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LEISURE PAINTER’S 50TH ANNIVERSARY YEAR UK’s

No.1

Practice wet in wet

JANUARY 2017 £4.20

STEP-BY-STEP WATERCOLOUR

STREET SCENES Make sense of colour and shape Your watercolour problem solver: foliage and trees TRY TRADITIONAL OIL TECHNIQUES

Paint winter landscapes

HOW TO PAINT creatively from photographs COLOUR MIXING How to use warm red earths Charcoal and soft pastel: the perfect partners

COMPETITIONS! Fantastic prizes to win in 2017 !



 


LP01 4-5 Contents_News 1st 21/11/2016 12:41 Page 4

50

Contents JANUARY 2017 32

20 24 From photo to painting

IN EVERY ISSUE 7

57 Books

Diary Things to do this month

8

Exhibitions Some of the best shows around the country

10 Letters Your tips, suggestions, ideas and questions

Some of the best practical art books are reviewed

59 Art clubs News, profiles, exhibition listings and ‘best in show’ gallery

66 Online gallery Jane Stroud chooses a painting from PaintersOnline

FEATURES 13 A walk in the snow Capture the peaceful atmosphere of a snow-laden landscape using a variety of watercolour techniques, by Julie King

18 Painting project Part 1 Join Colin Steed on a coastal journey as he introduces this month’s project from a photograph

On the cover Julie King A Winter’s Walk,

watercolour, 11x15in. (28x38cm). Follow Julie step by step as she paints a snow-laden landscape in watercolour

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JANUARY 2017

20 Understanding colour Part 14 How to make the most of the warm red earth colours in your palette for landscapes and portraits, by Tony Paul

Part 1 In this new series, Elena Parashko combines theory with practice to help you paint more creatively from photographs

28 Shapes, not details Part 1 Make sense of colour and shape as you paint street scenes and figures using four different methods. Fiona Peart shows how to simplify a scene, use hatching styles, work with tracing paper and loosen up your style

32 Pastel partners Charcoal is an effective addition to your pastel repertoire. Heather Harman explains its use in tonal underpaintings and highlights for landscapes and portraits

36 Oil painting troubleshooter This month Martin Kinnear discusses the value of working in black and white, known as grisaille, to add drama and depth to your landscapes in oils

39 Watercolour problem solver Part 1 Tim Fisher offers solutions to a reader’s question on how to improve his painting of foliage and trees

44 Rembrandt soft pastels Royal Talens triumps with its Artists’ quality pastels, put to the test by Becky Samuelson www.painters-online.co.uk


LP01 4-5 Contents_News 1st 21/11/2016 12:42 Page 5

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Coming

next month Well-known and experienced tutors help you to draw and paint successfully in the February issue of LP. Here are just some of the highlights:

NEWS, HOLIDAYS & COMPETITIONS 10 View the winner of this year’s Christmas Greetings charity competition

11 Win an artist’s lamp from Daylight worth £89(rrp) 12 Receive a special gift, worth £29.95(rrp), when you subscribe to Leisure Painter this month

54 Over £16,500 worth of prizes to win! First call for entries to the Leisure Painter Open Competition 2017, in association with Patchings Art Centre

56 Take advantage of the latest offers on practical art books in LP’s online bookshop at PaintersOnline

Rachel McNaughton Puffin, watercolour, 15x11in. (38x28cm) t

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ON SALE 30 DECEMBER n Top 10 tips to help you draw and paint more freely n Understanding colour: how to use cool red earth colours n Forget detail – simplify! Make painting easier by recognising shapes n Follow step-by-step tuition to paint a landscape in acrylics n NEW SERIES: Learn to draw well, from graphite to colour n Loosen up your oil painting techniques n Use watercolour to capture a bird in flight n How to paint successfully from photographs n Stay warm! Be creative with winter still lifes n And lots more....

LEISURE PAINTER ON-SALE DATES Issue March April May June July Summer

On sale 27 January 24 February 24 March 21 April 19 May 16 June

58 How to win fantastic prizes and a place in this year’s Art Club of the Year exhibition

61 Join a wealth of well-known artists on reader painting holidays throughout 2017

67 Celebrate LP’s 50th anniversary by entering the first of 13 painting challenges in 2017, with your chance to win £50 worth of art materials each month

47 Berry delight Build your drawing and painting skills as you produce this loose and lively watercolour of rowanberries, by Rachel McNaughton

50 Café society

www.painters-online.co.uk

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Learn to draw and paint loose and lively figures in your sketchbook, with Klaus Meier-Pauken

Arthur Begg Beetroot, oils, 8x12in. (20.5x30.5cm)

JANUARY 2017

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The finished painting A Winter’s Walk, watercolour on NOT watercolour paper, 11x15in. (28x38cm)

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A walk in the snow Join Julie King on a winter’s walk without having to venture out into the cold! Here’s how to capture the peaceful atmosphere of a snow-laden landscape using a variety of techniques to create texture and atmosphere

n n

How to paint a snow scene Work with a limited palette and masking fluid Paint wet on wet and wet on dry

I

n a warm studio on a cold winter’s day I’m ready to translate one of my photographs into a watercolour painting. The scene I have chosen (right) is brought alive by the figures, with their brightly coloured clothing, walking into the landscape and providing a focal point. Using artistic licence, I decided to change the composition slightly by omitting the fence and by adding stronger footprints from the foreground, which assist in leading the eye into the picture. It also gives the painting balance, as I will be using the same colours throughout the scene.

www.painters-online.co.uk

Your reference photograph and materials for this project: A winter’s walk with figures JANUARY 2017

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n

The secret to painting a snow scene is to leave plenty of white paper rather than using white paint. However, as an experiment, I added acrylic gesso with a palette knife to the paper to suggest the raised texture of the frozen snow on the branches, which gives the picture a slight three-dimensional effect when dry. Then, using sharpened bamboo dipped into masking fluid I applied a few loose finer lines and splattered the surface using a toothbrush flicked with a paper clip. To add even more texture to the frozen branches I applied Clingfilm to the wet paint. I used a limited palette of five colours (see page 22), mixing cool and warm shades of mauve and green to create an impressionistic interpretation. This demonstration is a guideline to help you practise a variety of watercolour techniques. I hope you go on to produce imaginative scenes from your own photographs. LP

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LEARNING OBJECTIVES

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Watercolour

Demonstration A Winter’s Walk You will need

n Surface l

Bockingford or Fabriano Artistico 140lb NOT watercolour paper stretched or on a block 11x15in. (28x38cm)

n

Brushes Cotman mop brush 19mm l Round Nos. 8 and 10 (I used Da Vinci Maestro Kolinsky sable) l Rigger No. 3 l

n Golden QOR watercolours See colours (below) n

Miscellaneous B pencil l Pebeo masking fluid l Acrylic gesso and palette knife l Old toothbrush, paper clip and sharpened bamboo l

Colours used t

Ultramarine blue

Burnt sienna

Payne’s grey

Your reference photograph

Hansa yellow medium

Alizarin crimson

t

Step 1

Using a B pencil, lightly sketch out the scene, referring to the photograph. t

Step 2

Add texture by applying white gesso with a spatula knife. Drag the gesso downwards on the flat side and the edge of the knife in the direction of the growth of the branches.

Step 3

t

Allow to dry before applying masking fluid freely with a sharpened piece of bamboo to suggest snow on the top of the branches. This will help retain the brilliant white of the paper. Add finer splatters of masking fluid using a toothbrush and a paper clip on the left side and on the smaller tree to the right.

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JANUARY 2017

www.painters-online.co.uk


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Mixed media

Shapes, not details Part 1 Learn how to make sense of colour and shape as you paint street scenes using four different methods, with Fiona Peart LEARNING OBJECTIVES n n n

How to simplify a subject Draw more accurately using tracing paper Loosen up your style as you work wet in wet

t

Children on the Beach I, contour pencil drawing, 312⁄ x712⁄ in. (9x19cm)

t Children on the Beach II, pastel, 1014⁄ x15in. (26x38cm). I made just one small adjustment from the original drawing – the pattern on the beach bag.

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JANUARY 2017

www.painters-online.co.uk


LP01 28-31 Peart_Layout 1 18/11/2016 11:42 Page 29

Mixed media

T

here are so many ways we can interpret life around us, and I feel sure we all see things slightly differently. I have always been interested in design, strong shapes and pattern, probably influenced by my time in the late 1970s when I was a surface designer. When a design was created a series of ‘colour ways’ would also be developed so that the pattern could be printed in various colour themes. Just as today you can choose wallpaper or fabric patterns in different colours of the same design, it was all done by hand back then. This had a huge influence on my understanding and use of colour as well as my experimentation with it, and my love of shape and pattern. I am sure this has also had a bearing on how I interpret my subjects and how I use colour today. We are all influenced in life, and these influences mould us into the individuals we become and that, of course, makes us all so unique.

Step back from detail Concentrating on shapes rather than details help us to simplify our subjects and develop a less cluttered approach to painting. It also helps us decide what is and what is not important or relevant in a painting. Above left is an example of a line drawing of children playing that I made in situ at the beach. Its style is minimalist, as I looked at my subjects as if they were a series of simple, flat shapes. This is a contour drawing. Notice how little information is needed to convey the story. It is clear which way each child is looking and what they are doing, but no details or facial features are actually needed to do this. The drawing conveys a situation very clearly, without the need for any more information. Once I had my drawing I could then adapt it using any medium, keeping to the shapes, but now adding colour. Little or no details were needed to explain the painting further, and adding anything more would have been unnecessary. Using a painting as your reference for another piece of work in a different medium can produce a development of ideas that may well then lead onto other works. Working on a series of projects in this way is a good discipline, which can extend your artistic development.

Hatching shapes

www.painters-online.co.uk

Hatched pencil sketch, A4

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t

Another way of drawing is to ‘hatch’ rather than use a continuous line (right). This automatically suggests tonal values with the actual shapes being slightly less defined; however they still remain clear. One of the most important disciplines art college taught me was learning how to look. This might sound crazy; after all, we look around us each day,

JANUARY 2017

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LP01 Subs_Layout 1 18/11/2016 16:03 Page 1

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Practice wet in wet

JANUARY 2017 £4.20

STEP-BY-STEP WATERCOLOUR

STREET SCENES Make sense of colour and shape Your watercolour problem solver: foliage and trees TRY TRADITIONAL OIL TECHNIQUES

Paint winter landscapes

HOW TO PAINT creatively from photographs COLOUR MIXING How to use warm red earths Charcoal and soft pastel: the perfect partners

COMPETITIONS! Fantastic prizes to win in 2017 !



 

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Celebrate Leisure Painter's 50th anniversary in 2017. Learn to paint and draw with Leisure Painter - the number one learn-to-paint magazine,...

Leisure Painter January 2017  

Celebrate Leisure Painter's 50th anniversary in 2017. Learn to paint and draw with Leisure Painter - the number one learn-to-paint magazine,...