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STEP-BY-STEP water-mixable oils

SEPTEMBER 2016 £4.99



Creative ideas for sketching figures TIPS & TECHNIQUES for pastel portraits BE INSPIRED BY TURNER l Small studies l Colour choices

Easy ways with oils


REVEALED! LP’s 2016 award winners

HOW DO I PAINT... flowers in gouache?

CONFIDENT COLOUR The power of purple


How to paint from photographs

LP09 4-5 Contents_News 1st 01/08/2016 11:31 Page 4



Contents SEPTEMBER 2016 19

44 22 Amsterdam Acrylics


66 Art clubs

Diary Things to do this month


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

Exhibitions Some of the best shows around the country

66 Online gallery Jane Stroud chooses two paintings from PaintersOnline

10 Letters Your tips, suggestions, ideas and questions

Build your confidence and skills by using a limited palette, with oil painter Arthur Begg

16 Painting project Part 1 Emma Colbert introduces this month’s painting from a photograph: a stag in soft pastel

acrylics, 12x16in. (30.5x40.5cm). Learn a variety of techniques for painting vibrant landscapes on pages 22 to 24



Intrigued by water-mixable oils, but not sure where to start? Here’s how Steve Strode gets to grips with this easy, clean and versatile medium

Part 2 Follow Julie King step by step as she demonstrates how to mix and apply colours for flowers, foliage and buildings

12 Three-colour landscapes

Tim Fisher Poppy Fields, Amsterdam

25 Oil and water

28 Colourful parks and gardens


On the cover

Tim Fisher discusses the properties of eight colours from the Amsterdam range and demonstrates techniques you can use with these popular acrylics

19 Painting project Part 2 Follow Jem Bowden as he paints a loose and lively watercolour landscape from a photograph

34 Understanding colour Part 10 Tony Paul discusses how to choose and mix the cool purples in your palette

37 Back to basics How to add successful backgrounds to your portraits of people, with Heather Harman

41 Small is beautiful Robert Newcombe describes his approach to painting small watercolours inspired by JMW Turner

44 People watching Eight creative ideas for sketching people, with Lynne Chapman


LP09 4-5 Contents_News 1st 01/08/2016 11:32 Page 5



next month You’ll find a wealth of tips and techniques, demos and creative ideas in October’s issue. Here are just some of next month’s highlights


NEWS, HOLIDAYS & WORKSHOPS 2 Subscribe to Leisure Painter this month 54 Join Adrienne Parker painting colourful mixed-media trees on 3 November at the NEC, Birmingham

55 Develop your skills as you paint vibrant mixed-media seascapes with Soraya French on 5 November at the NEC, Birmingham

75 Win books from Search Press and an artist’s lamp from Daylight in this month’s competitions held in association with PaintersOnline

ON SALE 9 SEPTEMBER n Practise painting skies in watercolour n Paint a study of a stag in soft pastel n Develop your skills with miniature botanical painting in watercolour n Try oils for serene beach scenes n Step-by-step coloured pencil techniques for portrait drawing n How to make a caricature of your pet n Understanding colour: how to use the warm greens in your palette n Learn pen & wash techniques n Tested: Jackson’s oils n How to paint from memory n Take your first steps in basic lino printing n And much more!

Linda Birch Cat, lino cut, 814⁄ x6in. (21x15cm). Join Linda next month as she demonstrates how to lino print using basic equipment t

LEISURE PAINTER ON-SALE DATES Issue October November December

On sale 9 September 7 October 4 November

48 Free style How to paint a leaping dolphin using loose washes of watercolour, masking fluid, water spray and thirsty-brush technique, with Alison Fennell

50 Enduring beauty Challenge yourself and paint in detail a stunning orchid using gouache, by Simon Williams

56 What shall I paint? Follow in the footsteps of John Piper and JMW Turner this month as Linda Birch takes you through techniques and creative ideas to try

59 Leisure Painter Open Competition 2016 LP has great pleasure in featuring the winning work from the amateur painting category in this year’s competition



Becky Samuelson Bembridge Sands, oils, 12x16in. (30.5x40.5cm)



LP09 25-27 Strode_Layout 1 27/07/2016 12:45 Page 25

The finished painting Still Life, Cobra water-mixable oils, 8x8in. (20x20cm). The study was completed in around four hours over two consecutive days. Paint along with Steve over the page. t

Oil and water Intrigued by water-mixable oils, but not sure where to start? Here’s how Steve Strode gets to grips with this easy, clean and versatile medium

I stopped using any solvent from the second stage of the following demonstration, and the paints handled well straight from the tube. They have a firm structure and perform no differently to regular oils, although they do dry a bit quicker, but not so fast that it becomes an issue. The paint is easy to manipulate on the palette and on the painting.

The setup I usually work on the kitchen table when I paint still life so a good tip is to set up your subject on a board. The apple in the foreground was actually held in place with Blu-Tack. This was then carefully stored away until I needed it again. I would also

suggest that you take a picture on a digital camera so you can recreate the lighting in the next session accurately.

Technique I tend to work over the entire painting, developing different sections as I go. Each value affects the next and I often move back and forth, lightening or darkening. Some painters aim to get it right first time, but I tend to excavate the image and gradually develop it with several passes. In between colour or value changes, begin the habit of always wiping off your brush with kitchen towel; this prevents cross contamination of your colours and values. LP SEPTEMBER 2016




have been experimenting with watermixable oils since I reviewed Cobra paints in LP’s summer issue, without experiencing any drawbacks, in fact quite the opposite. They handle like regular oils and there’s a full range of colours. Added to that, I need only water as the solvent and for the quick-and-easy clean up, which is one of their best qualities. The first big difference you’ll notice is the lack of a strong smell. Because water is the solvent, there’s no need for turpentine with its heavy odour or unpleasant fumes. I know there are low-odour turpentine options available, but I’ve always found these expensive. Besides, water is kinder to the environment and it’s always on tap.

LP09 25-27 Strode_Layout 1 27/07/2016 12:47 Page 26

Water-mixable oils

Demonstration Still Life n l

Surface Winsor & Newton canvas board 8x8in. (20x20cm)


Soft brushes Rosemary & Co No. 6 filbert l Manet No. 8 short flat l Manet No. 10 Round l

n l

Hog hair brushes Rosemary & Co Nos. 4 and 6


Cobra Water-Mixable Oils Ultramarine blue l Prussian blue l Cadmium red medium l Pyrrole red deep l Cadmium yellow deep l Yellow ochre l White l Burnt sienna l Burnt umber l Yellowish green l


You will need

The colours used for the demonstration


Step 1

1 I lightly drew the shapes with a 2B pencil and using the hog hair No. 6, blocked them in to cover the white canvas ground. Laying out the colours straight from the tube, the brush was dipped in water and shaken to remove the excess. I then pulled out the paint a little at a time to make the thin milky consistency I needed. 2 I painted the apples’ and bag’s lightest colours, as it’s easier to darken a colour than it is to lighten it. There’s also less chance of contaminating these clean areas with dark paint. I used cadmium red on the apples and yellow ochre for the paper bag. 3 To darken the bag I added a little Prussian blue, which leant to the greenish tint I saw in the darker passages. Prussian blue’s tinting strength is very strong so I had to remember that a slight touch on the brush was all I needed. 4 A dark background of ultramarine blue and burnt umber meets the lighter brown table with the same blue, burnt sienna and white. From this simple beginning I could see immediately if the composition was working or not.




2 Using burnt umber and ultramarine blue, I carefully added the dark section in the middle of the apples to separate them. I used the ultramarine blue here as it leans to the red of the apples. I also worked on the bag using cadmium yellow, yellow ochre, and burnt sienna, with Prussian blue in the darker areas.


Step 2

1 I used no solvent in the stages that followed. Switching to a hog’s hair No. 4, I painted into the red passages of colour, again, keeping them clean before developing the background. I worked on the apples using cadmium yellow deep, cadmium red medium in the light, and pyrrole red deep and burnt sienna in the shadows.

Step 3

I developed the apples a little more by using the No. 8 soft dry brush to blend and suggest form, and continued to work on the bag adding white to the yellows in the highlights. I began to look at the variety of edges and values in the crinkled bag as I began to develop the image.

LP09 50-53 Botanical v2_Layout 1 27/07/2016 16:02 Page 50


Enduring beauty Ready for a challenge? Here’s how to paint in detail a paphiopedilum orchid using a medium favoured by botanical artists, by Simon Williams


or this study, gouache is used on a white base, where it offers an alternative to watercolour. Orchids are easily obtainable now and they make an excellent and longlasting choice for a botanical painting, retaining their shape and colour for weeks on end. Here I have selected a paphiopedilum, or slipper orchid, which combines light colours with very intense darker shades, and shown the flower from two angles in the style of a botanical illustration. This exercise demonstrates the use of both gouache and watercolour techniques.

Demonstration Paphiopedilum Orchid Central line

Dorsal sepal

Lateral sepal


You will need

n l


Surface Strathmore illustration board Series 500 for wet media 113⁄4x8in. (30x20cm)



Linel Extra-Fine Artists’ Gouache l Brown pink l Celadon green l Havana lake l Japanese lemon yellow l Japanese yellow light l Persian green light l Stable violet Lip


Daler-Rowney Designers’ Gouache l Light green

Pedicel (stem)


Winsor & Newton Designers’ Gouache l Indigo l Naples yellow l Permanent white l Spectrum violet Brushes l Winsor & Newton Series 7 sables Nos. 2 and 3 n

Miscellaneous White cartridge paper l Tracing paper l Faber-Castell H and HB graphite pencils l Staedtler or Maped Technic plastic eraser l





Step 1

1 I used an H pencil to make the initial drawing. If you do not feel confident about drawing straight onto the illustration board this is best done on a separate sheet of cartridge paper so that you can erase lines and adjust your drawing safely. Paphiopedilums are very symmetrical and a good tip is to draw or imagine a vertical line straight through the centre as shown above. This line is for guidance only and should not be traced onto the outline copy for painting. 2 Once your drawing is completed, put your tracing paper over it and redraw

the outline with an H pencil, then turn your tracing over and draw over the lines on the reverse side using a softer HB pencil. Finally, turn the tracing over once again so that the drawing is the correct way up and carefully transfer it onto the illustration board. It is probably wise to anchor the tracing with little pieces of masking tape at the corners to prevent it accidentally shifting. This method remains the same for all studies on a light background. Ideally, your drawing skills will improve so that you will be able to draw directly onto the board and save valuable time.

LP09 50-53 Botanical v2_Layout 1 27/07/2016 16:34 Page 51

Gouache t

Step 2


Step 3

1 I mixed Havana lake with a small amount of stable violet and applied this across the top sections of the petals, on the front of the lip and on the dorsal sepal of the top flower. I used the colour mix on the lower flower but with more water to lighten the colour on the dorsal sepal where it is not as strong. 2 Next I painted the stem of both flowers with a mix of celadon green and Japanese yellow light. 3 Into this green mix I added a touch of stable violet, which made a delicate shade colour to work into the sepal and bract on the lower flower.


1 Mix the light green, a vivid colour, with a small amount of Naples yellow to calm it down as the green alone is almost fluorescent. I kept this mix very diluted and applied it to the lateral sepal. There are also hints of green on the dorsal sepal. 2 I applied diluted Japanese yellow light around the edge of the petals, which had a fine yellow rim. 3 These petals also have a greenish-yellow tinge so I mixed light green, Naples yellow and Japanese yellow light and applied it where necessary. 4 I used a very diluted Japanese lemon yellow for the central staminode. 5 For the capsule on the lower flower I mixed Persian green light with Japanese yellow light and toned it down with the smallest amount of Havana lake to vary the green shade.



LP09 2 Subs_blue_Layout 1 28/07/2016 21:29 Page 1

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on digital high resoluti and now submit my artwork.’ of can be a pencil photographs the piece s begin as is a must; or a simple small MDF Versatility Jamel’s painting sketch on conceptual a with descriptive, challenge to reflect and oil colour an iPad sketch made is a as the essence Loxley gold portrait. It boards, or to capture te app. Using Jamel piece of writing, way and still produce the Procrea 3mm MDF board, clear and y and of in a simple primer and bit canvases that is painterl quick-drying mixes in a a painting applies a at. He also ideas Pastels, interest.’ Dulux underco Ground for s in painting advises Acrylic believe and Jamel of Golden the mix. actual scenes a tooth to for ing no one rather than flat colour which gives try to do someth a he chooses times he likes painters to Each idea prompts Sometimes other parts is und, at else is doing. – currently Jamel the backgro old paintings, letting , so style long change in Deco imagery to paint over . ‘I usually spend a a lot of Art with a strong looking at show through on a background colour. are less manic,in. ‘I would g With his strokes time decidin a day on this part. t creeping e design elemen essence of the subject with a mid-ton I could spend an usually start for rather have portraits I und.’ a little accuracy with and sacrifice difficult to balance neutral backgro around the canvas It's the he sweeps is to tighten y get expression. Next, to as the tendenc portraits can rigger brush strokes a portrait, many with a long ent. ‘The correct. So more feel lifeless. up as you desired movem calm and somehow the but in become let just lly in oil, be accurate rigid and instead eventua be I like to sketch as I can wipe I try not to resolved. to me.’ like a stroke, to an portrait talk case I don't spends up Jamel again.’ of paint, then and start media down strokes else. ‘The Change of Jamel made a break hour laying something ago control digital painting A few years stops to paint the painting is to can pastels and of energy highlights from chalk wanted the whole point Too many for oils. ‘I with the and opted the focal point. and result in multiple compete to has eye that work of real painting confuse the smooth digital ion market, plethora of the illustrat recently flooded

September 2016 ÂŁ3.99


T H E P R AC T I C A L MAG A Z I N E F O R A R T I S TS BY A R T I S TS – S I N C E 1 9 3 1

When is a painting finished?

76 pages



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of inspiration er at & artists’ Award winn , The Artist al exhibition Jamel Akib tips ders talks to of Marine Artists’ annu ty Caroline Saun

Advice from Haidee-Jo Summers

l Socie last year’s Roya

Pull, oil on

(66⍝127cm). canvas, 26⍝50in Charles Pears

of the unique the winner Marine ‘I found a ‘This was Society of entire boat. 2014 Royal marine a racing sea or the to paint a Award at the the crew of gift n. I wanted ent I’ve kept niche by paintingis a compositional Artists’ exhibitio ive movem boat, and mark water or a deck ubtle suggest because I to achieve and original yacht. The scene without since, simply It was possible sed going ever through abstract r with angled I love painting for an artist. this theme c shapes juxtapo of the it done before. making, togethe Akib’s lend itself fantastic dynami perspective haven’t seen seemed to of are Jamel sweeping of the the subject that feeling brushstrokes, against the boat.’ figures and paraphernalia ‘Nobody gets the my style. The quite like hallmarks. curves of so well to for showing images move came in handy to show tension also watching still y, the American boat to I used strokes Freud, Ideas Alex Kanevsk classical painter. He of the audience perspective. work of Lucian arms, I wanted contemporary consider the subject Keen on the through those big bold me you ‘Freud’s pull.’ lead made the who depicts really Jamel says along a thigh can really feel ,’ says Jamel, miles where the a painting brushstrokes leg at a hundred by showing going the a down and movement where it’s rushing up by securing or he slows you been and for ion career subject has clues: a hint of a wing an hour; then around the face with the cover his illustrat area to produce to find the by using little tone. ‘I abstract the lets you dancestabs of paint. A likeness commission continues the He skin . ng and little of area stroke the slab a delicate the Observer illustration appeali and leave with a simple .’ Jamel s, the of being vacated empty, so can be defined example constraints into his painting es moving into subject cheek, for ical discipline subject is around the ition. ‘Deadlin the takes this the econom of compos imagine like the admirer plan. viewer can that space, almost of John Singer is also an particularly no time to s gful strokes so there is transcending when an image become .’ but meanin are short d digital tracing a very instinctive process Jamel launche Sargent. It's at college, was www.painters-o corrupted. While still theme Jamel With the nauticalwould not paint the he adamant that

transfer at any time to The Artist magazine S


artist Summer


6.5cm). straight. 34⍝42in (86.5⍝10 my strokes by keeping oil on canvas, get paintings the head and Eastern Bluebird, all my bird and away from energy in a rhythm are bigger maintains ‘I try to maintain form. The strokes the eye. This model frequent around I very rarely and more point.’ steadily shorter on the focal emphasis keeps the m). of the 30⍝20in (76⍝51c drips and broad strokes him oil on board, of the riate to paint the energy Tiny Tempah, be inapprop ion. I used a commiss music. It would to be raw and direct.’ ‘This was the rapper’s needed reflect to tone. He background and blended soft lines issue 2016 with lovely artist Summer

13 www.painters-o

issue 2016

Kimono, oil on (106.5⍝86.5cm). board, 42⍝34in ‘I kept the workings on the face so that the very simple costume takes hair was painted centre stage; the in four strokes brush, which took just seconds with a 3in backgrou to do. The nd colour is a highlight the brushstro ing device kes imbue – the figure movement with even though she is static. palette knife A was used to paint the flower.’

aligned the hand with the head, on. It shows and so I haven't gridded It shows confide or traced. nce and is enjoy seeing something I photograph in painting.’ Jamel might the work and that on his manipulate computer if needs it. He does what he thinks it feels right.


Pull 2, oil on canvas, 26⍝50in ‘This won (66⍝127cm). The Artist Award Society of Marine Artists’ at the 2015 Royal exhibition. over an old I painted painting On close inspectio that I felt wasn’t working. n you can and hand see the forearm of another figure. I used colours of the warm the backgrou nd – a base crimsons and burnt made of

Tempest, oil on canvas, ‘I wanted 42⍝34in (106.5⍝8 this figure 6.5cm). as a silhouett the detail e lost in her to a minimum movement . I used with abstract so I kept strokes, applying the dress as an area palette knife to let loose the peaches and roller and crimsons on remnants with a of the original a cerulean base. Even the slight drawing add movement to the figure.’

Jamel prefers siennas helps an otherwis Artisan NaplesWinsor & Newton’s focal points, to warm e cold colour which ultimate yellow to palette dominat up whites and Oil Colour the impact. ly diminish blues. I have Naples yellow.their Artists’ ed by I try to use used this my subseque Harding green brushstrokes large sweepines Michael trick for nt marine-i g nspired subjects. all but he finds lake is a punchy green and gradual away from the focal ’ the reds too point ly preferring strokes aroundget shorter tighter opaque, the Winsor & Newton He dilutes usually where it. The focal point ones. oils with a is I use the such as Michael mixture of Sansodor absolute Marks are half and half Liquin. light.’ made with which is really Harding phthalo averse to print roller, his fingers, ‘I'm not blue, using black a a ruler, a squeege using it ever vibrant and I've been – I'd use it crimson or various lengths e with and red since. a to warm of mount I don't like colours too also nice to show off board. ‘I love to plan to reach for it a little. It's much. I’m how the painting a of applyin the black the burnt be, so I like when g paint and great advocate umber and to show evidenc came to seeing where takes you.’ blue dark underlying mix enough e of the just isn't Jamel finishes it .’ His staple drawing. I completed consists of measure all time when palette painting with the cadmium drawing; these the yellow deep, dammar varnish. Naples yellow, a layer of part of the process, they marks are umber, ceruleantitanium white, burnt ‘All my brushes the painting give a truth . are from Rosema Co. I use the alizarin crimson blue, burnt sienna, the painting The audience can chart to ry full range process by brushes but of their angle & phthalo blue , purple madder lines: a little studying the and I do favour tick to the sweeping ‘Each birthdaybut it frequently changes the 2in for would be side of the strokes. I large where , my wife face . also use range of flat colour I've buys me a eye; a vertical I've marked out never used brushes. They their ivory an line tells synthetic, using it in and I commit are how I have not as stiff my to as a hog, a lovely bounce some great next painting. I've and give 14 found accent colours on the Typically artist Summer that way, he uses sizes canvas.’ issue 2016 and a long-ha 4, 8, ndled rigger 10 and 12, for line work. TA

Explore lifting-off techniques & wet-in-wet skies

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Jamel Akib

www.painters-o www.painters-o

has a BA honours degree in of Art and Illustration Design and from Kent has and commis Institute sions. So far won awards in many three Booker exhibitions he Prize finalists has illustrated the covers Geographic, for Oxford Universiand clients include National the Indepen ty Press, the dent Sunday Telegrap Odiham, Hampshand DHL. Jamel is h, tutor www.jamelakib ire, www.crossbarn at Cross Barn Art, .com.

artist Summer

issue 2016


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PAINT TRY THIS! REFLECTIONS Exercises, and STILL tips and TER using WA ideas to watercolour develop techniques your skills

ING COLOUR MIXose and How to cho l blues use the coo ette pal r in you

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Paint acrylic still lifes

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ls in colour Draw anima PICTURE PER Creative ide FECT artists out &as for about Paint quickly the 3-wash mewith thod


Paint better pastels


BUILD YOURE CONFIDENC Step-by-steph acrylics wit ms texture mediu your How to makerkle paintings spa


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Leisure Painter September 2016  

Leisure Painter offers artistic inspiration, guidance, tuition and encouragement for all beginners and amateur artists. Full of step-by-step...

Leisure Painter September 2016  

Leisure Painter offers artistic inspiration, guidance, tuition and encouragement for all beginners and amateur artists. Full of step-by-step...