper is made from high-quality bleached pulp and is pretty resilient to most techniques. It has a pleasing random texture that does not overwhelm and is relatively easy to stretch. Hard and soft graphite pencil can be reasonably well erased but hard pressure leaves indented marks. Dip pen can be used on a dry surface but snags on a wet one. Because the paper is not surface sized, masking fluid and tape should not be left for long periods as they can be difficult to remove without causing surface damage. Dry washes can be lightened considerably by rewetting and scrubbing gently, either with bristle brush or sponge; scraping with a sharp blade also removes dry paint but can distress the surface. Wet-on-dry washes dry to leave a crisp edge and reasonably bright colours. Flat washes are easy to achieve if you work quickly, but streaking can occur; inconsistencies in waterto-paint ratios can cause watermarks and backruns, which are not always desirable but are easily initiated if wanted. Washes dry fairly slowly. Also available in 200lb/425gsm weight

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2: Bockingford 140lb (300gsm) NOT, 22⫻30in (56⫻76cm), £2.15 per sheet A very tough paper, high quality, off white and internally sized, it is resilient and works with most techniques. Like all Bockingford paper it is archival and acid free. The surface texture is subtle, random and pleasing. It stretches reasonably easily but I prefer the thicker weight versions. Hard and soft graphite can be erased easily and a dip pen glides over the dry surface. Masking fluid and tape can be used but should be removed carefully. Washes lay flat but backruns and watermarks can occur if areas puddle and dry at different speeds. Dry wash areas can be removed by rewetting but not as successfully as washes on the Rough paper. Scraping with a blade will remove dry paint to a degree. Washes dry fairly slowly to leave a crisp edge, with dry colour slightly more subdued than on the Rough paper. Also available: 90lb/190gsm, 200lb/425gsm and 250lb/535gsm – the last two can be used without stretching. A 200lb/425gsm version can be found in cream, grey, eggshell, blue and oatmeal, and 10m rolls of the 90lb and 140lb

4: Milford 140lb (300gsm) NOT, 22⫻30in (56⫻76cm), £4.50 per sheet. Milford was developed by St Cuthberts Mill to replace the much-loved but discontinued Whatman paper. The paper is archival, made from 100 per cent cotton, internally sized and easy to stretch, with minimal buckling if you work fast. The surface has a pleasing random texture that does not dominate and is offwhite in colour. Graphite pencil erases easily and dip pen can be used with care, without undue snagging on a dry surface. Washes sit high on the surface and dry bright, although they take some time to dry. Despite not being surface sized dry washes can be removed by rewetting and very careful manipulation; areas where multiple washes had been laid proved to be more difficult. The removal of masking fluid and tape distressed the surface so care needs to be taken. The paper tears if scraped with a blade. Washes lie flat and dry with a pleasing degree of flocculation;

backruns can be introduced and tend to be subtle and pleasing. No other weights are available

5: Arches Aquarelle 140lb (300gsm) Rough, 22⫻30in (56⫻76cm), £6.19 per sheet. Considered by many to be the best, this popular 100 per cent cotton paper is internally and surface sized with gelatin. All Arches papers are archival. The surface has a random texture that is not too overbearing. Slightly off white in colour but a bright white version is available. The paper stretches easily and washes lay flat. The surface is very abrasive; hard and soft can be difficult to erase. Dip pen can be used on the dry surface. Dry washes can be removed to a degree by re-wetting, with manipulation and scrubbing, with little sign of distress to the surface. Dry washes can also be removed by scraping with a sharp blade, with any distress

3: Bockingford 140lb (300gsm) HP, 22⫻30in (56⫻76cm), £2.15 per sheet. The surface is very smooth with no noticeable texture. Graphite pencil will make indentations if too much pressure is used. Dip pen floats over the surface without snagging. Paintwork can lack character, which can be a problem on all HP papers. Wash edges are very crisp and lack any real character but flat washes seem reasonably easy to achieve if you work fast and use consistent mixes; backruns are easily introduced. Dry washes are difficult to remove by re-wetting and require a degree of scrubbing and manipulation, which could damage the surface. Masking fluid and tape can be used and seem less prone to damage surface on removal. Colours are bright but slightly subdued once dry. Dry paint is very difficult to remove by scraping with a sharp blade. No other weights are available

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W AT E R C O L O U R P A P E R : P A R T 2 O F 3


difficult to erase but a dip pen floated across the surface with ease. Dry paint could be removed by rewetting and gently scrubbing with a bristle brush and the surface showed no signs of breaking down. It was almost impossible to scrape dry paint. Masking fluid and tape were removed with no damage to the surface. Flat washes were easily achieved by using a consistent mix; varying the consistency resulted in backruns and watermarks, which is no bad thing as paint can look uninspiring on HP papers. Washes seemed to dry very quickly on the paper, which is unusual for a smooth paper where washes can puddle. Colours stayed very bright once dry and edges were crisp, so it’s a good paper for highly detailed work. Also available: 140lb/300gsm 300lb/640gsm

8: Saunders Waterford 200lb (425gsm) Rough, 22⫻30in (56⫻76cm),

7 to the paper disguised by the texture, but subsequent washes look mottled. Masking fluid and tape can be removed cleanly. Any backruns and watermarks tended to be subtle. Colours flowed beautifully wet-intowet with subtle granulation and were reasonably bright once dry. Mixes seem to dry slightly duller than anticipated so can be used strong, and darks need to be well saturated. Also available: 90lb/200gsm; 300lb/640gsm; 400lb/850gsm

6: Arches Aquarelle 140lb (300gsm) NOT, 22⫻30in (56⫻76cm), £6.19 per sheet. This off-white paper is very easy to stretch with very little cockling and has a subdued random texture that can handle even detailed work. A bright white version is available. Like the Rough paper the surface seems very abrasive and graphite marks were


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difficult to erase thoroughly. Dip pen works perfectly well on the dry surface without snagging. Even flat washes were easy to achieve and areas of dry wash are easily removed by rewetting. Washes dried reasonably fast. Dry paint can be removed by gentle scraping but subsequent washes dry to leave a slightly mottled effect. Masking fluid and tape can be used and removed without fear of damaging the surface. Backruns were subtle but colours seemed to sit more brightly than on the Rough version. Also available: 90lb/200gsm; 300lb/640gsm; 400lb/840gsm

7: Arches Aquarelle 90lb (185gsm) HP, 22⫻30in (56⫻76cm), £6.19 per sheet. For a lightweight paper this was very easy to stretch with little or no cockling. It’s very smooth to work on yet feels slightly textured to the touch. Hard and soft graphite proved

£5.93 per sheet. This is quality paper, mould made using 100 per cent cotton, internally and externally sized with gelatin. The paper is ivory in colour and acid free, with a very coarse, lovely random texture on the right side and a more pronounced regular texture on the reverse. It stretches easily but could be used without stretching. Hard and soft graphite dark marks proved difficult to erase well and dip pen can be used with a degree of snagging. Masking fluid and tape can be removed without damaging the surface. Dry paint can be lifted by rewetting or removed by gentle scraping with a blade. Washes dry slowly, so if working wet-on-dry allow sufficient time between washes or the paint will bleed. Flat washes were easy to achieve and, despite the ivory tone of the paper, remained relatively bright. Any flocculation and granulation was subtle and pleasing. Textural effects and dry brushwork are easy to achieve. A great choice for landscape work. Also available: 90lb/190gsm; 140lb/300gsm and 300lb/638gsm

9: Saunders Waterford 140lb (300gsm) NOT, 22⫻30in (56⫻76cm), £5.93 per sheet. The paper is very easy to stretch. It’s ivory in colour with a subtle, pleasing, random texture. Hard and soft graphite pencil marks are difficult to erase thoroughly from the slightly abrasive surface. Dip pen can be used but snags a little. Washes lie relatively flat but dry slowly; wet-into-wet washes blend and mix beautifully and backruns and watermarks are easily introduced if required, but the effects are subtle. If working wet-on-dry allow under washes to dry thoroughly before applying fresh layers or the paint will bleed. The paper responds well to detailed work and washes dry to leave a crisp edge. Dry washes

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PRACTICAL can be removed by rewetting but require a little encouragement, and can be scraped back to the support using a sharp blade but the surface eventually begins to tear. Both masking fluid and tape can be used and removed without damage to the surface, but do not leave dry fluid in place for long. The paper is vey pleasing to work on. Also available: 90lb/190gsm; 200lb/425gsm; 300lb/638gsm

10: Saunders Waterford 140lb (300gsm) HP, 22⫻30in (56⫻76cm), £5.93 per sheet. Made to the same high standards of the Rough and NOT versions this paper, it is similar in colour and pleasingly smooth but with a very slight texture; it stretches very easily with no cockling. Hard and soft graphite pencil could be almost completely erased and a dip pen presented no problems. Washes lay very flat with little or no puddling. Flat washes were easily achieved but took time to dry, so be aware if working wet-ondry and require crisp edges. Dry washes were easily removed by re-wetting and required little or no encouragement. Masking fluid and tape were removed with no damage to the paper surface. Colours looked bright once dry with a pleasing degree of granulation and flocculation. Backruns and watermarks were easily introduced if required but were not a problem when making flat washes. Also available: 90lb/190gsm; 200lb/425gsm; 300lb/640gsm


Next month: Ian tests another ten watercolour papers Prices, supplied by RK Burt & Company (, include VAT and were correct at time of going to press


Ian Sidaway


studied graphic design. Throughout the 1980s and ‘90s he painted portraits to commission but now concentrates on the landscape. He is a member of the Royal Institute of Painters in Water Colours.

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Strong botanicals Inspired by the strong shapes and architectural forms of plants, Kerry Day uses bold colours for her reduction linocut prints. She explains her printmaking process to Cath Read


lthough not a traditional botanical artist, Kerry Day shares her home and studio with plants that she finds inspiring. ‘I am drawn to their architectural shapes and contours,’ she tells me, ‘plus the negative shapes they form between the leaves are so lively. The wide range of colours and strong patterns in cacti, succulents and leafy plants allow me to develop layers of textures and tone within the forms. Looking at past ceramic and painted work, these plants are a constant theme. Focusing solely on the plants came as a light bulb moment for me and I’m sure that this focus gives me the drive to produce my artwork’.

Painterly images To achieve her painterly looking linocuts, Kerry uses the reduction linocut method, where the same sheet of lino – the block – is progressively cut and printed from. ‘Not being able to return and re-print former shapes is always a bit scary,’ Kerry says. ‘In

reduction printing the artist has to print the entire edition as they work because the printable area is reduced with each pass (printing); my editions can be between 10 and 25 prints.’ Kerry tends to work directly onto the lino. ‘I collect photos and cut-outs from magazines as an image store but then I will work directly, from either the plant in front of me or the scrapbook. The plants themselves give me the strong shapes and interplay of light and shade. Working on the battleship grey of the lino I draw with a pencil, adjusting and firming up my drawing. Then I use a Sharpie pen to trace the outline – that gives me strong shapes to use. ‘I have developed a straightforward method of registration where I use a base board of MDF and stick the lino in place with PVA on the board. I then stick down a mount card surround, thinner in depth than the lino, as my paper registration. Once fixed, this is my canvas for cutting my image into the

lino, rolling up and printing the colours. ‘To apply colour, I use several small rollers, maximum width 5cm, to ink up the lino. Each roller is inked in a different colour, enabling me to mix freely as I go, so one pass can bring out a painterly effect. I sometimes have to wipe off and start again or use the accident of the wiping action. I start to print with the lighter colours, moving to the darker tones with each pass, although contrary to tradition I use a light colour in the final pass. I love painting and do like mixing and working with the colours in this way. I also take photographs of each layer. ‘I use Intaglio Printmaker’s litho and relief printing inks, sticking to a limited palette of thalo blue (green shade), primrose yellow, crimson, burnt umber and opaque white. I find I can create all the colours I need from these. Occasionally I add extenders to create more transparent layers, creating more tonal layers. The inks are oil based and can take some time to dry so I

DEMONSTRATION Haworthia Fasciata



‘The design was worked out and drawn onto paper the same size as the lino block. With a Sharpie marker I went over the final drawing to make it easier to see when transferring to the lino block. To make it easier to see the image and cut marks on the red lino I painted the surface with a watered down white acrylic paint.’


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‘Using compressed charcoal I rubbed over the front of the drawing, turned it over and taped it into place onto the lino. Then I traced the image onto the lino using a pen.’


‘Using a Sharpie marker I went over the traced image. This will remain on the lino inbetween each layer and won’t wash off. Using a watered down green acrylic I painted in the areas I want to cut away first. Although time consuming, this makes sure you don’t cut away the wrong bits as in your mind you’re only cutting the green bits away.’

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‘Using Intaglio Printmakers litho/relief printing ink I mixed the first colour, a pale creamy yellow, which I applied to the entire block. I printed the first layer on Simili Japon 130gsm paper. The areas to remain this colour (the bands on the stems), were then cut away ready for the next layer.’



‘Using small rollers, 2cm and 5cm wide, I mixed up three different greens. Concentrating on the plant and top of pot area I did an overall light green and then added darker greens to certain stems, beginning the build up of tone and depth in the design. For the next layer some of the stems were cut away. Mixing a dark green, only some of the stems were inked up and printed.’



‘At this stage I decided the plant was looking too dark so a couple of light greens were mixed and applied to give more tone and depth. At this point the plant section of the lino was complete and cut away.’




‘I mixed and printed a blue for the pot. The inside of the pot was now complete and cut away. A lighter blue was then mixed and printed.’

sometimes add a few drops of cobalt drier to speed up the process. I print onto Simili Japon 130gsm paper from John Purcell Paper in London. It is a very smooth off-white paper which is lovely to print onto.’

Personal development ‘I have explored several printing methods – etching, monoprinting, silkscreen and various lino printing methods. I was a member of the Spike

Print Studio, where I had workshop space and access to printing equipment. I initially worked there with an inspiring teacher, on etching. It was during this time I did an MA and my work became more focused. I definitely wanted help towards developing my practice and I found that there was a pull/push with the demands of the course. I produced critical journals for assessment and developed my scrapbook rather than sketchbook approach.

‘Even in ceramics I produced strong organic shapes, often plant inspired. In painting I worked at figure painting and even then there were strong outlined shapes in my work. I was inspired at the time by such artists as Jenny Saville and Lucian Freud. Plants did feature in some of this work and I was attracted to those with architectural structure and strong shapes. I am most inspired by artists who have worked with bold and colourful shapes: Matisse’s cut-outs and

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‘To make the stripes, the areas to remain the lighter blue were cut away. A lighter blue was then mixed and printed.’


‘You can see how the lino has been completely cut away after the pot was completed.’



Haworthia Fasciata, reduction lino print, 231⁄2⫻161⁄2in (59.5⫻42cm). ‘A very pale blue was mixed and printed and the print was complete’

Picasso’s clear bold lines, and I love the shapes and colours of the sunny environment of Hockney’s paintings. ‘This is my tenth year of working as a full time artist and I am very proud of it. I work from a studio, my first outside my home. Being able to lock up at the end of the day does mean I do not constantly have to carry equipment around. There are challenges with working with very prickly subject matter, especially during repotting! I paint the pots with strong patterns to contrast with the plants – I am surrounded by inspirational material.’ TA

Kerry Day has a BA (Hons) in ceramics and an MA in multi-disciplinary printmaking from the University of the West of England (UWE), Bristol. She has participated in many exhibitions, art fairs and art trails.


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Close to home Gerald Green encourages you to take a fresh look around your immediate environment for your subject matter as he demonstrates an oil painting of his garden shed



Garden Corner, oil, 12⫻16in (30⫻40cm). Even everyday things can make interesting subject matter

day. I had walked by this group of things on numerous occasions but only when I began to observe them with the ‘fresh eyes’ of objectivity did I recognise their painterly appeal. I worked on a 12⫻16in (30⫻40cm) panel to enable me to complete the study within an hour and a half, which is about the maximum time you will have before the movement of the sun significantly changes the general distribution of tonal values (lights and darks), over the subject.



Hall Table, oil, 16⫻12in (40⫻30in). The single point artificial lighting here adds impact

When painting indoors, choosing subjects set against a window, or that include natural lighting coming in from the outside, can give paintings added appeal. Alternatively, single point artificial lighting from wall lights or table lamps can be used to increase the impact of what might otherwise be seen as humdrum, or of little interest. Hall Table (left), is considered a studio painting and is really a study of the effects of light. The increased tonal contrasts created by the single lighting point from the table lamp heightened the intensity and contrasts in the TA colours, giving it greater appeal.

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lthough the search for subject matter can take us to many and varied locations, things in and around the home also offer rewarding opportunities for painting, whether as a source for investigative studies when time is short, or as inspiration for more considered paintings. Recognising the potential of ordinary everyday things is an important part of artistic development. The principle difficulty with familiar surroundings is that they can easily be overlooked. As the saying goes, ‘mystery is not about travelling to new places but looking with new eyes’ and this is the approach to cultivate here. This means looking less subjectively, so rather than just seeing ‘things’ you focus on looking at the ‘relationships’ between things. You will then begin to see everything in terms of shapes and textures, contrasts of light and shade and variety in colour arrangements. Refining your perception in this way will enable you to see the latent possibilities in even the most mundane elements in your everyday surroundings. Garden Corner (above) is a study I made in the garden on a bright sunny

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DEMONSTRATION Garden Shed The interior of my garden shed consisted of a multitude of garden tools, tractor mower, bags, boxes, a bike and other general paraphernalia in assorted shapes and sizes, with a single lighting point on the ceiling. The challenge here was to create a convincing impression of the space without becoming lost in the details



Using a 12⍝16in (30⍝40cm) panel and working over an earlier painting that I no longer wanted, I began by drawing in a few guide lines with a No.4 short-handled rigger brush in titanium white to lay out the general composition. I defined the angle of the underside of the sloping roof and the receding perspective lines where the roof met the walls, together with outlining the shapes of the major forms. I then began blocking in the general shapes, firstly the lightest light, the single central light bulb, using titanium white with a No.6 hog brush. Next I placed the darkest darks, two areas at the back of the space on the left-hand side using a mixture of indigo and light red. This established the tonal parameters. I then placed in what I saw as a middle tonal value in the composition, namely the rear panel to the left and the underside of the roof, using a warmer mixture of indigo and light red



I continued filling in the remaining areas of the image using No.6 hog brushes, with different brushes for each separate mix to avoid colour contamination. I worked in no particular order, assembling the painting as if fitting together the pieces in a jigsaw puzzle. I also matched the individual colour and tonal value of each area in turn whilst comparing new colour passages to my tonal parameters to ensure I retained consistency in the overall tonal key of the painting. I used burnt umber for areas of the wooden roof, together with variations of indigo and light red for the darker areas on the right; ultramarine blue and light red for the elements in the left-hand foreground, light red for the mower and raw sienna for the bags on the left. At this stage my aim was to keep everything fairly loose and understated whilst maintaining soft edges between most of the forms until the entire panel was covered. At this point the painting resembled a blurred version of the subject, from which I could pull into focus those areas to which I wanted to draw attention and allow those of less interest to remain understated so they would recede. I had reached a crucial turning point because from this point on I would be adding to what was already there


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I decided to indicate some of the garden tools on the rack at the back, which I drew in with a No. 2 nylon brush using warm and cool darks made from varying combinations of indigo and light red with touches of lighter mixes of cerulean blue for the small areas where the light reflected from the tops of the tools. I also began to suggest the timbers to

the underside of the roof using burnt umber and the general clutter below the light source with touches of cerulean blue and warm and cool greys made from combinations of ultramarine blue and light red. It is very easy to overdo things at this stage so it is essential to keep your eye on the whole painting as you proceed, stepping back from time to time to look at it from a distance

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This enlargement of the left-hand side of the painting shows how I continued to refine the tops of the garden tools and merely suggest other elements that projected from the lefthand wall. Although this area was the central point of interest I still didn’t want to make it over elaborate. At this stage decisions as to what to put in and what to leave out were determined by my response to what I had already done so could not be entirely prescriptive. I also felt that leaving the left-hand foreground understated would allow the eye to pass more easily over the jumble of shapes

Gerald Green is represented by a number of galleries in the UK and has exhibited in Europe, USA and China, as well as with a number of the London art societies. He has been a finalist in several national art competitions and has undertaken commissions for many national and international clients. His work features in nine books and he has appeared on television and taken part in radio interviews about his work.



Garden Shed, oil on muslin-covered board, 12⍝16in (30⍝40cm). Moving to the right-hand side of the painting I continued refining and restating elements, drawing in the bike and chairs that were hanging from the wall using a No. 2 nylon

brush, again erring on the side of understatement. I also added the steering wheel to the tractor mower and placed in a few additional lights to complete the painting. Objectivity can lead to fresh eyes that can also lead in turn to fresh approaches and where better to test these out than around the home

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Reader holiday

Paint in Antibes and the Côte d’Azure

September 16 to 23, 2017

with Lachlan Goudie ROI

Antibes and the Côte d’Azure The special light, the wonderful warm Mediterranean colours, an interesting rocky coastline and the verdant vegetation on the Cap d’Antibes and Cap Ferrat, as well as elegant villas and the attractive fortified town of Antibes set against a backdrop of the Alps have appealed to artists over the years and make the French Riviera one of Lachlan Goudie’s favourite places to paint.

Lachlan Goudie’s work has evolved from the Scottish tradition of figurative painting, and incorporates portraiture, still life and landscape, with drama and colour underpinning his work. He has won numerous accolades including the RSP prize at the Royal Glasgow Institute of Fine Arts, the Norman MacFarlane Prize at the Royal Scottish Academy and the ROI Oil Painters Award for young artists. He regularly exhibits in major exhibitions in London, Scotland and New York. Lachlan is also a captivating television presenter and art critic.

The painting programme

Travel and hotel arrangements

Each day will be spent painting on the Cap d’Antibes using local buses for greater freedom to access the many different painting locations. There will be one day trip to Cap Ferrat to sketch in the gardens of the Villas Ephrussi de Rothschild, Kérylos and fashionable Beaulieu. Lachlan will encourage you to paint every day and will assist students with an organic approach to techniques. He is very happy to show individuals how to resolve problems and, where appropriate, he will do a demonstration, although there will be no group demonstrations. Lachlan will be sketching and working in gouache and watercolour, but all media are welcome. This painting holiday is ideal for intermediate and more experienced students. You may choose to work alongside Lachlan or independently.

Flights are from London Gatwick to Nice. Accommodation is in an intimate 13-bedroomed Provençal Mas (former farmhouse) with a secluded garden and swimming pool. It is conveniently located midway between Antibes and Juan-Les-Pins. It is approximately a ten-minute walk to Antibes old town and the beaches. Dinners are included and will be in a variety of local restaurants. An accompanying travel escort will look after you, taking care of all the arrangements and assisting you with local transport. l l l l

Price per person £2,995 Single room supplement £350 Number of painters 10 to 12 Fully inclusive except for lunches

For full details contact 01825 714310 Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 led by renowned tutors. These holidays are organised by fully licensed operator Spencer Scott Travel Services CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, Amsterdam with Ken Howard OBE RA, Belgium and Holland with Pamela Kay NEAC RBS RWS, southern Italy with Richard Pikesley PNEAC RWS, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.

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Lose your references Max Hale urges you to put photographic or other references aside when painting in order to diminish their influence and ensure a stronger painting rtists paint and draw in response to inspiration in the purest sense; we picture a painting, and possibly the route we will take and what will make it successful, meaningful and dynamic. These connections may become surprisingly extensive with options for one or multiple pieces, or variations on the theme. If the inspiration is strong the creative possibilities can be endless. Although not all painting is visually instigated, in representational art this is usually the case. If we are unable to paint what we see or what inspires us at the time, we take photographs or make sketches to remind us of the moment. Many artists use photographs in a literal way, endeavouring to make their paintings match without question or thought. This, as you would expect, gives a fairly unimaginative result. Slavish copying puts the reference in


control and could arguably be closer to simple reproduction if the process is carried out without interpretation.

Ideas My own way of using references is much more about gathering ideas. If I take photographs I establish varying viewpoints and then work on them to develop further constructive ideas. My sketches are accompanied by notes on weather conditions and anything else that might be relevant and inspirational. We should diminish the influence, or dare I say dominance of, reference material in our working practice. We should evaluate its relevance in terms of our judgement and creativity as we continue to work, particularly in the mid- or latter stages of our process. Take a landscape for example. Photographing the view must be one of the most common ways to reference it.

But what do we do when we start to paint? We use the photo to determine the horizon and buildings or tree shapes and start to paint, concentrating perhaps on our palette colours, support size and our method of approach. We use what we see to guide us and plunge straight in, taking little heed of the options, such as final composition, which may have been partially dealt with when we took the photograph. Our inspiration is not just visual; in the fields where the reference was taken other factors such as the warmth of the sun, wind direction and total ambiance may play a part.

Planning ahead A painting from a reference or references, whatever the subject, can be improved with a little thought at the planning stage. Working out the structure, looking at shapes and tone in


Reference photograph

The Island, St Ives, watercolour on Arches paper, 51⠄2⍝8in (14⍝20cm). This was a simple decision in that the form of the island with the building was strong, as was the stormy sky. I used watercolour to show a liveliness that was not at first apparent in the image


Thumbnail sketch

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Thumbnail sketch

Reference photograph

t Watching TV, acrylic on board, 5⫻93⁄4in (15⫻25cm). With this piece my inspiration was the single focus of the girls and the painting came quite quickly but I needed to simplify the complex surroundings to make them more interesting. The dynamic construction in the diagonal was powerful too

a thumbnail sketch will establish your composition in the most basic way. I use a system of four tones: a dark, a dark-mid tone, a light-mid tone and a light. It gives my vision a boost in building my painting at the earlier stages. I keep my drawing to a thumbnail, maybe 5×3cm or smaller, because this avoids the temptation of putting in detail. The insight into my composition gives me the option to move things around to give a more pleasing ‘flow’ and/or balance of lights and darks. I may then decide that the painting requires a ‘separation’ from the middle ground to the foreground or from the background after studying the thumbnail, not my photo reference. By now you’ll see that this is already removing me from the literal form I had originally but has retained my inspiration completely and put me in control of my creativity. When I decide that my composition is


artist February 2017

as I want it, I start to build my painting, drawing out and making the first steps to lay down a base. If I am painting in watercolour I give construction a great deal of thought. I even do a colour sketch to establish how my values will work because whatever my reference might tell me, I won’t be drawn into having a batch of mid-tones together, even if the photograph has it indicated. Watercolour particularly thrives on value separation and can be intolerant once laid down.

Evaluation As we paint we must constantly evaluate how the painting is developing, regardless of medium. Not just constructively but in a way that depicts and reflects our initial thoughts and inspiration. Taking time to stop and just study is so important. We mustn’t be so intent on covering the canvas with paint that we miss the essence of

the piece. Taking time to rest and contemplate the painting without looking at the reference will reveal much. Remember, it’s the painting that your audience will see, not the reference. Continuing to reference the original photograph once the drawing and planning is completed is a good idea. This period of construction, along with your tonal sketches, will underpin not only your vision and message as set out at the beginning but will also motivate you to continue and build confidence in your work. Then as you continue to work, apart from confirming form, your reliance on the reference becomes less and less important. The balance of how your painting looks versus reference has a power shift. I’m sure artists recognise this without realising it – the focus is not to match or copy but to create a piece that stands alone.

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Thumbnail sketch

Reference photograph

u That Walking Thing, oil on canvas, 193⁄4⫻271⁄2in (50⫻70cm). The photograph showed too many people but the final painting is much stronger with the three central walkers. My thumbnail was in fact inconclusive at conception so I had to take time to work into the piece before the final decision was made in how to deal with it

Easy trap This practice may already be with you but if it isn’t, try to wean yourself from relying too much on your original photo or sketch. It will allow you to become freer and study your work with new eyes. It makes so much sense to find rewarding areas within your work as you paint and to keep your evaluation on the canvas, because otherwise you can lose heart. This is exacerbated if you get lost within the reference. Paintings that do not show thought in construction or flow could perhaps be the result of the artist having been beguiled by content. Typically, putting in too much is an easy trap to fall into if the reference is allowed to take the lead. Painters must learn to cast off the shackles of the reference and let the painting take over. It’s not necessary to ditch the reference completely, but turn it over or put it aside whilst you take

the construct into your control. Referring on a basis of ‘need to know’ might be a mantra to follow. It is then that you will make your work live within itself and not be the poor relation of a reference that was relevant at the time of conception. As you rid yourself of your restriction, your safety net or your stabilisers, you will make paintings that are truly prompted by inspiration and are engineered and conceived by the artist that lives within you. Allowing your judgement to come forward and make decisions on colour, focus, value, for instance, will give you a stronger painting that is more likely to be successful. The last thing I would recommend is not to revisit the reference once the painting is completed – they are two different entities. You will have the satisfaction of the final piece having its own TA identity.

Max Hale studied at Harrow School of Art. He teaches workshops and painting holidays, and offers personal mentoring. His DVD First Steps in Water-Mixable Oils is available from Town House Films price £29.95; telephone 01603 782 888.

artist February 2017


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Sending-in days Wildlife Artist of the Year Details: Tenth year of the UK’s most prestigious wildlife art competition. Entries are invited from amateur and professional artists worldwide, aged over 17. Up to five works, completed during the last five years, may be submitted; all painting media, sculptures and original prints are accepted, photographs are not. Works may be entered in any of the seven categories: Animal Behaviour; Earth’s Beautiful Creatures, Hidden World, Into the Blue; Urban Wildlife; Vanishing Fast; Wings, Feathered or Otherwise. All works must be for sale. Online submission is preferred (at; alternatively download the postal entry form and send it with your images on a CD to the address below. Selected entries will be exhibited at the Mall Galleries, The Mall, London SW1 from June 26 to July 2, 2017. The many prizes include The Artist Award of a feature in the magazine. Full details available at When: Submissions deadline February 20, 5pm. Entrants will be notified of handing-in days. Cost: £25; concessions £10. Contact: David Shepherd Wildlife Foundation, Saba House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU. ) 01483 272323.

Contemporary Watercolour Competition Details: The Royal Watercolour Society’s annual competition is open to all artists except members. Up to six paintings in any water-based medium on a paper support may be entered, including watercolour, gouache, acrylic and ink. Framed work must not exceed 391⁄2in (100cm) square and all work must be for sale and have been completed in the past four years. Digital submission in first instance. Awards include David Gluck Memorial Award, £750 and The Artist Award of a feature in the magazine. Selected works will be shown at Bankside Gallery, 48 Hopton Street, London SE1 from March 3 to 15. For full details, and to submit, go to www.royalwater When: Submissions deadline, January 16, 12 noon. Handing-in,

February 26 and 27, 11am to 5pm. Cost: £14 for one work, £28 for two works; £37 for three works; £46 for four works; £55 for five works; £59 for six works. Students may submit three works for £5. Contact: Email: ) 020 7928 7521

Royal Society of Portrait Painters Details: Submissions of new and traditional artistic models and perspectives in portraiture are invited from artists over the age of 18. Up to three works may be submitted in any medium, including original prints, but not sculpture; up to three may be selected. Maximum size 941⁄2in (240cm) in any dimension. Digital submission in first instance at Selected works will be shown at the Mall Galleries, The Mall, London SW1 from May 4 to 19. Many prizes and awards. Full details available at When: Submissions deadline, January 20, 12 noon; handing-in, February 25, 10am to 5pm. Cost: £15 per work; £10 per work for artists aged 35 or under. Contact: The Federation of British Artists, 17 Carlton House Terrace, London SW1Y 5BD ) 020 7930 6844

Royal Institute of Painters in Water Colours (RI) Details: The RI seeks the best in contemporary watercolour and water media painting. Artists over the age of 18 may submit up to six works in watercolour or watersoluble media, including acrylic, ink or gouache (but not water-soluble oils) on paper or paper-based support. A maximum of six works may be entered, up to four may be selected. All paintings must be framed in a light-coloured mount under glass, and be no larger than 941⁄2in (240cm) in any dimension. All works must be for sale, minimum price £450. Many cash and art materials prizes. Digital submission in first instance at Selected works will be shown at the Mall Galleries, The Mall, London SW1 from April 6 to 22. Full conditions available at When: Submissions deadline,

A much larger selection of opportunities can be viewed on our website, where you will find a list of workshops, tutors, painting holidays and more. 56


February 2017

Check out the latest competitions to enter and make a note of important deadlines

January 6, 12 noon; handing-in, February 11, 10am to 5pm. Cost: £15 per work; £10 per work for artists aged 35 or under. Contact: The Federation of British Artists, 17 Carlton House Terrace, London SW1Y 5BD ) 020 7930 6844

BP Portrait Award Details: Competition aimed at encouraging artists to focus on and develop potraiture within their work. Entrants must be aged over 18, but there is no upper age limit. Open to artists from around the world. Work must be predominantly painted in oil, tempera or acrylic and must be on a stretcher or board, preferably framed and unglazed. No watercolours, works on paper or pastels will be considered, nor will work previously submitted for the competition. The painting should be based on a sitting or study from life and the human figure must predominate. One entry per person. Digital selection in the first instance. First prize, £30,000 plus a commission worth £5,000; BP Travel Award open to all entrants; BP Young Artist Award for the best portrait painted by an artist under the age of 30 on January 1, 2017. The exhibition is at the National Portrait Gallery, St Martin’s Place, London WC2H 0HE from June 22 to September 24, then tours. When: Closing date, January 26, 23.59pm. Handing-in March 6 to 10. Cost: £40. Contact: Full details and entry forms available online at ) 020 7306 0055

United Kingdom Coloured Pencil Society Details: Sixteenth annual international open submission exhibition for all artists. Work must be original in concept, design and execution. Artists must demonstrate compositional and drawing skills and the ability to use coloured pencil. Entries must not have been shown in any previous UKCPS exhibition. Each work must comprise at least 50 per cent dry coloured pencil; the remaining 50 per cent of the work may, if preferred, contain less than 50 per cent of any other medium. Awards include Best in show, £400; Reserve best in show, £300; Best pure coloured pencil; President’s Award. Up to two works may be submitted. Online submission process. The exhibition is at the Menier Gallery, 51 Southwark Street, London SE1 1RU. For full details, and to enter, go to

When: Submissions deadline, February 3. Handing in, April 24. Cost: £20 per work. Contact: For queries relating to the online form or uploading your images, contact Liz Ridley. ) 01732 834335

Royal Birmingham Society of Artists’ Open All Media Exhibition Details: Artists working in all media, including painting, drawing, printmaking, ceramics and jewellery, may submit up to three 2D or six 3D works. Digital submission in the first instance. The exhibition is at the Royal Birmingham Society of Artists’ Gallery, 4 Brook Street, St Paul’s, Birmingham B3 1SA from March 16 to April 8. Full details and application pack available to download from When: Submissions deadline, February 1. 4pm. Handing-in, March 12, 10.30am to 1pm. Cost: £13 per 2D work or £13 per two 3D works. Contact: If unable to download application pack, send sae to RBSA Gallery, address as above. ) 0121 236 4353

Royal Academy Summer Exhibition Details: Entries are invited to the largest open submission exhibition in the world. Artists may enter a maximum of two works. Digital submission in first instance. The exhibition is at the Royal Academy of Arts, Piccadilly, London W1, from June 13 to August 20. Valuable prizes include the £25,000 Charles Wollaston Award. When: Submissions deadline, February 15, 23.59pm. Handing-in dates will be advised. Cost: £25 per work. Contact: Download full details and submit online at

The Society of Portrait Sculptors Details: The Society of Portrait Sculptors have announced their decision to make their annual FACE exhibition, scheduled for May 15 to 20, a biennial one. The exhibition is being deferred to May 2018 and dates will be announced at the beginning of the year. Anyone who has already paid for an entry will be reimbursed. ) 01962 860904

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THE A-Z OF COLOUR You can still achieve vibrant watercolours if you include opaque colours in your palette, says Julie Collins

Julie Collins studied painting at the University of Reading. In 2016 she received the Watercolour Award, 1st Prize at the Royal West of England Academy. Julie has been regularly selected for the ING Discerning Eye, where she has won the regional award, and she has received many awards from the Royal Watercolour Society. Her paintings have been selected for many exhibitions and she is author of six art books.


Semi-opaque colours Dark


Cerulean blue Cobalt turquoise

Winsor orange

Professional watercolours in this article. The difference between watercolour and gouache is that gouache contains fillers, which render them opaque. Watercolours are opaque by virtue of their pigments, TA eg cadmiums.

Winsor red

Cobalt turquoise light

Light red

Payne’s grey Davy’s grey

+ Chinese white =

Tips for using opaque watercolours 1 Opaques are quite ‘thick’ so do not mix particularly well together 2 Opaques are useful for mixing greens, eg viridian with either light red, cadmium red or Indian red. See the chart (below right). 3 Opaques can be used to create accents, eg a cadmium red accent in your painting in the way that Turner used red in his work. 4 The make and surface of paper will alter how your paint appears. Getting to know your papers is also very important.

Watercolours can be made more opaque by adding Chinese white

Winsor blue (red shade) = Winsor blue (green shade) = Indian red =


Winsor blue (red shade) + Indian red

with Chinese white


Opaque colours Dark


Bismuth yellow

is for opaque

ost explanations of opaque paint tell you what it is not: it is not transparent or translucent and does not allow light to pass through. Nor is opaque shining or bright. Which may make you wonder how opaque colours are useful in watercolour painting. If you refer to the opaque chart (below) you will see that all the opaque colours look transparent in the pale mix. I believe that when paints are properly diluted and skilfully applied without fiddling, the practical difference between ‘transparent’ and ‘opaque’ can be negligible. The simple example Abstract Leaves (right) was made using oxide of chromium, lemon yellow, cobalt blue and permanent rose. Notice how the ‘opaque’ colours – oxide of chromium and lemon yellow – look transparent; this is because of the dilution of paint, working very wet and not fiddling with the paint while it dried. Get to know your pigments and use opaques with respect; experiment with mixing and keep notes with your mixes. Please bear in mind that these will vary from one manufacturer to another. For reference I used Winsor & Newton




Pale Permanent rose

Lemon yellow

Naples yellow


Cadmium Yellow

Naples yellow deep


Yellow ochre

Ivory black

Cadmium orange

Cadmium red

Cadmium red deep Cerulean blue (red shade) Oxide of chromium

Some opaque colours mixed with transparent ones

Viridian + Venetian red

Viridian + light red Manganese brown

Venetian red

Lamp black

Mars black

Viridian + cadmium red

Indian red Caput mortuum violet

Neutral tint

artist February 2017


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TA02p59_Books_Layout 1 12/12/2016 10:31 Page 71

ART BOOKS & DVDS Reviewed by Henry Malt

Maggi Hambling Touch – works on paper Jennifer Ramkalawon It is a token of the care that has gone into this beautiful volume that the cover should be so wonderfully tactile. To touch it is to want to open it and the optimism this engenders will be rewarded. The book is an eclectic collection of works from the whole of Maggi Hambling’s career and accompanies an exhibition at the British Museum that runs until January 29, 2017. It is not, however, a catalogue and stands well on its own. Apart from the advantage of seeing originals, it could well be a substitute for those unable to make the trip, the bulk of the book being taken up with generously sized plates. The material is varied and well-chosen, reflecting all aspects of Hambling’s output. Introductory material includes a very useful artistic biography that includes plenty of quotations from the artist herself, providing insights into her creative processes and working methods. Lund Humphries £35, 144 pages (H/B) ISBN 9781848222076

Abstract Nature Waltraud Nawratil This is a book (translated from the German) that demands a oneword summingup and the word that comes first to mind is: visceral. You may also feel that it shouts at you. Both the content and the presentation are bright and there is a constant sensation that you (or it) are standing too close, that a step back might allow you to take in the bigger picture. Take time to get used to this, and the garish colours of the panels – which do make the text less than easy to read – and you’ll find a novel and interesting approach. The cover blurb refers to ‘22 stunning projects’, and they’re certainly stunning. Using the seasons provides a neat framework and a narrative, though, and Waltraud’s style is more interpretive than full-on abstraction, providing an easier way in. This won’t be for everyone, but does make you think. Search Press £12.99, 112 pages (P/B) ISBN 9781782212386

Oil Painting Essentials Gregg Kreutz There is a good variety of material in this useful overview of oil painting practice. Adopting the approach more of discussion than outright demonstration, Gregg Kreutz covers landscapes, portraits, figures and still lifes. His painting style is broadly classical, but can be loose or highly detailed as suits the subject. If there is a ‘but’, it is that he perhaps overdoes the chiaroscuro a little, leading to gloomy interiors, dramatic landscapes and Rembrandt-esque portraits. If you don’t mind this, though, the text is illuminating, discussing not merely the how but the why and, just as important, the why not. Although this is an American book, the content is rather more European in appearance and you may feel that this goes more than a little way to countering the somewhat sombre illustrations. Overall, it’s a worthwhile addition to any library. Watson Guptill £16.99, 152 pages (P/B) ISBN 9780804185431

Edward Bawden Scrapbooks Peyton Skipwith & Brian Webb Behind-the-scenes glimpses of an artist’s influences and working methods are rare. For the most part, if we’re lucky, there may be some sketchbooks, perhaps notes and an interview or two. Edward Bawden, one of the 20th century’s most popular artists and illustrators, kept meticulously-curated scrapbooks over a period of more than 50 years. And they’ve survived, being cared for by the Fry Art Gallery in Saffron Walden, which also houses an impressive collection of paintings, drawings, prints, ceramics and more. This beautifully produced book takes five of the scrapbooks and adds explanatory notes that set the context for Bawden’s awareness of the wider art world and his contemporaries as well as his interests, observations and influences. An often serendipitous collection, they offer a window into an enquiring mind as well as the creative process itself. Lund Humphries £35, 208 pages (H/B) ISBN 9781848221840

Terry Harrison’s Watercolour Secrets Terry Harrison If there was ever anyone whose ‘secrets’ you wanted to learn, Terry would be that person. Subtitled ‘a lifetime of painting techniques’, this really is a distillation of the wisdom of one of the most popular and able tutors. Terry is a generous teacher and has never held back the things you really want to know, so you might suppose that this is just a repetition of what you already have. It’s true that you could probably find the contents of this superbly organised book elsewhere, but you’d have to hunt them down and Terry is quite a prolific author. No, pay your money and get a wealth of hints, tips, ideas and inspiration distilled into small paragraphs and demonstrations. The 170 topics in 128 pages add up to more than one a page and this conciseness adds to the book’s value. Terry wastes no words and explains everything clearly. Search Press £12.99, 128 pages (P/B) ISBN 9781782213291

Why Is Art Full of Naked People? Susie Hodge Primarily aimed at children, this absorbing and entertaining book from the alwaysinteresting Susie Hodge, regular contributor to The Artist, sets out to answer the sort of questions many adults would like to ask as well. The approach is strongly graphic, with bright images and funky typography. This latter could become more than a little annoying if you were to sit down with it for any length of time. It is, however, designed for those with a shorter attention span and the design adds to the intrigue rather than detracting from the readability. Nor is this a trivial guide. Susie explains why a Barbara Hepworth abstract sculpture looks like a family group – it’s all to do with the relationship of organic shapes. She also tackles the perennially problematic issue of ‘is it finished?’, and doesn’t shy away from Marc Quinn’s blood head either. That nakedness? It stands for new life. Thames & Hudson £12.95, 96 pages (H/B) ISBN 9780500650806

Some of the books reviewed here can be purchased from our online bookshop: visit and click on the link for books

artist February 2017


Feb Exhibitions _Exhibitions for Vivien 15/12/2016 10:29 Page 62



LONDON Bankside Gallery

48 Hopton Street SE1. ☎ 020 7928 7521 Mini Picture Show; until January 22. The Society of Wood Engravers; annual open exhibition, January 31 to February 19.

39a Canonbury Square N1. ☎ 020 7704 9522 War in the Sunshine: The British in Italy 1917–18; January 13 to March 19.


British Museum

82 Kingsland Road E2. ☎ 020 7920 7777 Kevin Sinnott: History Paintings; January 20 to March 11.

Dulwich Picture Gallery

Guildhall Yard EC2. ☎ 020 7332 3700 Victorians Decoded: Art and Telepathy; until January 22.

Great Russell Street WC1. ☎ 020 7930 027 French portrait drawings from Clouet to Courbet; until January 29. College Road SE21. ☎ 020 8693 5254 Adriaen van de Velde: Dutch Master of Landscape; until January 15. Vaness Bell; February 8 to June 4.

Guildhall Art Gallery

Jonathan Cooper Park Walk Gallery

20 Park Walk, SW10. ☎ 020 7351 0410 Gavin Watson: Home Alone; February 2 to 25.

Mall Galleries

The Mall SW1. ☎ 020 7930 6844 By Popular Demand; FBA Futures; January 9 to 20.

The National Gallery

Trafalgar Square WC2. ☎ 020 7747 2885 Beyond Caravaggio; until January 15. Australia’s Impressionists; until March 26.

National Portrait Gallery

St Martin’s Place WC2. ☎ 020 7306 0055 Picasso Portraits; until February 5.

Piano Nobile

90 York Way N1. ☎ 020 7229 1099 William Coldstream and Euan Uglow; until January 28.

☎ 020 7811 3070

Plus One Gallery Juniper Drive, York Road, SW18. ☎ 020 7730 7656 Winter Exhibition; hyperrealism in various media, January 25 to February 24.

The Queen’s Gallery

Buckingham Palace. ☎ 020 7766 7301 (tickets) Portrait of the Artist; artists in the Royal Collection, until April 17.

Royal Academy of Arts Piccadilly W1. ☎ 020 7300 8000 Revolution: Russian Art 1917–1932; February 11 to April 17. Intrigue: James Ensor by Luc Trumans; until January 29.

Saatchi Gallery Duke of York’s HQ, King’s Road SW3.

Painters’ Painters; until February 28.

Tate Modern

Bankside SE1. ☎ 020 7887 8888 Robert Rauschenberg; until April 2.

Tate Britain

Millbank SW1. ☎ 020 7887 8888 Paul Nash; until March 5. David Hockney; February 9 to May 29.

Two Temple Place

Temple Place WC2. ☎ 020 7836 3715 Sussex Modernism: Retreat and Rebellion; January 28 to April 23. .

REGIONS BATH Victoria Art Gallery

Bridge Street. ☎ 01225 477244 Peter Brown: A Painter’s Travels; new oil paintings, until February 19.

BIRMINGHAM Royal Birmingham Society of Artists

4 Brook Street, St Paul’s Square. ☎ 0121 236 4353 StArt; affordable art, until February 11.

Jonathan Cooper Park Walk Gallery

BOURNEMOUTH Russell-Cotes Art Gallery & Museum

East Cliff Promenade. ☎ 01202 451858 Meeting Modernism: 20th Century Art in the RussellCotes Collection; until April 24.

BRISTOL Royal West of England Academy

Queen’s Road, Clifton. ☎ 0117 9735129 Strange Worlds: the Vision of Angela Carter; until March 19.

CHICHESTER Pallant House Gallery

Gavin Watson Lucky Jim, oil on canvas, 30⫻32in (76⫻81.5cm)



February 2017

9 North Pallant. ☎ 01243 774557.

Feb Exhibitions _Exhibitions for Vivien 12/12/2016 11:17 Page 63

The Mythic Method: Classicism in British Art 1920–1950; until February 19.

EASTBOURNE Towner Art Gallery

College Road. ☎ 01323 434670 Towards Night; until January 22.

EXETER Royal Albert Memorial Museum & Art Gallery

Queen Street. ☎ 01392 265858 Hiroshige’s Japan; woodblock prints, until April 16.

FALMOUTH Falmouth Art Gallery

Municipal Buildings, The Moor. ☎ 01326 313863 Man-Made in Cornwall: the Paintings of Tony Giles; until January 23.

GUILDFORD Watts Gallery

Down Lane, Compton. ☎ 01483 810235 Untold Stories: British Art from Private Collections; until February 19.

HASTINGS Jerwood Gallery

Rock-a-Nore Road. ☎ 01424 728377 Keith Tyson: Turn Back Now; January 28 to June 4.

Plus One Gallery, London

☎ 01942 404420 Jerwood Drawing Prize 2016; January 14 to March 12.

LIVERPOOL Tate Liverpool

Albert Dock. ☎ 0151 702 7400 Yves Klein; Edward Krasiński; Cécile B Evans; until March 5.

Walker Art Gallery

William Brown Street. ☎ 0151 478 4199 Looking North; until February 26.

MANCHESTER Manchester Art Gallery

KENDAL ☎ 01539 722464

Abbot Hall Art Gallery George Shaw: My Back to Nature; January 13 to March 11.

KINGSBRIDGE Harbour House Gallery

The Promenade. ☎ 01548 854708 Dave Roper: Artist in Residence; mixed-media works, plaques and sculptures, January 17 to 28.

LEEDS Stanley & Audrey Burton Gallery

☎ 0113 343 2778

University of Leeds.

György Gordon (1924–2005) a Retrospective; until February 25.

Moseley Street, ☎ 0161 235 8888 Wynford Dewhurst: Manchester’s Monet; until April 23.


Centre Square. ☎ 01642 931232 Winifred Nicholson: Liberation of Colour; until February 12.


New Bridge Street. ☎ 0191 278 1611 Out of Chaos: Art, Identity and Migration; until February 26.

NORWICH Norwich Gallery

LEIGH Turnpike Gallery Civic Square.

Norwich University of the Arts, St George Street. ☎ 01603 610561 Jerwood Painting

François Chartier Summer Passion, oil on canvas, 353⁄4⫻801⁄4in (91⫻204cm)


☎ 01905 616979 Worcester Society of Artists’ 69th Annual Exhibition; until January 21.

Djanogly Gallery


Fellowships 2016; February 7 to March 18.

Nottingham Lakeside Arts. ☎ 0115 8467777 Victor Pasmore: Towards a New Reality; focuses on the period from 1930 to 1969, until February 19.

OXFORD Ashmolean Museum

Beaumont Street. ☎ 01865 278002 Lui Dan: New Landscapes and Old Masters; until February 26.

PENZANCE Penlee House Gallery and Museum

Morab Road. ☎ 01736 363625 A Basket of Pearls: 20 Years of Collecting at Penlee; February 4 to June 3.

SHEFFIELD Graves Gallery

Surrey Street. ☎ 0114 278 2600 Henry Tonks and his Slade Students; until March 31.

STOW ON THE WOLD Fosse Gallery

The Manor House, The Square. ☎ 01451 831319 William Gear; prints from 1949–96, and other works on paper, February 5 to 25.

WORCESTER City Museum and Art Gallery

WALES CARDIFF Albany Art Gallery

York Art Gallery Exhibition Square. ☎ 01904 687687 Flesh; includes circle of Rembrandt, Peter Paul Rubens, Edgar Degas, Francis Bacon and Jenny Saville, until March 19.


74b Albany Road, ☎ 029 2048 7158 Drawings Show; January 19 to February 11.

CONWY Royal Cambrian Academy Crown Lane. ☎ 01492 593413 Annual Open Exhibition; selected submissions by nonmembers of the academy, January 7 to February 4.


Scottish National Gallery

Oriel Davies Gallery

The Mound. ☎ 0131 624 6200 Turner in January 2017; January 1 to 31.

Scottish National Gallery of Modern Art

75 Belford Road. ☎ 0131 624 6200 Joan Eardley: A Sense of Place; until May 21.

Scottish National Portrait Gallery

1 Queen Street. ☎ 0131 624 6200 BP Portrait Award 2016; until March 26.

Royal Scottish Academy

The Mound. ☎ 0131 225 6671. The David Mitchie Gift; until January 29.

The Park. ☎ 01686 625041 Imaginary Worlds: Illustration Now; works in all media selected from open submission, until February 25.

MACHYNLLETH MOMA Wales Heol Penrallt. ☎ 01654 703355 Christmas Selection; original works by Welsh artists, until January 21.

ART SOCIETY Oxford Art Society Exhibition at Oxford Town Hall, from February 4 to 25.

To submit details of an exhibition for possible listing here, email Deborah Wanstall at or telephone 01580 763673

Foregate Street.


February 2017


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M A S Tartsmart E R C LLeisure A S SPainter 2017.pdf









Phil Hobbs June 26th-30th 2017



Jane Blundell July 17th-21st



Judi Whitton June 16th and 17th


For more information visit our web-site


Tel: 01643 821425

Exmoor Painting Holiday

David Webb, professional artist, author and contributor to Leisure Painter. 2-Day watercolour workshops in South Devon in 2017.

Sue Ford’s Painting Holidays Mixed Media Courses

Cober Hill and Red Lea Hotels both in Scarborough, various dates Glenthorne, Grasmere, Hill, Bassenhwaite, Art Net •Feb 2 right size_Art Net special page DecHigham 08/12/2016 16:33 Page 1 Demonstrations/one-to-one tuition various dates • All materials included The Algarve May 10-17 • Lunch included, plus tea & coffee • Maximum 12 students The Watermill in Tuscany • Studio based in large, well-lit room July 15-22

16th to 21st July 2017 Led by experienced tutor Lynda Appleby



Details at: Email: 01803 846321

Come and join us at The Old Bakery B&B, Chateauneuf du Faou, Brittany for an all inclusive holiday.

All abilities welcome. Great tuition, great company, great surroundings and an unforgettable experience.

Tel: 01642 712926

artnet FOCUS Abbey Dore painting holiday


Haidee-Jo Summers tutoring at Staithes Art School (photo courtesy of Rachel Ward)


Paint on location, in and around the town of Paleochora, South West Crete. All materials included.

Pegasus Art Griffin Mill Trading Estate, London Road,

“I achieved far more with your guidance than I could possibly have done on my own”


See website for details: Telephone 01986 788853 E: T: 0030 694 346 3920

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February December2017 2013

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Simon and Alison of the Dulwich Art Group run a painting holiday in a small stately home in Herefordshire each year. They do it in style, as a house party with a private chef and locally sourced food. Artist Clare Haward will be supporting landscape painters during daily outings and there will be a life model each day – painting the nude en plein air is about as good as it gets. Suitable for experienced painters and beginners, who will have as much support as they wish, Clare will challenge everyone to paint to the best of their ability. The flexibility of the space allows you to be with others or in a quiet corner, just walk out the door and start painting in the surrounding countryside. Non painting partners are welcome. Costs include accommodation, full board and tuition. For full details see the website or contact Alison Packer on 07968 063523, or email

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THE ARTIST’S DIRECTORY OF COURSES, MATERIALS & SERVICES To advertise contact Anna-Marie Brown Telephone 01778





Watershed Studio Celebrating our 15th year

• Proven reputation for quality courses • Warm welcome & home-cooked food • Rural studio in its own grounds • Excellent local accommodation • High profile, popular tutors Jamel Akib, Tessa Pearson, Carole Baker, Sara Johnson, Robert Dutton and many more…

TWO FABULOUS PAINTING HOLIDAYS with P&O cruise art instructor Anne Barnham.

Come & enjoy watercolour. Be inspired & stimulated.

St Clere’s Hall Lane, St Osyth, Clacton on Sea, Essex, CO16 8RX

Kalkan, Turquoise coast, Turkey

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Beautiful unspoilt beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, local markets Excellent food and accommodation (full board) New locations each day under the guidance of professional artist Anna Martin Non-Painting partners welcome - only £700/week

call + (44) (0) 7931 742450

be inspired



• New painting locations each day under the Small Group Painting Holidays based in guidance of professional artist Anna Martin Kalkan, Turquoise coast, Turkey • Unspoilt beaches, ancient ruins, small fishing villages All abilities/beginners welcome : April – December • With over 320 days of year  sunshine Beautiful unspoiltper beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, practically guaranteed to painting in the sun! localbe markets

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Award Winning Art

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Higham Hall, Lake District Rydal Hall, Lake District Cober Hill, Scarborough HF Holidays - Malham, Whitby Dalvaro Art, Spain Paint Andalucia, Spain Sandpiper Studio, South Wirral Watershed Studio, Essex Norfolk creative Arts, Norfolk

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2017 New Painting Holidays!

Top tutors including Glyn Macey, Roger Dellar, Chris Forsey, Paul Weaver, David Bellamy, Soraya French, Jake Winkle and many more.

New locations each day under the guidance of professional artist Anna Martin Non-Painting partners welcome - only £700/week


Excellent food and accommodation (full board)

call + (44) (0) 7931 742450  call + (44) (0) 7931 742450

Various dates,different media. Visit for further details Top quality workshops and demos for you all nationally! Call 0113 2252481or email

All abilities/beginners welcome : April – December

be inspired create relax

01255 820466

Small Group Painting Holidays based in

May 7th-12th at St Briavels, Wye Valley. July 9th-14th at Sidmouth, Devon. Half board – no single supplement. Studio and en plein air.

Call Allison Bond for details:


Small friendly painting holidays in Kalkan, Turkey and Andalucia Spain


01395 516284

East Devon Art Academy, Old Fore Street, Sidmouth EX10 8LS



Small Group Painting Holidays based in

Small Gro

Kalkan, Turquoise coast, Turkey


Inspirational painting locations for  you with professional artist/tutor 

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All abilities/beginners welcome : April – December

Beautiful unspoilt beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, local markets

Tony Hogan   

Fun, friendly, non-residential and residential courses from 4 to 7 days 

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Excellent food and accommodation (full board) New locations each day under the guidance of professional artist Anna Martin

Non-Painting partners welcome - only £700/week

call + (44) (0) 7931 742450 be inspired




   

Excellent food and accommodation (full board) New locations each day under the guidance of professional artist Anna Martin

T: 01208 895088 M: 07888 852503 Non-Painting partners welcome - only £700/week

be inspired



Small Group Painting Holidays based in

Kalkan, Turquoise coast, Turkey

Kalkan, Turquoise coast, Turkey

 

All abilities/beginners welcome : April – December

 

Excellent food and accommodation (full board) New locations each day under the guidance of professional artist Anna Martin

Non-Painting partners welcome - only £700/week

call + (44) (0) 7931 742450

be inspired

create inspired



   

New locations each day under the guidance of professional artist Anna Martin

Non-Painting partners welcome - only £700/week

be inspired



Professional tuition for all levels 3 and 5-day full board residential courses Superb home cooked cuisine 4 Star en-suite accommodation S mall groups, large studio space +34 645 767 403

Creative Holidays at COOMBE FARM STUDIOS

3 or 5 day courses Tel 01803 722 352 w ww ww ww w..shorlandoldfa f fa f l locat a ion Beautifu Beautiful fu location at Good fo ffood od aatmosphere Friendly at mosphere Courses fo fforr all abilities

The Sandpiper Studio Art Classes, Demonstrations and Workshops in Cheshire

Large, bright studio in rural location and friendly expert tuition suitable for all abilities

Visiting artists for 2017 include: Hashim Akib, Robert Brindley, Billy Showell, Fabio Cembranelli David Bellamy, Soraya French, Robert Dutton, and more...

Non-painting part partners r ners welcome rt Ready-made groups also welcome

Tutored Residential Art Courses in Luxurious Surroundings, SW France: please see “” or call 0033 546 915303 for further details.

Feb CLA_TA.indd 63

For further information contact Julie McLean

Call Sandy or Mark 01598 763505 Email: enquiries@shorlandoldfa f fa

Tel 07788 412 480 Email Foxes Farm, Badgers Rake Lane, Ledsham, South Wirral, Cheshire CH66 8PF

February December2017 2013

New locations e professional arti

Non-Painting pa

call + (44)

“Thank you for such an enjoyable & informative weekend. I learned more in 2 days than I have in years!”

Art r breaks rt bre r aks re k in Exmoor ks E moor Ex

Excellent food a

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painting partners welcome non

Excellent food

Beautiful unspo wildlife, flowers local markets

t: 01348 840 177 Andrew and Maggie Brown e: w:

Serious tuition

All abilities/begi


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Excellent food and accommodation (full board)

New locations e professional arti

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Beautiful unspoilt beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, local markets

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Excellent food a

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All abilities/beginners welcome : April – December

Beautiful unspo wildlife, flowers local markets

Where better to develop your painting skills than in beautiful Pembrokeshire 

All abilities/begi

painting holidays

Beautiful unspoilt beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, local markets

Non-Painting pa

Small Gro

Beautiful unspoilt beaches, dramatic mountains, wildlife, flowers, ancient ruins, pretty fishing villages, local markets

New locations e professional arti

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All abilities/beginners welcome : April – December

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Excellent food a

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Kalkan, Turquoise coast, Turkey

Beautiful unspo wildlife, flowers local markets

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All abilities/begi

Small Group Painting Holidays based in

Small Group Painting Holidays based in

Spectacular location 3 minutes from the coast.



Scarborough, Venice and Spain.

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Tess Baker Art Grows Wings

Take a dream painting holiday to Provence, Antigua, Tuscany or Mallorca with professional artist Tessa Baker • • • •

All elements of art included Dream destinations small groups • one to one tuition meals cooked by 5* chef

Join me in Spain for the watercolour holiday of a lifetime. Dalvaro Painting Holidays Beneganim, Valencia Everything included. 4th-10th June 2017 1st-7th October 2017

Full details on the website or email: T: +33 4 94 68 73 76

Painting Courses

ARNOLD LOWREY Further info:

France, Norfolk, Sicily and more

!! !! !! !! !!



Come and join the relaxed house party atmosphere 1-7 Day & Weekly Art Courses Find out about our year-round Super Double Up Deal - book two consecutive painting flowers, gardens, holidays and save £169 plus a free night dinner, bed and breakfast. landscapes, watercolour For lots more information see our advert in the Art Courses and Holidays supplement or line & wash tutored holidays! with Jan Blanch in Norfolk Very good accommodation with Artist! Art Net FebLinda right size_Art Net special page Dec 08/12/2016 16:29 Page 1 also painting holidays in Corfu H Matthews! For further details contact: “If everyone produces the Tel: 01493 393639 same painting I have failed” or 07702 069300 Dozens of holidays to choose from Jan-Dec 2017. All abilities welcome. Tel: 07961813885! E-mail: Contact John or Christine on 01202 393234

Drawing & painting in unspoilt Abruzzo, Italy Join tutor Angela Brittain ASWA UA, guest tutor David Napp* & friends on April 23rd-30th 2017 for a relaxing & fun holiday in a hilltop village with amazing views. Mixed ability. Lovely local food, ensuite rooms. Materials, food & drink included. Direct flights Stanstead - Pescara. All locations escorted. Prices from £637.50 pp. See or tel: 01403 274477 *TBC

Pegasus Art Griffin Mill Trading Estate, London Road,

Telephonewww.leperc 01986 788853


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artnet FOCUS River cruises Vision Voyages offer artist-in-residence river cruises to a number of destinations. The cruises are organised by Sandie Harman, who has extensive experience in this area. In 2017 you can choose between The Art of the Tulip with botanical artist Margaret Best; In the Footsteps of Van Gogh with Sandee Ewasiuk and Sketching on the Danube with Barry Coombs. All cruises are on four- or fivestar river ships with gourmet cruising and custom excursions. For more information see the website, telephone +416-407-1830; or email

February 2017

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THE ARTIST’S DIRECTORY OF COURSES, MATERIALS & SERVICES To advertise contact Anna-Marie Brown Telephone 01778




The Old School Studio

Old School Studio Lane, The Old School

Whittlesford, Old School Lane, Whittlesford, Cambridge Cambridge CB22 4YS CB22 4YS CAMBRIDGE based Working Art Studio set in an attractive Victorian School House. based Working Affordable one &CAMBRIDGE two day fully tutored workshops.


Painting Holidays in Sicily


Studio in an attractive b, Paul Alcock, Marilyn Allis, Jamel Akib,set Vic Bearcroft, Melanie Cambridge, Victorian School House. nch, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood, ohn Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams

Affordable one & two day

n-and-Paint Club every Thursday & Friday fully tutored workshops. CAMBRIDGE OPEN STUDIOS IN JULY mmer School & Kids Painting Activities in August Tutors for 2017:

with easels, drawing boards etc,Hashim and benefitsAkib, from a large floor with a Vic mezzanine Bearcroft, nts can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!

Soraya French, Simon Williams SBA, s or to request the 2016 brochure TonyEmail: Allain, Robert Dutton and many more popular tutors 01223 833064 Drop-in-and-Paint Club every Monday, Thursday & Friday View/download our 2017 brochure Email: Or call Val Pettifer: 01223 833064

The Real Sicily offers idyllic 7-day painting holidays in Sicily for groups of 3 to 5 artists in May, June and July 2017. Guests will be based at the beautiful Casa Serena in the Madonia regional park – and will be taken to a range of scenic locations to draw/paint each day. Weeks are on a full-board basis and all transport supplied.

TERRY HARRISON WORKSHOPS £49 per day. All materials supplied. Come and enjoy an informative and fun day learning to paint watercolour landscapes. No drawing skills required. For more information and to book online Tel: 01451 820014

We also offer two Tutored Painting weeks from May 13-20 and July 1-8, 2017, led by artist and professional tutor, Linda Matthews.

Lach Dennis, Cheshire 14th Mar Little Wenlock, Telford 15th Mar Saltford, Bristol-21st Mar

Contact 0207 724 8543 or go to for details.

Normandy, Surrey 22nd Mar Hemel Hemstead -4th Apr East Grinstead -11th Apr Guildford -25th Apr

Rachel Clark

LIFE DRAWING & PAINTING CLASSES Widely acclaimed & exhibited artist Rachel Clark has run life drawing classes in London since 1976. “Regardless of experience, everyone will gain from her skillful teaching. The small supported and structured classes maximise individual tuition and growth”. Saturdays - Weekends - One week - Private or Corporate tuition



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01736 797180

Charity No. 1146825 T: 07528 674 389

THE SKY’S THE LIMIT WHEN IT COMES TO ADVERTISING WITH THE ARTIST Call Anna-Marie to discover the opportunities available to you.

T: 01778 392048 E:

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AshcraftArtists Framing Frames

- Save money on framing - Complete or self-assembly - Plain wood or painted - Inlay frame specialist - Large, standard and bespoke sizes Exclusive - St Ives/Nicholson style frames available on-line Call 01427 787318 or visit

ART MATERIALS Sidewinder Studio 01243 552186 Shop online CHINESE BRUSH PAINTING SUPPLIES We have an extensive range of high quality, authentic Chinese Brush Painting supplies, beautiful accessories and specialist books. • Over 300 titles in stock • Starter packs for beginners

February 2017

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A D E B A N J I ’ S M O T I V AT I O N A L T I P S : 2 N D O F 1 3

Start the job! Adebanji Alade knows all the excuses for not getting back to the easel, but he knows the answers too, and has words of encouragement that will have you hunting for your brushes…


t’s crazy – you are doing everything apart from starting the job! You are cleaning, arranging things, tidying up, cooking, browsing the internet, you are on social media, you are basically doing every other thing but you haven’t started that new painting. You’ve dreamt about it, bragged about it, told your friends about it, you even promised yourself to do it and it just hasn’t happened. You stare at a blank piece of paper, a board, canvas or whatever ground you are planning to work on and it just hasn’t happened yet. Does this sound familiar? The fast world of gadgets, techie stuff and a 4G upgrade doesn’t really help in today’s world of creativity. You can be swamped by thousands of images on social media and the internet and overwhelmed by fear of actually starting that new, overdue and greatly postponed artwork. Is this getting closer to your experience? As an artist you are never ever really going to get anywhere near your dreams or goals if you are still battling with the starting gun. Starting is powerful! Starting is reviving! Starting brings hope! But why is it that most works never get past the procrastination boundaries?

The many reasons could be: l The fear of failure – this is a common factor and can really get a grip on you. Its hold is so powerful that it can make you feel totally helpless. Remember it’s not FAILURE but the FEAR of it. Just anticipating a negative outcome can make you keep putting it off. My advice – don’t be afraid to fail. We learn a lot from failures. We gather so much experience and knowledge by knowing what went wrong, why it went wrong and making sure we adjust or make corrections in the future. l The lure of perfection – you want every condition to be just right. You want to be in a perfect state of mind, fully inspired and ready to go. Sometimes we even plan to ensure everything we are about to embark on will come out just perfect and once we don’t feel that way, we just don’t get down to starting.


artist February 2017

My advice – well, I’ve got news for you, there’ll never be a perfect time to start. The best time to start is now! Don’t wait until you feel you can do a perfect job, perfection only arises out of improved consistent effort over time. Just do it. l Pure laziness – this is where we just need to own up; no excuses. Let’s just accept the clear fact that we are not hardworking enough. My advice – you need to be proactive! Fill your diary with things you’ll love to do in the next few months and stick to those commitments. You might need to have a friend, a colleague, a mentor or coach, somebody you can trust to hold you accountable if you haven’t achieved what you set out to do. l No consistent workspace – the thought of having to unpack all your art gear and then pack it all up again at the end of so session can be off putting. It can make starting a real pain! My advice – please carve out a little workspace for yourself. It could be the top of a table, a board that has all your arty stuff on it and can be moved from place to place. Make sure it is easier for you to just bring all the gear out and put it back easily. I did this for years in my bathroom. l No strategy plan – you haven’t

thought about how long it might take you. You don’t make a start because you think you are going to need to finish it all in one go. My advice – think ahead before you start and divide the whole process into sections. Determine to make each section as short as possible so you just put in 30 minutes at the start. l Too critical – although it’s good to set high standards if they are too high you are prone to criticise even your best efforts, then you’ll never make a start because you’ll think that whatever you do is never going to be good enough. My advice – don’t be too hard on yourself. You are not going to improve drastically overnight. Nothing worthwhile comes that easy. It’s going to take some endurance and perseverance to win in this artistic race. Be sure you are not too complacent. Speak to someone you trust, who can give you some objective feedback about your work. This sort of feedback can be of tremendous help as it will distil most of the hard feelings you’ve developed about your work. Let’s make this month a month of new beginnings. Purchase a medium or material you have never tried out before, or one you haven’t used in a long time, and just experiment and explore – but make sure you start TA something TODAY!

Adebanji Alade

Find a space you can work in easily – my bathroom fulfilled this role for years!

studied fine art in Nigeria and has a diploma in portraiture from Heatherley’s School of Fine Art, where he teaches in the Open Studio. He has exhibited widely and won many awards. Adebanji is a member of the Royal Institute of Oil Painters and a council member of the Chelsea Art Society; he tutors workshops and gives demonstrations for art societies and also offers private coaching. For more details see www.adebanjialade.

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& in association with Patchings Art Centre & Jackson’s Art Supplies


ll UK art clubs are invited to submit a total of five twodimensional works that you feel represent your club along with a written profile, including details about your club’s history, members and activities. We will select our top ten clubs to exhibit their five entries at the Patchings Art, Craft & Photography

Festival (July 13 to 16) and through to July 28. An overall club winner and two runners up will be selected by well-known artist and tutor, Hazel Soan, and visitors will be asked to vote for their favourite club for the People’s Choice Award. All work entered will be featured on our website at

Prizes We are delighted to announce exclusive sponsorship by Jackson’s Art Supplies


TWO RUNNERS UP £250 worth of Jackson’s art materials vouchers for each club PEOPLE’S CHOICE AWARD £100 worth of Jackson’s art materials vouchers for the club with the most public votes

Judges Hazel Soan, artist and tutor Liz Wood, artist, tutor and co-owner of Patchings Art Centre Sally Bulgin, editor The Artist Ingrid Lyon, editor Leisure Painter

Art Club of the Year judge, the artist and tutor, Hazel Soan in her studio Janet Singer Poppies & Scuttle, pastel, 28x26in. (71x66cm), one of the five entries submitted by last year’s winners, Leicester Sketch Club



FIRST PRIZE £500 worth of Jackson’s art materials vouchers, £100 towards the cost of a workshop or demonstration to club members and a profile about the club published in our magazines, on PaintersOnline and through our social media channels



HOW TO ENTER & CONDITIONS OF ENTRY The competition is open to art clubs across the UK. Only online entries can be accepted. Only original work will be considered and paintings based on reference photographs must have been taken by the artist or used with the permission of the photographer. Photography, except where incorporated into collage, is not acceptable. 1 The non-refundable entry fee of £20 covers the FIVE entries per art club of two-dimensional work in any media. 2 No entry should be larger than 120x150cm WHEN FRAMED (canvases do not need to be framed).

3 To enter, first register your club at via ‘login/register’ and add your club profile to the biography area of the club account. Please include a name of your main contact when registering. Then upload your digital entries via the link on the Competitions page. Payment will be added automatically to your basket; please remember to pay before you leave the website. 4 Upload your entries with the nonrefundable entry fee of £20 by the closing date of March 31, 2017. 5 Entries will be judged after March 31, 2017 when selected work will be called for exhibition. All work must be framed (canvases

excepted) ready for exhibition from July 13 to 28, 2017 at Patchings Art Centre, Nottinghamshire. 6 Successful art clubs will be notified in late April about delivering their work between June 16 and July 2, 2017 to Patchings Art Centre. 7 All care will be taken with entries but no responsibility can be accepted for loss or damage in transit, incoming or outgoing, whilst on the competition premises or during the exhibition. Originals selected and submitted for final exhibition must be fully insured by the artist. 8 Original works must be left with the organisers throughout the exhibition.


For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email:

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artist supplement

art courses & holidays 2017



of the leading art holidays and courses in the UK and abroad

Le Perchoirs de Paons

Paul Alcock

Across the Lagoon, Venice by Paul Alcock

Art in the Algarve

Tony Hogan

Learn to Paint in France

What to pack for outdoor oils • Cycling and painting trips • Why book a painting holiday?

Val Cansick Art

Flooded Lane, Withiel, Cornwall 2016 by Val Cansick

Whether you are a complete beginner, or picking up pencil or brush after a long absence from doing any artwork, come and have fun on one of Val's courses. Prices start from £95 for a day or up to £495 for a week in Hertfordshire or Cornwall. In between we have 2 and 3 day courses to help you with your chosen medium. All materials included.

‘Great class, patient tutors and good value’ ‘Can’t imagine life without art since I began painting at Churchgate Gallery’

Call or email us for details or to request a brochure: 07544 343749 any time, or email at p02_hacfeb17.indd 1

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Inside this supplement Inside this supplement With Mike Hall Des RCA. Join popular artist and experienced tutor Mike for a long weekend or a week’s all inclusive painting holiday in France. Sunlit church squares, decaying chateaux and medieval villages set on fast flowing rivers, can all be found in the Limousin where he runs small painting groups in his studio. All levels welcome.

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Over 50 the best art courses and holidays 20of 16 Holiday inspiration with Paul Alcock Over 50 best artoils courses and holidays Travelling with by Christine Pybus Holiday inspiration with Paul Alcock On the move with Tony Hogan Travelling with oils by Christine Pybus On the move with Tony Hogan

Inspirational Art Courses & Holidays 2017 is published by The Artists’ Publishing Company Ltd, 63-65 High Street, Tenterden, Kent TN30 6BD Inspirational Art Courses & Holidays 2017 T 01580 763673 is published by The Artists’ Publishing Company Ltd, 64-65 High Street, Publisher Kent TN30 Dr Sally Tenterden, 6BD Bulgin Editor T 01580 763673 Ingrid Lyon

See the website for details or call Mike on 01256850167 or 07774 616361 email:

Designer Sarah Poole Publisher Dr Sally Bulgin Subscriptions 01580 763315 Editor Ingrid Lyon Advertising manager Designer Sarah Poole Anna-Marie Brown E Subscriptions 01580 763315 T 01778 392048 Advertising manager Anna-Marie Brown E T 01778 392048

You only live once…

In conjunction with Arte Umbria (, the leading painting holiday destination, Painting in Europe invites you to dip into some spectacular new painting courses for 2017. At Painting in Europe we believe in providing the best experience imaginable, which means we meticulously plan and research every holiday destination to ensure your painting holiday is both enjoyable and relaxing and one that will live in your memory forever. It also helps if you have access to the most talented and creative tutors around and they will help you to explore your painting passion, elevate your techniques


MARRAKESH with Kelly Medford

BARCELONA with Paul Alcock

GRANADA with Grahame Booth

PAINTING IN EUROPE and other exotic locations with Arte Umbria

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and at the same time allow the atmosphere of these fantastic locations to pervade your soul. With many new and exciting destinations to choose from in 2017, these courses also offer a luxury holiday for both painters and any non-painting partners. If you enjoy painting at any level these courses, combined with the locations and the painting skills you will acquire, are once in a lifetime opportunities, so go on indulge yourself and book today. We guarantee you won’t be disappointed. To book and for full details of destinations and prices please visit our website VENICE with Tim Wilmot

INDIA with Grahame Booth

For more details on all courses email call 0033 964 124 123, cellphone 0033 643 436 721 Follow us on Twitter @painteurope and @arteumbria and on our Facebook pages Painting in Europe and other Exotic Locations and Arte Umbria


Inspirational art courses and holidays 2017


Inspirational art courses and holidays 2017


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Enjoy the full Italian experience at Gorgiano Studios

art courses and holidays in the UK and abroad


Gorgiano Studios

Everything you could want from a painting holiday in Italy – beautiful scenery, expert tuition, good company, icecream and sunshine – just bring enthusiasm and your favourite hat. ‘Happy days, painting, singing, laughing, laughing, laughing,’ Val UK E T 00 39 328 9680796


Creative Getaways

‘I help you to capture the moment so your paintings are created with a vibrancy, immediacy and looseness,’ says Anna Martin. We run small, friendly, en plein air painting holidays in Andalucía Spain and Kalkan Turkey. With over 300 days of sunshine, we run all year round, visiting deserted beaches, ancient ruins, spectacular mountain scenery and pretty fishing villages. Delicious Mediterranean cuisine, luxury accommodation and small groups where friendships are made. No single supplement. E T 07931 742450



Bettina Schroeder: Morocco - Algarve - Italy - UK

In a variety of stunning locations, artist Bettina Schroeder shares a wealth of knowledge as she offers tips and professional secrets. Whether in the dunes of the Moroccan desert, the coastal landscapes of Sicily, Portugal and Devon, or the breathtaking mountains of Tuscany and Scotland, the courses offer much more than just a beautiful landscape. E T 020 7609 0843 M 07960 086104


AJ (Tony) Hogan: HoganArt

Cornwall, Scarborough, Venice and Spain, magical and inspirational art holidays just for you. Enjoy personal attention, expert tuition and a pinch of humour with renowned artist, Tony Hogan. All abilities and all media are welcome. Guided en plein air and studio painting, capturing magical landscapes, seascapes and more. E T 01208 895088 or 07888 852503

Inspirational art courses and holidays 2017


Staithes Art School 2017

Painting weekends in a beautiful fishing village on the Yorkshire coast. Walk in the footsteps of Laura Knight and the famous Staithes Group of Artists. It’s hardly changed at all! Superb tutors, stunning location, fabulous food and great company. E T 01947 841840 or 07972 012464


Open College of the Arts

The Open College of the Arts (OCA) offers a real alternative to local classes and university courses, whether you want to develop your artistic voice or study for a certificate, diploma or honours degree. Our courses are online so you can start studying when it suits you. Choose from degree pathways in painting, drawing, fine art and illustration, and Foundations Drawing, enrolling on one course at a time. Meet other students on our programme of study visits to galleries, exhibitions and arts festivals across the UK. T 0800 731 2116

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Painting in Italy

For over 12 years Painting in Italy has organised holidays in Tuscany, Umbria, Sicily, Florence, Lake Garda and Venice. The holiday is a balance between improving painting skills and a relaxing, interesting holiday. Includes airport transfers, high-standard hotels, quality food and wine and interesting excursions. A perfect holiday for solo travellers and partners/friends as cooking tuition is available on some destinations. E T free phone 0808 118 5729


The Watermill at Posara

For centuries artists have drawn their inspiration from the Tuscan landscape; you couldn’t find a better place to improve your skills. Relaxing, inspiring and fun-filled painting courses with internationally renowned tutors will help you to release your talent and enjoy your painting. Watercolour, oils, pastels, acrylics and other media are covered. E


Learn to paint in France

Tutor: Mike Hall Des RCA. Medium: acrylics. Subjects: landscapes and architecture. Location: Mezieressur-Issoirs, Haute Vienne. All skill levels. Small groups and one-to-one tuition with the tutor. This inspirational area provides many different subjects for paintings: lakes, rivers, medieval villages and the Blond Mountains. Fun, friendly atmosphere and great food. E T 01256 850167


Inspired Painting Holidays


Terry Harrison: one-day workshops

From spring to autumn, enjoy residential painting holidays with Catherine Stott in wonderful Devon and Exmoor locations, a spacious studio and four-star accommodation. Small groups and individual attention for all levels and most media offered. ‘Fabulous painting experience. The whole set up – painting, rooms, food, atmosphere – is brilliant,’ VD, Carshalton E T 01398 332094 or 07763 882955

Enjoy an entertaining and informative day painting watercolour step by step with Terry. All materials are provided, including the prepared drawings on watercolour paper. Friendly help is at hand to guide you throughout the day, helping you to succeed. All you need to bring with you is your packed lunch and a sense of fun. E T 01451 820014



Arnold Lowrey: Spanish watercolour holiday

Join Arnold Lowrey in the Valencia district of Spain for the watercolour holiday of a lifetime. Absolutely everything is included from the moment you step off the plane. ‘The accommodation and delicious home cooking are second to none, and we will take you to terrific painting sites and have great fun making you a better artist.’ June 4 to 10 and October 1 to 7. Contact Dalvaro Painting Holidays ( E


Alpha Painting Holidays

One of the UK’s leading painting holiday companies provides allinclusive residential holidays around the UK and the Algarve, paying great attention to every aspect of your holiday. ‘All our tutors are amongst Britain’s best. We thoroughly research all the holiday destinations, including hotels and painting locations.’ E T 01934 733877

Be inspired by Montmorillon with Learn to Paint in France

Callington School of Art

Callington School of Art offers painters of all abilities the chance to develop and improve their techniques in any medium or try something new. ‘There is a studio to die for and Tessa is a patient and knowledgeable tutor. Peter’s cooking always attracts praise.’ E T 01579 383491


Tess Baker Art

Our all-inclusive painting holidays include transport and cosy accommodation in our Provencal farmhouse apartments or in carefully chosen villas. Delicious 5-star meals are cooked by our professional chefs and you’ll be looked after from start to finish. Paint plein air in the lavender and poppy fields of Provence, the beaches and hills of Antigua, the romantic countryside of Tuscany and the inspiring landscapes of Mallorca. E T 00 33 4 94 68 73 76 or M 00 33 6 11 25 29 72


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Live and paint in beautiful surroundings with Art in the Algarve


Art in the Algarve

Art in the Algarve’s tutor line up for 2017 includes popular artists, Roger Dellar, Grahame Booth, Tessa Pearson and Paul Weaver, as well as several tutors from the USA and Australia. There is a large art studio with en-suite accommodation, including swimming pools and courtyards to relax in. E T 0203 2877140


Sue Ford

Sue has just updated her website with full details of holidays for 2017. She will be leading three long weekends and has planned return trips to Algarve, Tuscany, Menorca and the UK. E T 01642 712926


Art Safari

Discover wildlife havens, wilderness locations, beautiful cities and local culture with the Art Safari team of dedicated tutors. Art Safari takes adventurous artists on inspirational painting holidays worldwide. Long-haul and short-haul destinations, UK art breaks and workshops. Paint in New York, Venice, Norway, Namibia, Zambia, Sri Lanka, Galapagos, Spain and Slovenia in 2017. ATOL 9916 E T 01394 382235



Linda Matthews

Small groups mean individual tuition at unique venues, traditional alla prima techniques in most media. Linda’s inspiration is wherever she finds herself. Leading structured courses and holidays in the UK, France and Morocco, Linda’s aim is to share her knowledge, developing your confidence and style. ‘If everyone produces the same painting, I have failed.’ T 01692 639485


Shorland Old Farm

All-inclusive art breaks led by professional artists in a wide range of media for all abilities. Non-painting partners are always welcome. Accommodation in a 17th century farmhouse in an idyllic Exmoor location. Shorland also offers accommodation for art clubs and other groups, looking to tailor their own breaks. E T 01598 763505


Dedham Hall

Dedham Hall has been hosting residential art courses for nearly 30 years. Constable country offers the perfect setting to relax and let your creative juices flow. Visit the website to see an impressive list of 2017 tutors. E T 01206 323027

Inspirational art courses and holidays 2017


Do your watercolours need improving?


London Art College: study art at home

At EPC Art Courses, based in Spain, you will improve your watercolours dramatically with the best watercolour masters: Castagnet, Zbukvic, Chien Chung-Wei, Liu Yi and Scaller. Paint medieval cities, fishing towns and landscapes under an impeccable stressfree organisation that provides a highquality learning experience and pure enjoyment. Check our website and see for yourself. E T 00 34 645 767 403

A wide range of courses for beginners to experienced artists. Courses include pet portraits, digital illustration, botanical art, illustrating children’s books, oils, watercolour and illustration. Our tutors are here to help you develop your art. T 0800 3280 465


HF Holidays

A variety of tutors cover all media and subjects that include portraits, landscapes, life, natural world, sketching, Chinese brush painting and art appreciation. All abilities are welcome. E T 020 3424 6396

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The Sandpiper Studio

Large, bright studio, rural location and a variety of teaching methods for all abilities. Located in the Wirral. E T 07788 412480


The Old School Studio

A Cambridgeshire-based art studio offering tutored painting workshops, a drop-in-and-paint club and open studios. Packed full of charm, the studio is a popular and friendly venue for artistically minded people. A dedicated team of artists offer a wide range of one and two-day tutored workshops, including life drawing, watercolour, pastels, mixed media, oils and much more! E T 01223 833064


Jan Blanch: cottage flowers


Dalvaro Art Holidays, Spain


Rachel Clark: life drawing and painting

With courses in Norwich and Corfu, Jan teaches painting flowers, gardens and landscapes in watercolour and mixed media to all abilities from the absolute beginner to more experienced painters. Jan’s watercolours have sold in the form of giclée prints, greetings cards and stationery in Harrods, Fortnum & Masons, Liberty’s of London and in Kobe, Japan. E T 01493 393639 or 07702 069300


St Ives School of Painting

Looking for inspiration or to loosen up your painting? Visit St Ives for superb tuition in a truly stunning setting. Courses are designed to enable anyone at any level to receive the individual attention they need to develop their skills. This, combined with the light and beauty of St Ives, makes the best location for a creative escape. T 01736 797180


Arte Umbria

Arte Umbria and Painting in Europe offer the best painting and stone-carving courses based in Umbria, Italy and other exotic locations across Europe, Morocco, India and Canada. With the best tutors teaching in watercolour and oil/acrylic and many returning guests, treat yourself to something special in 2017.


Field Studies Council

Be inspired by the natural world. Over 150 day and short residential art and craft courses in stunning locations across the UK. Expert tuition at all levels with comfortable sole occupancy accommodation. T 01743 852100


East Devon Art Academy

‘Think big picture but also pay attention to fine detail. A good painting needs both.’ Catherine Osbond. Breathtaking scenery and top-level tuition. Devon coastal location in an AONB. Warm, friendly atmosphere. Tutors include Glyn Macey, Roger Dellar, Chris Forsey, David Bellamy, Stephie Butler, Hashim Akib, Soraya French, Thomas W Schaller and many more. E T 01395 516284


Aegean Painting Holidays

Location: our historic farmhouse and delightful garden, peaceful traditional villages, bustling fishing harbours, silent ruins of ancient civilisations, away from tourist intrusion on the Aegean coast around the Bodrum Peninsula. Family-style holidays carefully planned to showcase the best views the area has to offer the creative painter. Individual tuition in small groups. Local wines and some of the best food you will have ever tasted and all-inclusive, too. Our guests return year on year for the best value painting holiday under the sun! Seven and ten-day holidays available. E T 07971 082605 or 020 8883 8545 u

A week of painting with renowned artists in a purpose-built studio within the grounds of Las Orquideas and visiting various locations, including landscapes, townscapes and seascapes. Painting materials, paper and paints are supplied for each course. Three meals a day with drinks included; absolutely no extras to pay. ‘Our guarantee of no holiday cancellation’. Contact Loli Alvaro. E T 0034 96221 7226

All abilities are welcome on Rachel Clark’s life drawing and painting courses in her large East London studio. Students derive maximum benefit from their time with her. She gives supportive individual tuition in small groups. See testimonials on her website. E T 07528 674 389

Surrounded by colour at Yalikavak market, with Aegean Painting Holidays

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Paint outdoors in the beautiful British countryside with Val Cansick


Val Cansick Art

Painting outdoors is fun and easier than you think! If you live in Hertfordshire and would like to join one of our en plein air day sessions, (starters and improvers welcome) E T 07544 343749


Fiona Mcafee (Le Logis de Luxe)

Offering two week-long art course holidays at the stunning Le Logis de Luxe in the heart of the beautiful Cognac region in France, during May and September. Your tutor is Anne Bosset, a well-known local artist with many years of watercolour and teaching experience. T 0033 546 915303


Yarn Market Hotel, Dunster, Exmoor

A summer artists’ course in the medieval village of Dunster. Led by Wiltshire-based artist, Lynda Appleby (, who is experienced in teaching pupils of all abilities, working in their chosen medium. Come and enjoy the beautiful landscapes, quaint villages and warm sandstone architecture. E T 01643 821425



Painting and tutored painting breaks in Sicily

Seven-day idyllic painting breaks in the mountains of Sicily from May to Oct 2017; there are also seven-day tutored painting courses (May 13 to 20 and July 1 to 8). All breaks on a full-board basis at the beautiful Casa Serena. T 07967 158206


Indigo Brown Creative Holidays

Three, five and seven-day high-quality, full-board, residential painting holidays in some of the most beautiful and stunning landscapes Wales has to offer. For beginners and experienced artists, who wish to explore drawing and painting, seascapes and landscapes. Maggie’s inspiring, enthusiastic and sensitive tuition along with Andrew’s delicious home cooking create a wonderfully relaxed environment. E T 01348 840177


Art holidays in Dorset

Professional, supportive tutors. Comfortable, en-suite accommodation. No single supplement. Relaxed, friendly house-party atmosphere. Attractive, secluded courtyard. Small groups to ensure individual support. Well-equipped in-

Inspirational art courses and holidays 2017

house studio. Stunning locations. Delicious home-cooked food. All holidays include full board and wine. T 01202 393234


Wild & Tame wildlife workshops in pastels

Cate Wetherall runs small friendly wildlife pastel workshops at her home studio, set in six acres of Buckinghamshire countryside. You’ll meet her donkeys, goats, hens and ponies, which are often used as the subjects of the day! Small, unhurried and relaxing workshops enable you to develop your own style, using a variety of pastels and papers. E T 07702 060113


Watershed Studio

Watershed Studio holds a wide variety of art workshops throughout the year. ‘We are very lucky to have such a great team of tutors who teach here and we try to cover most media. We specialise in one and two-day courses, priding ourselves on good-quality, professional but affordable painting breaks.’ The 2017 programme is now available. E T 01255 820466

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Le Perchoir des Paons: painting holidays in SW France

Susie and Mike offer full-board, tutored painting holidays in the relaxed environment of their French farmhouse and studio in the beautiful Lot region of south west France. Their holidays are for artists of all levels, offering the use of most media, including charcoal, pastels, watercolour and acrylics (all provided). T 00 33 (0)565 31 54 88


The Old Bakery Studio

Tutor: Mary Greenacre. Media: oils, acrylics and watercolour. Subjects: landscapes and still lifes. Locations: around Chateauneuf-du-Faou, Finistere, Brittany, France. Beginners, intermediate and experienced painters welcome. Beautiful scenery, great hospitality and experienced tuition in our unforgettable holidays. E T 01902 652360


Painting and drawing in unspoilt Italy

Set in the hills of Abruzzo with tutor Angela Brittain ASWA, UA, for mixedability students. Have fun improving your techniques, enjoy lovely local

food. Superior accommodation with terraces looking over the Grand Sasso mountains, from April 23 to 30, 2017. T 01403 274477


Bath Painting School

Nestled amongst beautiful countryside, Bath is a fabulous setting for a painting holiday, offering inspiration from its medieval Roman and now quintessential Georgian architecture. We offer teaching from highly respected and internationally renowned artists. E T 01225 318042


Paint Paleochora

Weekly courses in Crete, Greece, based on location in and around the town of Paleochora. Teaching watercolour, acrylic, pastel and graphite, with a maximum of four students each week, meaning plenty of one-to-one tailored tuition. E T 0030 694 346 3920


Painting holidays in the south of France

Improve your painting skills in the beautiful region of Languedoc, France.

Our Holiday Home offers painting holidays for beginners and intermediate level painters with guidance from Simon Roberts, local English artist and teacher, who will share his enthusiasm and help hone your skills. T 07831 281538


Robert Dutton

Contributor to The Artist magazine, Robert Dutton invites you to loosen up your style with expressive drawing and mixed media. Residential weeks at Rydal Hall and Higham Hall in the Lake District, Cober Hill in East Yorkshire, HF Holidays in Malham and Whitby, Paint Andalucia and Dalvaro Art in Spain, where you will really learn! E T 0113 225 2481


Henllan Mill Summer School of Painting & Drawing

Painter, printmaker and sculptor, David Wynn Millward offers drawing, oils, watercolour, acrylics and oil pastel courses. All levels, from beginners to professional artists, are welcome. Location: Llangynyw, Welshpool, Powys in Wales. E T 01938 810269 u

Monpazier in the Dordogne is just one painting destination with Le Perchoir des Paons

Inspirational art courses and holidays 2017


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Enjoy quiet time painting and relaxing in the courtyard at Coombe Farm Studios

Enjoy a week of painting in beautiful surroundings with Dalvaro Art Holidays (page 7)


David Webb

Popular contributor to Leisure Painter, David, runs adult watercolour art classes, workshops and holidays. Learn useful painting and drawing techniques and choose from venues in Dorset, Cornwall, south Wales and Essex. Groups have a maximum of 12 students to allow one-to-one tuition. T 01803 846321


Victoria and Albert Museum (V&A)

The V&A Learning Academy was launched in 2016 to build on over 30 years’ experience of delivering


innovative and informative learning programmes for adults. Drawing on the specialist knowledge of its staff, practitioners and historians, and utilising the museum’s incredible collections and exhibitions, the V&A delivers lively and engaging sessions for a wide range of interests. T 020 7942 2000


Coombe Farm Studio Painting Holidays

‘I learnt more in a weekend than I have in years!’ Unlock your creativity, paint fresh vibrant watercolours, get to grips with oils or experiment with acrylics

Inspirational art courses and holidays 2017

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year-round. Run by people who actively enable the creative process, with access to stunning private Devon coastal locations, gorgeous food and tutors, who actively teach and demonstrate, Coombe is an ideal creative break. E T 01803 722 352




Tuscany in the Frame

Tutors include Varvara Neiman, Ali Cockrean, Barry Herniman and Jonathan Newey teaching landscapes, seascapes and portraiture in oils, watercolour and acrylics. Locations: Buckinghamshire, Oxfordshire, Italy, Spain and France. Weekly and weekend courses together with painting holidays in perfect locations for beginners and improvers. E T 01494 670372

Italian painting holiday specialists in stunning locations: Tuscany, Amalfi, Venice/Lake Como, Malta, Matera and Puglia, Sicily. Tutors include Jan Pollard, Margaret Evans, Phil Hobbs and Tom Wood. E T 00 39 0575 610406

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BE INSPIRED by the NATURAL WORLD A range of day and short residential art and craft courses l l l l

Over 150 courses including a wide range of painting and drawing courses Stunning locations across the UK Expert tuition at all levels Comfortable sole occupancy accommodation

Visit: Call: 01743 852100

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Holiday n inspiratio

Paul Alcock responds to a question he’s often asked by his students: what can a painting holiday offer me?


ast year I was fortunate enough to tutor a painting holiday for Arte Umbria, which I then followed with a week of travelling and painting in Italy on my own. It was my first real experience of painting in Italy and I learned a lot from


it, both as an artist and a teacher. Going on a painting holiday can be a truly magical experience, as it offers you the chance to relax, learn new skills and paint in beautiful surroundings in the company of like-minded people. By painting regularly over several days,

Inspirational art courses and holidays 2017

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p Montegabbione, Early Morning, oil on board, 113⁄4x153⁄4in. (30x40cm). This was the view across the valley at Arte Umbria and was painted in a few short bursts before breakfast over a couple of days. I was attracted to the early morning light as it caught the sides of the buildings and tops of the trees.

there’s a real opportunity to develop your work, and you’ll soon discover the rewards of being away from everyday routines and distractions. There’s the added security in numbers when working alongside other artists, and a confident, experienced tutor to call when painting in unfamiliar surroundings. Established holiday providers have a proven track record of delivering painting holidays and employing experienced tutors, who know how to inspire the best from their students. They

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will also have a good knowledge of the t Copsa Mare, watercolour, local area and what it offers, as well as 11 ⁄ x14 ⁄ in. (30x37cm). Painted in an understanding of which spots offer situ. The rooftops were a very specific the best painting opportunities. 3




red (almost purple) so I added a tiny amount of alizarin to burnt sienna; brown madder would have done the Many holiday companies offer discounts same job. Green gold with ultramarine for non-painting partners. Some may or raw sienna was employed to make also have knowledge of other schools in some speedy green tones.

Non-painting partners the area, offering other types of courses, such as cookery or languages, and so it is worth before you go. hours enquiring later to surroundings seemingly If you’re holidaying on Cows your own, unaltered for centuries. werea painting holiday offers a really enjoyable gently grazing on untainted verges; experience, you canhad enjoy time onthem nothing butasscythes been near your own, absorbed in your work andis for the past 200 years. Transylvania socialise, discuss progressand andsuperstitious the events still mostly agricultural ofinthe day over meals or in the many ways and it is easy to evenings with the other participants. understand how the vampire myth was Many holiday providers a cultivated. All the villagesalso are offer dominated wide variety of tutors; some cover by fortified Saxon churches with particular imposingmedia spires and that approaches. rise up fromMost the companies have a website showingway, landscape in a slightly menacing examples of on their work, which depending thetutors’ weather. That said,will help you make a considered choice. some of the older villagers are still more Recommendations friends afraid of the brownfrom bear,painting but we didn’t are good seealso oneaon thisguide. visit. Tutors may well have expectations of what they would like you to do on the holiday so it’s worth out if they you tonot After finding a long journey it iswant important follow a particular approachdon’t and what to be too hard on yourself; expect their plans are for the first course. a masterpiece on the day. Give A reallytime. important aspectyou of taking yourself Sometimes can’t make part in a painting holiday is to enjoy the the decision about what to paint until journey andhas to learn way. It’s your hand actedon as the a catalyst to the exciting if youLet come yourYour next weary brain. theaway handwith decide. masterpiece, but you’ll have spent your sketchbook or travelogue will be your time if you finishtothe holidayyour with a biblewell when it comes working clutch of sketches, drawings later on. studies and a deeper understanding of painting, which can be Do always check that your chosen built upon in the future. place to sit is appropriate – you may unwittingly be in someone’s front garden or bullpen. The locals will always work When we’re a shifting out who youworking are veryoutdoors, early on in your light source always limits how long stay and will be more than generouswe’re and able to work at any particular location. accommodating if you ask, but don’t It makes sense to try to complete your assume. I amthen always cautiously work in onesince painting session to whip optimistic, a man with or a bull arrange to come back another day and chased my artist son out of a Romanian work at the same time. village a couple of years ago! More often than working on The weather wasnot, chilly last October so location involves a certain amount of and it was not possible to linger for long carrying equipment so ifeconomical you think you’ll we had to be ruthlessly with have difficulties doing this, it will be of materials. This is all part and parcel worth checking walking working en pleinhow air. much You just don’t and carrying will atmosphere be involved.or Most holiday capture the emotion of a


Copsa Street, 3B pencil in Moleskine sketchbook, 51⁄4x81⁄4in. (13x21cm)

Santa Chiara From Above, oil on board, 93⁄4x113⁄4 in. (25x30cm). I’d seen a photography exhibition with shots of Assisi from above, which had given me the idea of trying to find a high vantage point. When I arrived in Assisi, I walked up the hill to the castle where I found a spectacular view of the Santa Chiara. I returned at the same time the following afternoon to complete my painting. p

Holiday painting

The practicalities

p Copsa Street Dog, watercolour and sepia pen, 8x15in. (20x38cm). You can see this type of street all through Transylvania, a legacy of the Saxons who departed last century taking their farming practices and wine-making techniques with them.

taking no shelter at all in a Saxon scene from a photo, however brilliant it doorway to paint The Vale of Tears (page may be. You have to be there in person 14). It was raining hard and we had to on the day, hot or cold. Paintings can work flat out to complete our sketches always be worked up from the briefest with rain sheeting into our faces, which of sketches while the scene is still fresh I found strangely liberating. in your mind. We were given a memorable tour of Not having a car enabled us to stay the region by a young conservator, which local and we were only too happy to included most of his friends and family walk and explore. There was so much in some capacity – not least the lunch, to paint that we could have stayed for with musical accompaniment. Passing months. We didn’t have to go far to find through the local town, we came upon old farmsteads and houses that have the family in Three Generations (page 15): never been touched by western ideas p Across the Lagoon, Venice, oil on board, ⁄ x15 ⁄ in. (30 x40cm). the11 grandmother resigned, the Venice motheris of civilisation. Beware the dogs though aand gorgeous city and a magnet for painters. This was my first time painting in Venice. wary and the daughter confident. What this is not just in Romania. When arrived I just wanted tomornings feel what it was to tell paint experience didlike they usand about Romaniasome today?ofIt OneI of the most memorable the that I’ve seen painted by other artists. uu was impossible to capture it all. wasclassic spent views with another foolhardy artist,many times 3




You stay in a beautiful house beside an old watermill in a graceful valley fringed by the Appenines. We offer all-inclusive painting holidays with acclaimed tuition, fantastic food and excellent accommodation.

For more information and booking, please email or call Bill or Lois on +39 366 488 2587

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Inspirational artcourses coursesand andholidays holidays2017 2016/17 Inspirationalart

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On my trip to Italy I took a mediumsized rucksack, which converted into a case on wheels and gave me the best of both worlds. I could carry my painting kit over rough ground and was able to pull it along on smoother surfaces.

Pack smart


A Hilly Street in Spello, oil on board, 113⁄4x93⁄4in. (30x25cm). This was one of the quicker paintings I made on my travels, which I painted one afternoon, partly from under an umbrella as I dodged the showers. I loved the steepness of the streets with just enough room for ancient Fiat 500s to climb.

Some holiday providers supply all the paints and equipment you’ll need for your trip whilst others will loan you the bulkier items such as easels, boards and chairs; the rest you’ll need to either take or purchase there. It’s always worth packing a few of your favourite brushes. If you are taking paints, be aware of how much you can carry comfortably. Watercolour paints are reasonably light, but if you’re working in oils, cut down to

the essentials before you go. For a week’s painting in Italy last year I took a dozen thin MDF boards, maximum size of 16x12in. (40.5x30.5cm), a small pochade-type paintbox, which I attached to a lightweight camera tripod and about a dozen brushes. I stuck matchsticks to the back edges of my boards and stacked them then stuck them together with masking tape to prevent them from sticking together when transporting them. If you’re flying with oils, place them in a plastic container and pack them in a suitcase in the hold. Labelling them as Artists’ colours and including the manufacturer’s product sheets with them are useful precautions. Solvents need to b be purchased when you arrive.

Paul will be leading a painting holiday to Barcelona in June; for further details visit Paul is based in Southend-on-Sea, Essex, where he teaches and finds inspiration for many of his paintings. He also runs workshops for Watershed Studio, Old Bank Studios, Old School Studio, Art and Craft Days, demonstrates painting techniques throughout the south east of England, and writes for Leisure Painter. Visit for further details

providers will drop you off at locations, but check first to find out if assistance is available. A small luggage trolley or suitcase on wheels may prove a handy addition when moving equipment around. Many holiday providers are also experienced in accommodating students’ differing dietary needs.

ART IN THE ALGARVE Watercolour •  Oil painting •  Oil & Acrylic • Specialist courses

Call us on: 0203 287 7140 14

Inspirational art courses and holidays 2017

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Wildlife Painting Workshops with Cate Wetherall


One to One, One Day or Weekend Workshops Learn how to create realistic portraits, painting with pastels or oils Small confidence-building classes from beginners to advanced All materials, lunch and plenty of refreshments included.

Available dates updated regularly on the website phone or email Cate for more details 07702 060113

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g n i l l e v Tra

with oils

Easy solutions for packing art equipment and painting abroad, with Christine Pybus


espite the initial shock from being detained at Sydney airport, it was actually quite an agreeable experience; the Aussies do it so well. First, there was a favourable critique on the still-wet oil in my paint box lid, followed by several phone calls, all of which concluded with the box being taken away, wrapped in polythene and consigned to the aircraft hold. To my surprise and relief, it re-emerged intact on the carousel at Heathrow. That was 15 years ago and long before the era of heightened security. The world’s a different place today so it pays to plan your trip in advance. Turning up at the airport looking and feeling ever so slightly furtive will probably work, but why take the risk?

Is it worth the effort? When you arrive anywhere new, it’s all bright, light and sparkling, isn’t it? From breakfast time on the first morning onwards, there’s just a multitude of subjects desperate to be painted and it’s simply a question of which one to tackle first. And that’s when the frustration sets in. Yes, you can work back at home from photographs and sketches, but the initial excitement, sparkle and immediacy is somehow muted, if not completely lost in transit. There is an alternative: pack up


p Pochade boxes (from the French pocher, meaning to sketch) are available in a multitude of sizes, this is 10x12in. and ready for action.

your kit, travel and paint en plein air. Due to work commitments, the weather and shyness, many artists rarely experience the joys of painting on location in everyday life, but consider this: it’s warm with sparkling light, you have plenty of time and it’s highly likely that nobody knows you so you can do whatever you want. You’ll attract a few people, you’ll be asked ‘how long does that take’ dozens of times, but you’ll also receive positive comments. It’s usually only like-minded people who linger so it’s not unusual to make interesting new friends or acquaintances whilst you’re working. You’ll also be pleasantly surprised, not only by people’s reactions, but also by the freshness and immediacy of your finished paintings; it could even be life changing. So, is it worth that extra effort? Oh, yes!

Travelling with oils It may be off-putting when you read the conflicting online reports that state you can’t travel with oils, but in fact you can travel with them. Your best practice, however, is to take them as check-in luggage; braving the x-ray machine

Inspirational art courses and holidays 2017

p Christine on Runswick Bay beach with her well-used 11x15in. aluminium pochade box

would be pushing your luck. Paint manufacturers post safety data sheets (SDS) online; print the relevant one out and put it in your paint box. Better still, use the airline philosophy of ‘if in doubt, ask’. Email the SDS to your airline luggage enquiries with a brief explanation that you’re a travelling artist and wish to take your oils. Wait for the reply, print it out then put it in a plastic folder with your paint box. It’s unlikely that anyone would challenge an SDS along with a letter from head office. If you’re using multiple airlines, remember to forward your e-mails to the others, too. Although that sounds a lot of hassle, less than half an hour on a wet winter’s evening will ensure peace of mind and could make a good trip into a great one.

What to pack Paint cloths Where might you magic up a paint cloth when travelling? Do remember to pack a couple of old t-shirts and a carrier bag to keep them in once they’re in use and discard them before your flight home. Remember also to take a few older clothes or an apron. Surfaces Either thin MDF with three coats of gesso primer or commercial oil boards are your best choice for weight. Keep all boards the same size to fit in your pochade box; this also makes them easier to transport.

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Solvents on aircraft are an absolute nogo. There are specialist non-flammable solvents available, some based on oranges, but I have never liked them, having experienced some paint discolouration and less-than-perfect brush-cleaning properties. Newer brands may have improved. Why risk the possibility of hassle or delay when a little online homework before a trip will direct you to the nearest art shop? Failing that, there’ll usually be a hardware shop nearby where you’ll find something that will suffice. Whilst I’ve used some unusual concoctions, finding a solvent that works has yet to be a problem. Where possible, always go for low-odour solvents; the lingering smell of turpentine quite rightly worries airport staff. Paint Once you’ve booked your flights and months before your trip, immediately open new tubes of paint. Save your half tubes and ‘bits’ for your trip, particularly those colours that you use least. Alternatively, buy a selection of small tubes, because a box of pristine new tubes of paint weighs a considerable amount, most of which will be coming home with you again. Brushes Unless you’re going to a remote wilderness without an art shop, carry a

Manly Ferry, oil on board 61⁄2x9in. (16x23cm). Although I recommend that you keep your boards the same size, it doesn’t mean you have to fill them. This rapidly painted little study of the Manly Ferry was painted in the middle of a larger board and the excess trimmed off later at home.

minimum number of brushes with you, discard the old ones and buy new ones as required.

Transport The question that I’m most asked is: how do you carry your wet oil paintings home? There are numerous methods. I asked my friendly local woodworkers to make me a length of channelled wood

then cut it into pieces. As soon as you’ve painted two same-sized pictures, put four pieces of the wood at the edges of the boards, tape round them, seal into a plastic bag and put them into your luggage. Along with the two wet boards kept in the pochade box lid, it’s then simple to bring home a few weeks’ worth of paintings, which could even pay for your trip.


Christine Pybus works in oils and watercolour, with a particular love of painting plein-air seascapes, landscapes and snow scenes. Exhibiting throughout Britain, she also gives demonstrations to art societies, tutors groups of painters, writes practical features for Leisure Painter and writes on art history. Visit

“Your First & Best Choice for a Painting Holiday” David Bellamy, Grahame Booth, Roger Dellar, Joe Francis Dowden, Soraya French, Jeremy Ford, Steve Hall, Terry Harrison, Barry Herniman, Matt Palmer, Keiko Tanabe, Paul Weaver & many more Somerset (Inc Wells & The Mendip Hills), Exmoor National Park, North Devon Coast, North Cornwall Coast, Wye Valley, Lake District, Provence, France & The Western Algarve

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GREATART FOLDING SEAT AND BACKPACK The bag has two exterior pockets, and the main compartment is internally insulated

LA PETITE AQUARELLE Look out for the new La Petite Aquarelle range from Sennelier. These new watercolour travel sets are available in both tubes and pans and have

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JAKAR WATERCOLOUR ALUMINIUM EASEL Lightweight, with telescopic legs and black carrying bag (1.62kg inc. bag). Adjustable watercolour easel for vertical and horizontal use. Folded size 66cm inc. bag. Maximum canvas height 120cm. £47.99rrp. For additional information and stockists please contact Tel: 020 8445 6376 Email:

ARTCASE: CARRYING ART ... DAMAGE-FREE Easy to use, lightweight and durable, ArtCase prevents damage to wet or dry artwork during transit. Adapts to take any size of artwork up to either A2 or A3 and 40mm (1 1/2in) in depth. Up to 25% off ArtCase sets when ordered from the CarriArt website during January 2017.

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SUMMER SCHOOL OF PAINTING & DRAWING Directed by David Wynn Millward LLB, RASch, ATC, & Jenny Nimmo

Art weeks in the summer with tuition. A structured course for learningin to the see with Set on the banks of beginners, the riverinBanwy old greater plus techniques in provide drawing &tuition county ofawareness, Montgomeryshire, we Brochure can be sent by post. all levels, studio space, Landscape/Still Life/Life Drawing. Food from the garden. Self-catering HOLIDAY COTTAGE Directed when by resident Available schooltutor, closed. David Wynn Millward Jenny Fishing, Bird-watching, walking.and Sleeps 5. OilNimmo CH £250pw.

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Residential Painting Holiday in Hereford

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Malta 18 -25 March with Tuscany 13th-20th May resident painter ANGELA DAMMERYTuscany and CHARLES EVANS 27th May-3rd June JOHN LIDZEY • BILL NEWTON • JOE DOWDEN th Tuscany 3rd-10 June RICHARD BAWDEN • DAVID HYDE • JOHN PATCHETT th Amalfi 10th-17 June JOHN SHAVE • SUE WILLIAMS • TIM FISHER Tuscany 13th-20•th ROY Sept LANG and more for Painting in all media, Sketching, Drawing, Venice/Lake Como Sculpture, 20th-29th Sept Fresco, Tempera, Icons, Printmaking, Creative embroidery. Tuscany 2 workshops October Matera IN & Puglia 14th-21st October PAINT IN THE NETHERLANDS APRIL. nd Sicily 22 -29th October UNIQUE CLASSICAL OIL PAINTING 3 part series. Malta November SAILING/PAINTING CRUISES accommodated on a NORFOLK For updates and more workshop WHERRY YACHT in June and THAMES SAILING BARGE Villa Nobile dates visit our website Villa Nobile in July. FREE DVD and colour brochure. th


For more information, contact Raffaele Nobile tel: Angela on 01702 475361/01692 536486 email: TUSCANY IN THE FRAME Villa Nobile, Loc. Oppiello, Farneta, Cortona, 52044 (AR) Tuscany, Italy CENTRE BROADLAND ARTS

Italy +39 610406Dilham, Mobile +39 339 825 6617 The 0575 Old School, North Walsham, Norfolk NR28 9PS Email: Website:


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• Enhance your painting skills with professional support • Landscape and or Life Painting with our model • Stay in a beautiful small stately home • Enjoy a house party with a private chef • Eat well and enjoy the good company of fellow artists • Excellent location - just walk out and paint

More info or call us on 0207 274 2300

The Dulwich Art Group: Untutored drop-in life drawing and painting, Tutored educational courses and art events

Inspirational art courses and holidays 2017


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p Tony’s plein air sketching kit 

Tony’s bike, trailer and set up on Bodmin Moor last summer

On themove

Pack your kit and join Tony Hogan as he cycles, sketches and paints in Cornwall


n one of my daily cycle rides along the Camel Trail between Wadebridge and Padstow in Cornwall recently, I realised how many great painting views are simply inaccessible by car. The carrying of all the equipment that you need for a day of en plein air painting becomes a challenge in itself. If you have strength and a desire for a long walk, you can, of course, set off in your hiking boots or you can as I do and cycle. With a little initiative, such as fastening your easel to the crossbars and carrying a rucksack on your back, you now have access to a host of wonderful locations that were previously out of reach. If you feel unsafe carrying your equipment in this way, take a look at my bike trailer (above). If you are part of a group, this is an excellent idea and trailers can be hired as, of course, can bikes.


Pack your trailer

What to take with you when painting on the move depends on what you hope to achieve, the time available and whether you are planning on painting in one or more locations. When my time is limited I take off on my bike with just essential equipment in my pocket: a hard-backed, ring-bound sketchbook, pens, graphite pencils and possibly a few Inktense pencils to add colour. With the luxury of time I pick up my sketching case with a more varied choice of equipment including graphite pencils, different grades of water-soluble pencils, coloured charcoal pencils and various ink pens with different nib shapes and changeable colour options. There are also a few pastel pencils, Inktense blocks and pencils, coloured line painters and two or three water brushes. Finally, sharpeners,

Inspirational art courses and holidays 2017

a knife, erasers and, of course, a sketchbook come in handy (above). Without a doubt, the bicycle trailer is perfect if you are planning on a half or full day of painting. The only restriction on what you take is determined by the trailer’s size. A 70cm long trailer is more than adequate for the majority of canvas sizes required for outside work and, if placed corner wise, full Imperial watercolour paper with a suitable board will fit. However, when you’re having an on-the-move painting day, a block pad for watercolour sketching is advantageous and saves carrying an additional board. The trailer also allows for the luxury of carrying extra water, additional painting materials, seating and essential food and drink.

Be prepared A mobile phone with a camera and often a small digital camera for back up are always with me when I’m painting outside. The mobile phone is essential in case of an emergency and allows for the download of two very handy apps: 1 Compass app: this enables the location of east to west of the sun thus allowing you to work out the expected changing shadow positions during the day. 2 Weather app: choose one that gives an hourly radar position of impending showers which will allow you time to protect your work and find shelter if needed. Suitable clothing for the time of year is paramount. Sun cream is advisable any time of year, but essential in the summer months. A wide-brimmed hat not only protects from the sun’s rays, but shields the eyes thus enabling an accurate appreciation of the view and colours. If at all possible avoid wearing tinted glasses, as they will affect the true

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colours of your view. When setting out on a warm summer’s day – even one with a good forecast – take additional warm and waterproof clothing with you. Although some artists are reluctant to venture out on cold winter days, there are fine rewards to reap. When standing in a field almost knee deep in snow for two hours with an air temperature of minus four degrees centigrade, I created in acrylics one of my best snow scenes. I was able to achieve this by wearing the correct clothing, including a full set of thermals underneath a layer of fleece clothing and a ski suit. So, be bold in the colder months, but be aware of the road’s surface when you’re on your bike.

Now to paint

Nearly always I begin by taking time to look, study and select what I want to achieve from the many options available. I work to the mantra ‘think slow and paint fast’, in other words take lots of time thinking about and reviewing your options before you put brush to paper. When you have decided on the view, make a series of thumbnail sketches – not full drawings – to help create the correct composition. It is vital at this stage to collect enough information with your sketches and

p Tony and his granddaughter, Alexandra, stop for a sketching session

notations, such as sun direction and weather conditions, to allow you to complete the work later if the weather or other outside influences stop the work. You can then move on to developing the sketch you like best to a

more comprehensive study before beginning your painting. Painting on the move is an exceptionally rewarding experience, allowing you to visit remote areas and, hopefully, b stumbling on an exciting new one.

Tony Hogan runs art holidays and courses in Cornwall, Scarborough, Venice and Spain. New for this year is his ‘cycle, paint and draw’ holiday from his studio and home in Wadebridge, Cornwall. Details are available on or email

Painting Holidays in Italy Painting in Italy Painting Holidays in Italy

A Fairy Tale Castle and perfect painting location: Hotel Castello di Petroia - 4 stars • Sublime Italian locations such as Tuscany, • Fully organised holiday including airport • This is the perfect holiday for solo travellers and Umbria, Lake Garda, Sicily, Florence and Venice transfers, 4 star accommodation, dinners/ friends/partners coming together as cooking lunches including wine and excursions to lessons available on some destinations. • Top class tutors: Fiona Graham-Mackay, John historical Italian towns with professional guide. Booth, Chris Forsey, Jennifer Johnson, Charles Mitchell, Sarah Miatt and Soraya French.

The Times “Top 50 Holidays for 2016” and The Telegraph “Best Special Interest Holidays 2016”

“I’ve had a truly, wonderful holiday and made so many delightful new friends. It was difficult going on holiday on my own for the first time but I shouldn’t have worried” – Anne B. “I thought the whole of the holiday excellent and I know it sounds boring but really did rate every experience with 5 stars”. Charles B.

Freephone: 08081185729 • Email:

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express yourself

Dalvaro Art Holidays

Dalvaro Art Holidays

Painting in watercolours, oils, pastels, acrylics Discover what a real painting holiday experience is all about. Arrive, relax, paint, leave knowing you have had that “I must return again” holiday.

All materials included All meals Airport transfers Private en suite rooms


Painting in watercolours, oils, pastels, acrylics

Discover what a real painting All materials holiday experience is all included All meals about. Arrive, relax, paint, Airport transfers leave knowing you have had Private en suite rooms 4 Over 100that years’ “Iexperience must return again” 4 Tuition and support holiday. from a professional artist


4 Full board accommodation 4 Small sociable groups 4 Transport included on outdoor art holidays 4 No single room supplement Expressive Pastels


ndividual attention, from the moment you arrive, warm welcome, delicious home cooked meals, relaxing by the pool, superbly landscaped gardens all created just for the artist within you

Viktoria Prischedko, Igor Sava, Ekaterina Ziuzina, Pablo Ruben, Joe Dowden, Francesco Fontana, Anna Ivanova, Olga Litvinenko, Eugen Chisnicean, Direk Kingnok, Michal Jasievicz, Antonio Giacomin, Joanne Thomas, Anne Kerr, Claire Warner, Les Darlow, Sue Bradley, Arnold Lowrey, Tony Hogan, Robert Dutton

Dedham Hall 2017


ndividual attention, from the moment you arrive, warm welcome, delicious home Main image: Murray Ince cooked meals, relaxing by the pool, ing superbly gardens all created Drawlandscaped Life Image: Robert Dutton just for the artist within you

Painting Flowers

Book ear save uplyt o

£75 pp

Viktoria Prischedko, Igor Sava, Ekaterina Ziuzina, * Anna Pablo Ruben, Joe Dowden, Francesco Fontana, Ivanova, Olga Litvinenko, Image: CatherineEugen Chisnicean, Direk iarmid Kingnok, MichalMacD Jasievicz, Antonio Giacomin, Joanne Image: Claire Warner Thomas, Anne Kerr, Claire Warner, Les Darlow, Sue Bradley, Arnold Lowrey, Tony Hogan, Robert Dutton

request a brochure quote EP05 Book now 0345 470 7558

EXCITING NEW 2017 BROCHURE NOW AVAILABLE! For brochure and other information contact John or Christine on 01202 393234 2014 BROCHURE NOW AVAILABLE!

Art Holidays in Dorset

DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK & SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST • Prices from £155 • 500 m from the sea • Free transport • Highly professional tutors • Friendly house-party atmosphere • Delicious food and wine • All accommodation en-suite • No single supplement • Stunning locations - easy walking • All abilities and non-painting partners welcome • Well equipped studio • Small numbers to ensure individual attention

Come to Dedham Hall where we offer tutored courses run by an ever-increasing number of tutors that include Alvaro Castagnet, Soraya French, Paul Banning, Roger Dellar, Jane Evans, Liz Seward, Chris Forsey, David Howell, Carole Massey, Herman Pekel and many more. Dedham Hall is situated in the beautiful vale of Dedham within easy reach of many charming coastal locations where you will find everything from wonderful Thames barges to creeks and grand river views. Dedham Hall is renowned for its lovely studio, great accommodation and excellent food. For more information please contact Jim or Wendy Sarton on 01206 323027 or


Inspirational art courses and holidays 2017

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Painting by David Webb

Herman Pekel





SNEAK PREVIEW OF SOME OF THE DOZENS OF COURSES IN 2017 WINTER WARMERS Two full days’ tuition in our cosy studio from 10am to 5pm, light lunch and delicious dinner plus bed and breakfast all for only £155 Why not pamper yourself and add Friday and/ or Sunday night dinner, bed and breakfast at the special painters’ rate of £55 per night? Most people do! Sat 21 & Sun 22 Jan Dip Your Toes in the World of Fantasy Sat 11 & Sun 12 Feb Winter - White Subjects Sat 18 & Sun 19 Feb Drawing for Beginners Sat 18 & Sun 19 Mar Animal Portraits in Pastel SPRING AND SUMMER HOLIDAYS 10-13 Mar Getting to Know Watercolour studio based 18-21 Apr Let’s Look at Texture in Fantasy studio based 17-20 May South Coast Scenes with Acrylics and Palette Knife 18-22 Jun Embellish Your Fantasy Paintings studio based 11-14 Jul Sketchbooks - Where to Draw the Line?! 15-18 Jul Rocks, Waves, Sea and Sky - Acrylics 19-22 Jul Riverside Views and Bridges 23-26 Jul South Cost Scenes with Acrylics and Palette Knife 1-4 Aug Sketching is an Art in Itself! 5-8 Aug Cliff Top Painting - Look East and West 12-15 Aug Sketching Buildings with Pen and Wash studio based 21-24 Aug Loosening up with Watercolour 6-11 Sep The Four Stages of Watercolour studio based 15-20 Sep Seascapes and Harbours 26-29 Sep Painting Dorset Skies 20-23 Oct Watercolour - the Basics and Beyond studio based And much, much more!!

Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,

Boscombe Manor, Nr Bournemouth BH5 1HR

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Polignana a Mare

Hoi An

Painting Holidays with well-known artists Every year we offer a different selection of hand-picked en plein air painting holidays with well-known artists for eight to 14 students. Destinations are chosen for their variety of subject matter and hotels for their location and character. Each holiday is accompanied by a travel director who takes care of all the arrangements and makes sure that everyone is well looked after.

Private garden in Belgium

Work Alongside - Masterclass Painting Holidays for experienced and intermediate students Hoi An, Vietnam with Peter Brown NEAC, ROI May 9 – 21, 2017 £3,875

Amsterdam with Ken Howard OBE, RA June 25 – July 5, 2017 £4,995

Tutored Painting Holidays


for intermediate and confident beginner students Secret Gardens & Villages in Belgium & Holland with Pamela Kay NEAC, RBA, RWS June 11 – 24, 2017 £3,995

Polignana, Puglia, Italy with Richard Pikesley PNEAC, RWS September 5 – 14, 2017 £2,995

Antibes, South of France with Lachlan Goudie ROI September 16 – 23, 2017 £3,295

Udaipur and Pushkar Camel Fair, India with Hazel Soan Amsterdam

October 16 – 31, 2017 £7,995

For full details contact 01825 714310 Spencer Scott Travel Services have been offering painting holidays in association with The Artist and Leisure Painter magazines since 1990. These holidays are fully ATOL protected under CAA Licence 3471

The opportunity to learn how to critically assess artworks and link ideas in a creative way now means that I can endow everything I see with constructive potential. The world has become a different place. Painting and words by student Margaret Hargreaves

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The Artist – February 2017